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Pepsi Debuts Salted Caramel Flavor
And the internet is NOT holding back.
By De Elizabeth
Today in weird food news, we bring you the fact that Pepsi has debuted a "Salted Caramel" flavor, much to the internet's confusion and disgust.
Yep, the cola company whose popular flavors include wild cherry and cherry vanilla is now crossing over into dessert territory, and we're not quite sure what to make of it. Although, let's not forget that Pepsi has had some weird variations in the past, like "holiday spice" and a blue-colored soft drink. But even though caramel is pretty delicious on its own (or in a coffee beverage), it doesn't really seem to belong inside a soda.
Taste-testers on The Today Show tried the drink so the rest of us don't have to, and most of them found that it wasn't "as offensive" as they expected. "On the contrary, it’s not bad at all," Today's lifestyle news editor Shane Lou concluded. "The caramel flavor isn’t strong, but it’s apparent enough that it’ll give you a sweet aftertaste."
However, it seems as though the internet would disagree with Shane and the rest of his colleagues, as the general consensus on social media is that Salted Caramel Pepsi is rather disgusting. "This tastes like watery Pepsi that someone threw a single dirty caramel into," one person wrote on Twitter. Another took to Instagram to pen this poetic review: "My palate wasn’t ready for the subtle hint of eating ROLOs in a zoo bathroom."
But most people seem to be reluctant to try the drink at all, finding the name itself to be a total turnoff. "Why would anyone want to drink Salted Caramel Pepsi?" one person asked their Twitter followers. Another person simply stated: "Not sure how I feel about this."
Nevertheless, amid the naysayers are some folks who think the soft drink is rather tasty. "I'm digging the limited edition Salted Caramel Pepsi," one fan reported. And this Instagrammer stated "Pretty f*ing good" after drinking it. I guess the only way to know for sure is to try it ourselves, but TBH, I think I might be just fine without that experience.
https://twitter.com/prozdkp/status/928049388949262336
https://twitter.com/megan_jameson/status/929552986388488193
https://twitter.com/chrispaget1/status/929730745567936512
https://twitter.com/icarusSol/status/929813597475299329
https://twitter.com/TravisBFoster/status/929769229531918338
Related: Cinnamon Pepsi Exists Now, If Spicy Soda Is Your Thing
Keywordspepsitwitter instagram
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Fortnite Battle Royale: How To Win
Struggling to achieve Victory Royale and the #1 spot in Fornite? Here's our best advice.
Fornite Battle Royale: Complete Weapons List
Here's a list of all the weapons in Fornite Battle Royale alongside their stats.
Fortnite Battle Royale: Best 5 Weapons
Struggling to know which weapon is best in Fortnite Battle Royale? Here's our top 5.
by Lewis Burnell on Jan 30, 2018
While it's fair to say that any player is capable of excelling with any weapon available in Fortnite, it's undeniable that some weapons are vastly superior to others. When you're on the hunt for weapons, and with limited action-bar slots, you'll need to know which to keep, and which to drop. It's also important to remember that weapon rarity plays a big part in the availability of some of the below, while rarity of any weapon also determines its damage potential (Epic will deal marginally more damage than rare, and Legendary marginally more damage than both).
Weapon Rarities
Common: Gray
Uncommon: Green
Rare: Blue
Epic: Purple
Legendary: Orange
Tactical Shotgun (Rare/Epic)
The Tactical Shotgun is easily found, and packs a massive punch. Used in enclosed spaces, few can survive its rapid delivery of damage. As long as you hit enemy players in the chest, they'll die within a couple of hits. Best of all, you can unload the shells at speed (unlike the standard shotgun). Just be sure to change weapons when fighting in wide open spaces, otherwise the spread is just too great.
Grenade Launcher (Rare/Epic/Legendary)
I regularly hear the discussion regarding the Grenade Launcher versus Rocket Launcher and for me, both are undoubtedly good. Late game however, when the zone is agonisingly small and players take to building forts, the Grenade Launcher undoubtedly comes out on top. Allowing you to quickly bombard an area, ensuring you can pretty much level any structure, can often give you an edge over an opponent. The fact you can release multiple grenades at a fairly rapid pace also ensures anyone within a confined space often has to bail out.
SCAR (Epic/Legendary)
Offering the highest damage potential of any assault rifle, the SCAR has solid accuracy across medium ranges. While it can't compete with the Bolt-Action Sniper Rifle when it comes to long distance combat, it's often a far more rounded weapon for skirmishing. Its damage is high, its rate of fire fantastic and if popped with single shots can still take someone out from a distance. Considering its rarity however (Epic or Legendary), you won't encounter one too often unless you land lucky, or loot someone who has it.
Bolt Action Sniper Rifle
Offering amazing accuracy, and a valuable means of viewing enemies from a distance, the Bolt Action Sniper Rifle is incredibly potent. While its reload is lengthy, its damage is huge. Whether you grab one at Rare or Legendary rarity, often a single shot can be enough to kill an opposing player. You'll often need to find high ground to make use of its potential, and you'll need another weapon for when you're fighting close quarters (its less useful as the zone grows smaller).
Suppressed Pistol (Common/Uncommon/Rare)
Perhaps controversial, but the Suppressed Pistol (available up to Rare rarity) is tragically underrated. While everyone can happily leap towards the Scoped Rifle (honestly, it's a contender here), stealth will often win you games. Fundamentally, if players don't know where you are and you can secure a kill without alerting those around you, it pays off early game. While you likely won't keep a Silenced Pistol for the entire duration of the match, despite it always being useful, its damage is high enough to finish off unsuspecting players before they have a chance to react.
Have a favorite Fortnite weapon? Disagree with the above list? Let us know your thoughts!
To read the latest guides, news, and features you can visit our Fortnite Game Page.
Lewis is a long standing journalist, who freelances to a variety of outlets.
Follow Lewis on Twitter Read more articles by Lewis
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Membership Account Shop Account
How To Make Your Home a Sanctuary
The designer of the tranquil spaces of THE WELL shares ways to achieve a serene vibe in your own space.
By Shelby Deering
In these tumultuous times, we have to carve out our own little corners of the world where we can find relief from daily pressures and anxiety. And with many places still closed or operating at a decreased capacity — restaurants, salons and museums, to name just a few — our homes have become more important than ever.
So it’s no wonder that people are beginning to refresh their living quarters to focus more on health, wellness and self-care. As designer and Queer Eye star Bobby Berk recently wrote: “[We] will begin to embrace a new way of living that means spending more time at home and thus creating a calming refuge from the outside world.”
In the heart of New York City, THE WELL houses a full-service spa, restaurant, relaxation lounge and rooms for meditation, mindful movement, massages and more. Liubasha Rose, Creative Director of Rose Ink Workshop, is the aesthetic visionary behind all those ahhh-inspiring spaces.
“The design started with the thought of movement, as a path for transformation, and with that also came the idea of how gentle movement can be,” she says. “So, the idea of soft curves started to give life to and sculpt the architecture of the space. We wanted to create a sense of fluidity and sourced materials that evoke textures found in nature.”
Here, Rose shares how to infuse your own space — whether that's a four-bedroom home or a studio apartment — with serene touches to instill a sense of calm, no matter what's going on in the outside world.
Keep It Natural
A soothing color palette can be softened even further through natural materials, something that Rose used in abundance throughout THE WELL. Think white-washed wood, concrete, cork, seagrass and even crystals like quartz and selenite. These are stylish, and peaceful, ways to welcome the outdoors into your home.
Focus on Lighting
Lighting is extremely key in many of THE WELL’s spaces. It has the power to soothe or energize. Rose explains that in the Meditation Dome, you’ll find a light in the center of the space that’s able to transition from color to color — something that can mimic circadian rhythms.
In your home, she recommends using dimmer switches to create a soft glow in a space or light bulbs that can change hues at the command of a smart device. For example, yellow light has been known to increase feelings of happiness, while blue can encourage chill vibes.
Turn to Scent
THE WELL is known for its mists and oils that inspire tranquil feelings, and you should bring that scent-centric focus into your homespace, too. Rose loves to use essential oils such as ylang ylang, peppermint and lavender at home, particularly in a diffuser.
She says, “A diffuser with a calming essential oil sets the tone for a centered and peaceful day. I also love to diffuse orange and rosemary scents during the summer months.”
RELATED: Use Your Senses to Sleep Better
In our reflexology lounge, green plants and herbs create a living, breathing wall that imbues the space with a sense of calm.
Green It Up
Scientific studies have proven that plants can increase feelings of relaxation. Plants make frequent appearances in THE WELL, from the wall of plants in the Reflexology Lounge to the hanging plants gracing THE WELL Kitchen & Table.
“Having plants is great to purify the air as well as bring peace to any space,” says Rose. “I love succulents—they are sculptural and easy to maintain. Hanging Vanda orchids are gorgeous and unexpected. Dried lavender is my current favorite. Stacked in a basket or in a vase, the smell is divine and very calming.”
Nourish Your Eyes
The saying “you eat with your eye first” may have more meaning than we thought: Science shows that simply looking at nutritious food can provide a powerful cue to eat more healthfully. Rose directly practices this approach in her own home, saying: “I love to display my fruits and vegetables in a wooden bowl in the kitchen.”
In THE WELL Kitchen & Table, she took a more subtle approach: “We created a wall of 40 original hand-painted watercolor artworks of herbs by New York artist Matt Timms. The herbs were picked for their nutritional and holistic qualities,” Rose explains.
Marie Kondo made purging an international pastime, and Rose also finds that decluttering and organizing helps her feel more serene. "At THE WELL, we designed lots of built-in millwork cabinets to create a clean aesthetic, and we also implemented a strategic use of credenzas that hold (and hide) supplies throughout the space."
You can do the same in your home by ditching or donating things you don’t use and then storing your essentials in eye-pleasing furniture pieces that contain storage.
RELATED: A Water-Healing Meditation to Try at Home
Images by
Grant Legan
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UK pension schemes plan further shift away from equities
The next year is expected to see UK pension schemes continue to move their asset allocations away from equities and towards bonds and alternatives, according to research published by Aon Hewitt today.
The consultancy's Global pension risk survey found that 41% of UK pension schemes plan to reduce their exposure to UK equities over the next 12 months, and 28% plan to reduce their investment in global equities.
At the same time, one third of schemes surveyed are planning to increase the exposure to alternative asset classes. The move away from equities is particularly marked among larger schemes - those with over £1bn of assets - where 37% expect to increase their allocation to bonds in the next 12 months. Nearly half of these larger schemes also plan to grow their alternative asset holdings.
John Belgrove, senior partner in Aon Hewitt's investment consulting team, said: 'The results of the survey provide more evidence of a structural shift in the UK pensions industry's view of equities as the main source of portfolio growth.
'Despite an equity performance recovery of around 70% from the low point of 2009, pension schemes continue to display a desire to move away from the asset class. While equities will continue to play an important role in scheme portfolios, the focus for the future is on risk management through hedging and diversification. The "cult of the equity" is history for defined benefit schemes.'
Belgrove noted, however, that schemes still faced a 'challenging' investment environment, while low gilt yields mean they also had to cope with rising liabilities.
'As the battle for deficit reduction intensifies, what we have seen is a growing focus on developing more sophisticated asset management strategies that aim to provide equity-like growth potential with bond-like volatility,' he said.
Aon Benfield linked the governance challenges offered up by more innovative investment strategies to the increased use of delegation by schemes. This was particularly the case with smaller schemes, where 20% of those with under £100m of assets have already implemented full delegation of their investment policy to third party specialists.
Most commonly, schemes outsource asset manager monitoring, with almost 50% of respondents having already made this move or being very likely to do so.
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EET system puts 'a real strain' in finance, says actuary
Open-access content 9th November 2015
The amount of tax relief under the current Exempt Exempt Taxed (EET) system is going to put a real strain in the UK governments finance system, according to an actuary.
David Fairs, chairman at the Association of Consulting Actuaries (ACA) and partner at KPMG, explained that with 1.8 million small and micro employers about to begin auto-enrolment, overall contribution rates would start to go up.
Speaking at an event organised by the Westminster Employment Forum in London, Fairs said: "If you add in to that, the increase in minimum wage over the next few years, you can see from the treasury perspective, the amount of tax relief under an EET system is going to put a real strain on treasury finances."
The ACA has previously suggested the 8% total contribution rate should be increased to 16% over time, going up by 1% every two years. Fairs said adding the increase in contribution rate would add further financial difficulties to the treasury.
Under EET, contributions and growth are exempt from tax but withdrawals, other than the first 25% due to pension freedoms, are taxed.
Fairs said a move to a Taxed, Exempt, Exempt (TEE) system would therefore be "obvious".
He added: "By default it removes the tax free lump sum, saving some £4bn to £5bn per annum, it potentially opens up the opportunity to raise national insurance on employer contributions, raising another £14bn and you defer the £20bn to £25bn of tax relief on contributions upfront."
Under TEE, contributions are taxed upfront, but investment returns and withdrawals are tax-free. It was first proposed by chancellor George Osborne in his July budget statement.
However, Fairs warned removing tax relief on both national insurance contributions and employer contributions would remove the incentive from employers to provide good pensions.
Fairs also acknowledged moving to TEE would bring "great complexity" for individuals to move from one system to another, but said he was not "a great fan of the existing system".
"It's now grown so complex that I think many pension professionals struggle to understand," Fairs said.
"But if we did move to a new system it would be rather nice to stay for a few years and didn't get tinkered with every year."
Tim Middleton, technical consultant at Pensions Management Institute, said a move to TEE should be "carefully" considered.
He said: "Changing and moving to a TEE system would have significant implications and we need to think carefully before we change and move to something which is not necessarily going to be the best interests for the society as a whole."
This article appeared in our November 2015 issue of The Actuary.
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Info. about Kim Jong Un is constrained, however essential-Supreme Leader of North Korea
May 1, 2020 Jamie French 0
New bits of gossip about Kim Jong Un pour in every day. The North Korean pioneer is dead. Or then again he’s evil. Or then again perhaps he’s simply recovering in his extravagance compound, or confining himself from the coronavirus.
As hypothesis about his wellbeing assembles, a hidden inquiry looms for proficient covert agents, policymakers, scholastics and inquisitive news customers the same. What do we truly think about the man who drives North Korea?
The appropriate response is urgent in light of the fact that Kim’s goals, and the so far obscure condition of his wellbeing, assume an outsized job in the activities of Northeast Asia, an uncomfortable assortment of vigilant neighbors under the most favorable circumstances and home to two of the three greatest economies on the planet and an immense development of American military apparatus and labor.
Sandwiched in the midst of goliaths, North Korea is a little, ruined, phenomenally glad country that through sheer power of will and a steady religion of character worked around a solitary family has been at the focal point of 50 years security cerebral pain for its neighbors.
Regardless of how fruitful China, South Korea and Japan become and their change from war, neediness and household infighting into political and monetary may has been terrific, North Korea and its resolute quest for atomic tipped rockets intended to secure the Kim family has made itself difficult to disregard, holding the area and Washington prisoner to its tight aspirations.
There’s very little to go on here notwithstanding the structure media inclusion.
Some unverified news reports state Kim is in delicate condition or even a vegetative state following heart medical procedure.
The South Korean government, notwithstanding, keeps up that Kim despite everything seems, by all accounts, to be in power and that there have been no signs that something significant has occurred in North Korea.
What’s uncontested is that Kim hasn’t showed up in broad daylight since an April 11 gathering concentrated on the coronavirus. This kind of evaporating act has occurred previously, yet what has set bits of gossip on fire currently is that just because as pioneer he missed the most significant occasion of the North Korean year, the April 15 festival of his granddad’s introduction to the world.
There have been no photos and no recordings of the pioneer in about three weeks, just state media reports of him sending composed welcome to world pioneers or residents of legitimacy.
Those hoping to comprehend Kim face an issue. Quite a bit of what the outside world sees is separated through persistent North Korean purposeful publicity intended to incorporate him with a dependable paragon of initiative.
Add to that enigmatically sourced or misdirecting outside media reports and the outrageous trouble of splitting North Korea’s ultra-mystery encompassing anything to do with the pioneer, and the image that rises of Kim is frequently more mosaic than profile.
In South Korea, he is viewed as both evil presence and legislator. He has more than once took steps to set Seoul ablaze. He has additionally presented a royal welcome for a little while to Pyongyang, North Korea’s capital, by South Korea’s leader and sent his own sister south for the 2018 Olympics.
In the West, depictions of Kim regularly race to cartoon. His wrecked companionship with Dennis Rodman, the previous b-ball star he purportedly revered as a student; the gossipy tidbits about his extraordinary love of cheddar and his supposedly inventive methods for discarding authorities who disappoint him.
At that point there’s the staggering arrangement of culminations in the course of the most recent two years with the pioneers of Russia, China, the United States and South Korea.
Kim was likely conceived in 1984 and gone to live-in school for quite a while in Switzerland. At an opportune time, a few eyewitnesses contended that his time in the West would lead him to in the end grasp Chinese-style changes.
That has not occurred up until this point, however he has adopted a notably extraordinary strategy to authority than his exposure timid dad, Kim Jong Il, who passed on in 2011
Outside governments and specialists at first scrutinized the capacity of a man then in his 20s to lead, yet Kim Jong Un immediately united force. He requested the 2013 execution of his uncle and coach, Jang Song Thaek, who was blamed for conspiracy. Kim is likewise associated with requesting the death of his repelled stepbrother, and potential opponent, at a Malaysian air terminal in 2017.
Kim has demonstrated a developing certainty on the world stage, most plainly with the high-stakes discretion that followed a run of atomic and rocket tests in 2017 that had many dreading war.
Seeing a North Korean pioneer meeting with his South Korean and U.S. rivals was exceptional, however it’s not yet certain whether the tact will settle an uncomfortable locale.
Kim entered 2020 vowing to reinforce his atomic hindrance despite ”hoodlum like” U.S. monetary assents, and he directed a progression of weapons dispatches and military penetrates in March.
A lot of what happens now will rely upon Kim’s wellbeing.
North Korea, in spite of its destitution, has since a long time ago instructed world consideration as a result of its continued, antagonistic quest for what it calls self-protective measures in light of U.S. antagonistic vibe _ and what pundits call an illicit amassing of atomic bombs.
There’s discussion about whether North Korea at any point expected to surrender its atomic weapons during the culminations with Washington and Seoul. Be that as it may, the discretion appears to be unfathomable without Kim.
That raises fears, during a potential snapshot of monstrous political shakiness, of an arrival to dangers and progressively ground-breaking weapons tests intended to consummate the atomic weapons seen as the main genuine assurance of the Kim family’s capacity.
Jamie French
Jamie French is an author, journalist and CEO of themostactivestocks.review, a leading stocks and markets website. He has more than 5 years of experience in institutional investment markets, including fixed income, equities, derivatives and real estate. He has a Bachelor in Business Administration with a major in Finance. He bought his first stocks in a private business at age 15 and made his first public stock trade at 23. David has always been interested in the stock market and how it behaves.
As the dad of two children, he’s made saving money and investing for them a high priority. Over many years of investing, he has made some wise choices and he’s made many mistakes. But he’s learned from both. Mr. Jamie observations and experience give him the insight to stock market patterns and the investor behaviors that create them.
Address: 4570 Barrington Court, Joiner, Arkansas
Email: JamieFrench@thepostwired.com
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Santa Ana Criminal Defense Lawyer
Free Consultations Available 800.721.7710
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Are You Facing Rape Charges?
Experienced Santa Ana Sex Crime Lawyer
Among sex crimes and violent crimes, rape is one the more serious offenses. This crime, as defined under California Penal Code §261, occurs when someone forces another person to have sexual intercourse with him or her against the victim's will, particularly through the use of force or threat of bodily injury. In addition to these actions, violence, menace and duress are also actions that can be used to force a person into sexual intercourse, according to California law. In these types of offenses, the victim can be either a spouse or someone who is not a spouse, such as an acquaintance or a stranger. There are also many other ways that a person can commit rape, such as by having sexual intercourse with a person who is considered incapable to be of providing consent.
Because of the magnitude of this crime, a rape conviction can lead to extremely harsh penalties, which can include several years of imprisonment, expensive fines and the requirement to register as a sex offender. At Thomas Tears, Attorney at Law, we understand that not every claim of rape is actually legitimate. In some cases, a relationship gone wrong can turn into false allegations. Our experienced Santa Ana criminal defense attorney, who has more than 39 Years of experience, can help you defend your rights and fight to protect your future when you are facing rape charges.
Types of Rape Charges and Their Potential Penalties
In addition the act of forced sexual intercourse through physical force or threat of physical harm, rape can also occur when a person has sexual intercourse with:
A person who is deemed incapable of providing legal consent due to a mental disorder, or due to a physical or mental disability
A person who is intoxicated and therefore unable to resist
An unconscious person
A minor, when there is a certain age difference between the victim and the offender
In these types of situations, the offender must have actually known or must have been expected to reasonably know about the alleged victim's condition that made him or her unable to provide consent. Consensual sexual intercourse with a minor is commonly referred to as statutory rape (when the victim meets certain age requirements).
For a rape offense in which the victim was an adult, the offender can—upon conviction—be sentenced to three, six or eight years in state prison, according to California law. If the victim is a child who is under the age of fourteen, the offender can be sentenced to nine, eleven or thirteen years in state prison. If the victim was age fourteen or older, the sentence can be seven, nine or eleven years of imprisonment. There are various factors that could potentially result in more severe sentencing.
In order to best protect your future, you will need to take immediate action after being charged with rape. Contact Attorney Thomas Tears so he can help you better understand your charges and the best approach for defending your freedom!
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Case Dismissed. $14,000 NSF Check on a Vehicle Sale Where Client Obtained Vehicle
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The Best Comedies of 2018
By Esther Zuckerman
Updated on 12/20/2018 at 9:16 PM
<em>Crazy Rich Asians</em> | Warner Bros. Pictures
There's a lot of bleakness in the world these days, and sometimes you just need to hunker down with a great movie that will make you smile -- or at least laugh through the pain. The good news is that 2018 gave us a lot of entertaining cinematic comedies, from the gushy romances of Book Club to the lewd gags of Blockers.
That's not to say that all of our selections here necessarily make for good escapist fare. For every Paddington 2, a thoroughly heartwarming fantasy about kindness and cute bears, there's The Death of Stalin, reminding us that even the worst people can be absurdly funny. And yet you will find chuckles in every selection listed here. When you're done laughing, check out our Best of 2018 lists for action movies, sci-fi movies, and horror movies.
21. Venom
Released: October 5
Cast: Tom Hardy, Michelle Williams, Riz Ahmed
Director: Ruben Fleischer
Why it's great: Is Venom a comedy? Not really, but this quasi-Spider-Man spinoff does feature a brilliant comedic performance from Tom Hardy opposite Tom Hardy, so it's going on here. There's too much set up, but the minute Hardy starts in on his dual performance as both Eddie Brock and his parasitic alien friend named Venom, it becomes truly impossible to resist. As the symbiote starts to overtake Eddie's body, Hardy barrels full throttle into physical humor, consumed by Venom's insatiable hunger. (A scene involving a lobster tank should make you double over.) When Venom's rubbery form ultimately does appear, he speaks with a low growl that is more quotable than menacing.
Where to see it right now: Rent on iTunes, YouTube, Google Play or buy on Amazon (watch the trailer)
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20. Love, Simon
Released: March 16
Cast: Nick Robinson, Jennifer Garner, Josh Duhamel, Katherine Langford
Director: Greg Berlanti
Why it's great: As revolutionary as Love, Simon is given its focus on a gay lead, its comic tropes are practically Shakespearean. There are mistaken identities, ill-conceived matches, and betrayal, which all makes sense for a movie about a bunch of theater kids. Berlanti and his game cast of rising stars executed all of these beats with an abundance of warmth. When it does get serious, Love, Simon tugs at your heartstrings in all the right ways. Bonus points for Natasha Rothwell as a fed-up drama teacher, who elicits a guffaw every time she speaks.
Where to see it right now: Rent on iTunes, Amazon, YouTube, and Google Play (watch the trailer)
19. Book Club
Released: May 18
Cast: Diane Keaton, Jane Fonda, Mary Steenburgen, Candice Bergen
Director: Bill Holderman
Why it's great: For a while there, it seemed like Book Club would never be able to top the Instagram of its four legendary stars looking at the eclipse, but never underestimate the likes of Diane Keaton, Jane Fonda, Mary Steenburgen, and Candice Bergen. Book Club is by no means a great movie -- hell, it's not even a particularly good one on a technical level -- but it is a deliriously silly joy to watch. Our protagonists play a group of longtime friends who read Fifty Shades of Grey and decide to spice up their romantic lives by getting on dating apps, hanging out with old flames, and flirting with sexy pilots played by Andy Garcia. It's packed with innuendo and moments that are downright goofy, including some really terrible CGI and a sequence in which Steenburgen tap dances to Meatloaf. However -- through all of that -- it also treats its leads with such dignity that you can't help but get invested. Pairs best with a glass of rosé.
Where to see it right now: Rent on iTunes, Amazon Video, Google Play, and YouTube (watch the trailer)
18. Set It Up
Released: June 15
Cast: Zoey Deutch, Glen Powell, Lucy Liu, Taye Diggs
Director: Claire Scanlon
Why it's great: As a part of the great Netflix rom com revival of summer 2018, Set It Up was not as universally fawned over as To All the Boys I've Loved Before. However, it may actually be the funnier option, if not the stronger movie. That's largely thanks to two old pros: Lucy Liu and Taye Diggs. They play two bosses from hell, Kirsten and Rick, whose demanding natures make the lives of their underlings (Deutch and Powell) miserable. These loyal -- if terrorized -- assistants decide to alleviate the burden on their social lives by playing matchmaker, orchestrating ways for Kirsten and Rick to fall madly in love. Deutch and Powell's palpable chemistry does a lot of the lifting, but it's Diggs and Liu who bring the laughs with their over-the-top antics.
Where to see it right now: Netflix (watch the trailer)
17. To All the Boys I've Loved Before
Released: August 17
Cast: Lana Condor, Noah Centineo, John Corbett
Director: Susan Johnson
Why it's great: Of all the entries in the rom com revival, this one is heavier on the rom than the com. But even though it won't make your sides hurt, it will make your heart flutter. The plot is ripe with high school movie hijinks that arise when the love letters of Lara Jean Covey (the wonderful Lana Condor) accidentally get mailed to her crushes, namely the contractual faux relationship she starts with heartthrob Peter Kavinsky (Noah Centineo). Like its heroine, it's big hearted but skeptical in all the right places.
16. Ocean's Eight
Released: June 8
Cast: Sandra Bullock, Cate Blanchett, Anne Hathaway, Rihanna
Why it's great: Anne Hathaway. Anne Hathaway. Anne Hathaway. Need we say more? I mean, sure, we will, but Anne Hathaway's gloriously over-the-top performance as a image-obsessed movie star is what truly elevates this spinoff to the Ocean's franchise. Not that the cast isn't stacked with comedic talents. Sandra Bullock and Cate Blanchett have crackling chemistry that unfortunately is never acknowledged as sexual; Awkwafina, the year's comedy MVP< is handy with a quip; Rihanna is the coolest hacker you've ever seen. Hell, even Anna Wintour wrings a laugh out of her brief cameo. The actual heist takes a backseat to the joy of watching these stars work their magic while strutting around in high fashion, and that's totally fine.
Where to see it right now: Rent on iTunes, Amazon Video, YouTube, or Google Play (watch the trailer)
15. Juliet, Naked
Cast: Rose Byrne, Chris O'Dowd, Ethan Hawke
Director: Jesse Peretz
Why it's great: In spite of a title that makes it sound like a porno -- it's not -- Juliet, Naked is a lovely little romantic comedy about music fandom and life's big regrets. Rose Byrne -- always excellent -- is Annie, a woman who runs a local museum in her small English town and is in a monotonous relationship with a college professor Duncan (Chris O'Dowd). Her boyfriend is obsessed with a musician named Tucker Crowe (Ethan Hawke), a Kurt Cobain-esque figure who made only one album and then disappeared from public life. When Annie -- in anger -- posts a negative comment on the online Tucker forum Duncan runs, Tucker himself ends up reaching out and they develop a correspondence. Hawke, who embodied grunge rock allure in his youth, morphs this persona into a human compendium of regrets. In this form Tucker is a perfect match for Annie, who has fewer exes but just as much of a sense that her life is meaningless. And through all this malaise their courtship ends up being one that makes perfect sense.
14. Ant-Man and the Wasp
Released: July 6
Cast: Paul Rudd, Evangeline Lilly, Michael Peña
Director: Peyton Reed
Why it's great: The Marvel Cinematic Universe was sitting on comic gold in Paul Rudd. And while the first Ant-Man was charming and worthy of a chuckle, the second was a downright laugh riot. That's because -- rid of the need to explain any powers -- director Peyton Reed doubled down on the gags, making use of Rudd's superlative timing. Michael Peña once again steals the show with his energetic monologues this time going long-ish on Morrissey, but don't underestimate supporting players David Dastmalchian and Randall Park. This is the most lively the MCU has ever been.
Where to see it right now: Rent iTunes, Amazon, YouTube, and Google Play (watch the trailer)
13. Ralph Breaks the Internet
Released: November 21
Cast: John C. Reilly, Sarah Silverman, Gal Gadot
Director: Rich Moore and Phil Johnston
Why it's great: The sequel to Wreck-It Ralph manages to outdo the original by offering some savvy commentary on the way we live now by taking its video game heroes in to the World Wide Web. But don't worry it's still wonderful to watch the mismatched pair Ralph (Reilly) and Vanellope (Silverman) traipse through this digital landscape with not-embarrassing personifications of internet tools like viruses and search functions. Plus, there's a truly great song, and oddball creations like academic search engine and a little blob named Gord.
Where to see it right now: Available for preorder. (watch the trailer)
12. Mamma Mia! Here We Go Again
Released: July 20
Cast: Amanda Seyfried, Lily James, Cher, Andy Garcia, Colin Firth, Pierce Brosnan, Meryl Streep
Director: Ol Parker
Why it's great: The sequel to 2008's Mamma Mia! languishes in its ridiculousness. Oh, you want a reprisal of "Dancing Queen," ABBA's catchiest hit? Well, you'll get it, and you'll see Colin Firth and Stellan Skarsgård imitating Titanic on the bow of a boat. You'll also find yourself cackling with glee as Cher and Andy García perform "Fernando" in a sultry fashion as fireworks explode. And what about the sight of the patrons and employees of a French restaurant bursting out into "Waterloo"? Sure, there's some sadness (Meryl's dead!), but mostly it's, to quote 30 Rock's assessment of the original, "a madcap musical romp... fun... good."
11. Tully
Released: May 4
Cast: Charlize Theron, Mackenzie Davis, Ron Livingston, Mark Duplass
Director: Jason Reitman
Why it's great: Diablo Cody and Reitman's third collaboration -- and their second with Charlize Theron -- is maybe not the most laugh-out-loud entry on this list. At times, it's a searing examination of the struggles of motherhood, specifically homing in on postpartum mental health. But Cody's brutal wit courses through the narrative about an overtaxed mother of three who receives a reprieve in the form of a night nanny with a twinkle in her eye and a secret. Theron plays the weary Marlo with a wry edge, injecting humor into every exasperated glance.
Where to see it right now: Rent on iTunes, Amazon Video, and Google Play (watch the trailer)
10. Can You Ever Forgive Me?
Released: October 19
Cast: Melissa McCarthy, Richard E. Grant, Jane Curtin
Director: Marielle Heller
Why it's great: Can You Ever Forgive Me? is not the slapstick material you might come to expect from Melissa McCarthy. (For that, you can seek out the much, much, much worse The Happytime Murders.) Instead, the laughs here are slier, taking their cues from the writers McCarthy's real life character Lee Israel emulates, like Dorothy Parker and Noël Coward. Heller's film traces Lee's journey from struggling biographer to accomplished forger. It's a story that has an underlying sadness, but all filtered through Lee's uncompromising, acerbic point of view. When she teams up with Richard E. Grant -- an underrated performer -- their rapport invites you to join in on their nasty fun.
Where to see it right now: Buy on Amazon and iTunes (watch the trailer)
9. Crazy Rich Asians
Cast: Constance Wu, Henry Golding, Awkwafina, Michelle Yeoh
Director: Jon M. Chu
Why it's great: Crazy Rich Asians is many things: A historic moment, a gorgeous romance, a convincing reason to take a trip to Singapore. But we're talking about comedy here, so let's discuss how director Jon M. Chu brought out some of the funniest people and let them do their thing. Sure, the central couple Nick (Henry Golding) and Rachel (Constance Wu) might steal a lot of the spotlight, but don't count out Peik Lin, played by Awkwafina, and her loving, effusive, ridiculous family. Rachel's initial trip to the gold-covered Goh home is a showcase not just for the perfect duo of Ken Jeong and Awkwafina, but also for Singaporean comedian Koh Chieng Mun as Peik Lin's ostentatious mother Neena and newcomer Calvin Wong as her awkward teen brother P.T. The film works as well as it does because of the way it translates book author Kevin Kwan's array of characters onto the screen, from the bon mots of Nico Santos' stylish Oliver to the belly out antics of Jimmy O. Yang's Bernard Tai.
8. Spider-Man: Into the Spider-Verse
Released: December 14
Cast: Shameik Moore, Jake Johnson, John Mulaney, Nic Cage, Hailee Steinfeld
Director: Bob Persichetti, Peter Ramsey, Rodney Rothman
Why it's great: Any movie that features John Mulaney as Spider-Ham is bound to end up on a best comedies of the year list. But Spider-Verse deserves its spot on this list not just because it features a cartoon pig named Peter Porker voiced by one of our favorite stand-ups. Executive by Phil Lord and Chris Miller -- the dudes behind The Lego Movie -- with a script by Lord and Rothman, it's a twisty introduction to the Spider-multiverse that mines inherent comedy from a plethora of Spider-People that appear in the Brooklyn that's home to Miles Morales (Moore), the newest teen bitten by an arachnid. Spider-Verse riffs on the fact that we've heard the Spider-Man origin story a million times, while still taking the material very seriously. There are a ton of visual and verbal gags, still, credit is also due to the immensely talented voice cast that includes Jake Johnson and Nic Cage.
Where to see it right now: In theaters (watch the trailer)
7. The Death of Stalin
Released: March 9
Cast: Simon Russell Beale, Steve Buscemi, Michael Palin, Jeffrey Tambor
Director: Armando Iannucci
Why it's great: Iannucci, the brilliant Veep creator, set his sights on Russia with this savage political satire. Based on a graphic novel, the film dramatizes the madcap, maniacal plots of the men jostling for power after their leader, Joseph Stalin, keels over. From there, backstabbing, furious insults, and general chaos unfolds. Anchored by performances from Shakespearean great Simon Russell Beale and American icon Steve Buscemi, it's a pleasure to see what the rest of the cast -- from Star Trek: Discovery's Jason Isaacs to Homeland's Rupert Friend -- do with Iannucci's eloquently brittle text.
6. Blockers
Released: April 6
Cast: Leslie Mann, John Cena, Ike Barinholtz
Director: Kay Cannon
Why it's great: Kay Cannon slid narratives about female friendship and middle-aged anxiety into her ridiculously funny sex comedy about three teens that plan to lose their virginities on prom night. Two of their parents (Mann and Cena) lose their minds when they discover this pact, and decide to make it their mission to stop it from ever taking place. A third dad (Barinholtz) tags along -- not because he thinks what they are doing is right, but because he's lonely and needs some pals so he can riff about Ron Howard's Inferno. (Barinholtz deserves a prize for the most random movie callback of all time.) Meanwhile, the girls -- played by Kathryn Newton, Geraldine Viswanathan, and Gideon Adlon -- are experiencing their own uneasy awakenings as they forge ahead during the raucous night. Viswanathan, a newcomer, gets some of the best punchlines, and Adlon, daughter of Pamela, navigates her character's coming out with delicacy. There are crass gags galore, but you're also likely to leave thinking about Blockers' melancholy threads about adulthood.
Where to see it right now: HBO Go and rent on iTunes, Amazon Video, YouTube, Google Play (watch the trailer)
5. Game Night
Released: February 23
Cast: Jason Bateman, Rachel McAdams, Kyle Chandler, Jesse Plemons
Director: John Francis Daley and Jonathan Goldstein
Why it's great: I have been thinking about Jesse Plemons' bizarro performance in Game Night ever since I saw it back in February. But the Breaking Bad actor's turn as an uncomfortably intense next door neighbor still wounded from his divorce is merely just one of the gifts contained within this surprisingly dark comedy-action-thriller hybrid. There's a genuine tension behind the antics, which really kick off when Kyle Chandler's suave Brooks, the obnoxious brother to Jason Bateman's neurotic Max is actually kidnapped during what is supposed to be a fake game night adventure. The bits are memorably specific -- from a tangent about Denzel Washington to a bullet extraction gone awry. Meanwhile, everyone in the stacked cast is in peak form, Rachel McAdams especially. Her delivery of one line in particular is genius.
Where to see it right now: HBO Go or rent on iTunes, Amazon Video, YouTube, or Google Play (watch the trailer)
4. Sorry to Bother You
Cast: Lakeith Stanfield, Tessa Thompson, Armie Hammer, Steven Yeun
Director: Boots Riley
Why it's great: Sorry to Bother You is disarmingly hilarious. One minute you're giggling along with bits about masturbation and Michel Gondry parodies, the next you're blindsided with a stark, dystopian picture of the true evil of America's corporate entities. The movie thrives on absurd imagery, like telemarketer Cassius Green (played by Atlanta's Stanfield) getting plopped, desk and all, right in front of his potential customer when he makes a sales call, even if they are having sex or sitting on the toilet. But all of this is in the service of Boots Riley's vision, which goes to extremes to show the stranglehold of racism and abuses of labor in this country.
Where to see it right now: Hulu or rent on iTunes, Amazon Video, YouTube, or Google Play (watch the trailer)
3. The Favourite
Cast: Emma Stone, Olivia Colman, Rachel Weisz
Director: Yorgos Lanthimos
Why it's great: The latest from the master of uncomfortable giggles Yorgos Lanthimos is, like his other work, a stiff slug of a comedy that isn't afraid to roll around in the mud. Don't be fooled by the farcical surface, in this tale of Queen Anne (Colman) and the two women (Weisz and Stone) vying for her attention. Underneath that there's a burbling sense of dread that tackles the tricky relationships between women. But while all that is unfolding, the bon mots are excellent, the dance numbers are insane, and the ducks (yes, ducks) are fast.
2. Paddington 2
Released: January 12
Cast: Ben Whishaw, Hugh Grant, Sally Hawkins, Hugh Bonneville
Director: Paul King
Why it's great: When the first Paddington hit our shores in early 2015, it was appreciated as a charming, thoughtful antidote to grating children's programming. The second installment in the saga of the bear from Darkest Peru, who preaches the gospel of "if we are kind and polite the world will be right," is an improvement on even that, and one of the best movies of the year. Director Paul King -- a veteran of the UK's beloved cult TV show The Mighty Boosh -- crafted a luminously colorful world, a visionary whirligig of imagery. The film catches up with our friend Paddington settling into his London neighborhood -- bringing good cheer to all of his neighbors -- but things start to go awry when he's wrongly accused of stealing a pop-up book from the local antiques store he frequents. The true perpetrator is Phoenix Buchanan, a washed-up actor played by Hugh Grant in what is -- no joke -- one of the best and funniest performances of the year. Phoenix is truly a ham, who does his dastardly deeds in his old costumes, considering each crime a triumphant act worthy of applause. Meanwhile, our friend Paddington is imprisoned, but making the best of it by introducing his fellow inmates, including Brendan Gleeson's particularly grumpy cook, to the wonders of marmalade. Like that sticky substance, Paddington 2 is sweet, but in a way that's soothing.
Where to see it right now: HBO Go or rent on iTunes, Amazon Video, YouTube, Google Play (watch the trailer)
1. Eighth Grade
Cast: Elsie Fisher, Josh Hamilton, Emily Robinson
Director: Bo Burnham
Why it's great: The horrors of being 13 may make you laugh -- or cry out of empathy -- but that dichotomy is the beauty of Bo Burnham's directorial debut, Eighth Grade. Burnham, despite being a stand-up, doesn't pepper his plot with punchlines. (Although, it should be said, the sight of a school administrator dabbing in lackluster fashion to impress a group of unenthusiastic kids is very funny.) Still, the core of the Eighth Grade experience is getting to see life as lived by Kayla, the quietest girl in her eighth grade class. Some of the terrors of her age are amusing in retrospect; others are downright grim. It makes for powerful viewing.
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Esther Zuckerman is a senior entertainment writer at Thrillist. Follow her on Twitter @ezwrites.
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Home Bali W Retreats Winning Ways
W Retreats Winning Ways
Less than a Year Old, W Retreat & Spa Bali Seminyak Wins Honors for Excellence.
W Retreat & Spa Bali Seminyak – one of the island’s newest luxury hotels, continues to win international accolades.
On November 9, 2011, Asia Spa Magazine named the AWAY Spa at W Bali as the “New Spa of the Year.” Earlier, in New York on November 15,2011, the 31st Annual Gold Key Awards were presented with W Bali chosen as having the “Best Guest Room” design.
Asia Spa Magazine held their 7th annual Asia Spa Awards at The Mira in Hong Kong to honor the industry’s top spas, personalities, destinations and products. AWAY Spa, the branded spa concept for W Hotels Worldwide, received the accolade as “New Spa of the Year”.
With stylish architectural design by Indonesia’s A.W. Lake, to the indulgent menu of signature services, AWAY Spa captures the playful, unique W experience, infusing it with Balinese elements to create an ‘escape within an escape’ for guests and visitors alike.
The 31st Annual Gold Key Awards held in New York honors innovation and excellence in hospitality design. The Hong Kong-based architects of W Retreat & Spa Bali Seminyak, AB Concept, earned the “Best Guest Room” category.
AB Concept designed the Retreats, public spaces and Villas at the W Retreat & Spa Bali.
Opened only since March of 2011, W Bali has also been named among the top 25 leisure resorts & top 25 spa resorts in Asia by Smart Travel Asia (September 2011) and won the Best Design Trophy for Hotels with over 200 Rooms.
Craig Seaward, the general manager of W Retreat & Spa Bali – Seminyak said: “I am very proud and excited to see the property evolve and receive these recognitions at such an early stage of our inception. Our team works hard to create something unseen in Bali and the acknowledgement proves that all our efforts and hard work has and will continue to make W Bali a success.”
© Bali Discovery Tours. Articles may be quoted and reproduced if attributed to http://www.balidiscovery.com. All images and graphics are copyright protected.
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[EXCLUSIVE] Sears Closing Last Georgia Store
ToNeTo Atlanta has learned that Sears is currently working towards closing its store at Town Center at Cobb in Kennesaw. The two level store, which opened along with the mall in 1986, is one of five anchors at the property. Its closure, which will leave the mall with (for now) two Macy's, JCPenney and Belk as anchors, also leaves Georgia without a full-service Sears store. [JCPenney filed for Chapter 11 bankruptcy on May 15 and plans to reveal a first round of store closures in early June.] The Kennesaw Sears, which recently reopened to liquidate its merchandise, is according to several job postings, looking to hire temporary employees to help wind down operations.
Transformco, the company formed in January 2019 to buy the remaining assets of bankrupt retailer Sears Holdings Corp., announced plans this past November to close 96 stores by early 2020. The closures - 51 Sears and 45 Kmart stores - were scheduled to start this past February, with going-out-of-business sales slated to end in mid-April. It's unclear if those stores liquidated all on-hand merchandise before being forced to close due to the COVID-19 pandemic, but the one Georgia store included in the list, at Augusta Mall in Augusta, has permanently closed.
The closure of the Kennesaw store will mean that there are zero Sears department stores left in Georgia (and a dwindling number nationwide), but the Sears brand will remain. There are still eleven Sears Hometown Stores and five Sears Appliance Outlet Stores in business around Georgia, primarily in smaller communities like Blairsville, Carrollton, Dublin, Jesup and Sandersville, among other markets. Both banners, despite being listed on the Sears website under locations, are today owned and operated independent of Transformco.
Kmart, sibling Sears brand under the Transformco umbrella, vacated the Georgia market in late 2018, when its final few stores were shuttered in Covington and Peachtree City.
Anchors like Sears, Macy's, JCPenney, and others, once sought after assets for malls, have in recent years become liabilities as more and more stores reduce their number and create huge vacancies. In some cases their departure creates opportunity for mall owners to backfill their "boxes" with higher and better uses, but this is not always the case.
At Cumberland Mall, for instance, where Sears closed its store in November 2018, mall owner Brookfield Properties has leased portions of the former two-level Sears box to Dick's Sporting Goods, Golf Galaxy, Round1 and Planet Fitness.
For its part, Simon Property Group, owner of Town Center at Cobb, was well underway with the redevelopment of a former Belk at its Phipps Plaza center in Buckhead before suspending construction in early April. The project, which started in late 2018, was to bring a new NOBU Hotel & restaurant, Life Time Athletic, Pinstripes bowling & bocce venue, and an office tower to the site of the former three-level department store.
It will be interesting to see if Simon opts to redevelop the Sears box at Town Center, or, as some in the retail industry predict, decides instead to further reduce its property count and shed malls like Town Center that it might consider "non-core," given it's not an "A" mall like Lenox Square and Phipps Plaza.
Simon has in years past shed both Gwinnett Place and Northlake Malls from its portfolio as it worked to strengthen its balance sheet, increase its occupancy percentage and narrow its focus to its most productive malls.
Several former Atlanta area Sears stores have been reborn as popular attractions. The site of the former Buckhead Sears is today home to the St. Regis Atlanta, while the former Sears store, offices and warehouse along Ponce de Leon Avenue in Old Fourth Ward was reborn as Ponce City Market.
Are you sad to see Sears disappear from Georgia? What is one item you bought or were given from Sears that you still have? What would you like to see open in place of Sears at Town Center at Cobb?
Both my mom and my husband began their adventures in the world of credit card holding with a Sears card. For my mom it was kind of a bigger deal because the law allowing women to have credit cards in their own names had only just recently become a thing. She bought a sewing machine. My husband bought a set of Craftsman tools (he's a mechanic, though he has long since graduated to tools from Snap-on lol). More recently, he and I bought our lawnmower at the Northlake Sears. The Sears Outlet in Tucker held on longer than that Northlake location, but even it has recently transformed into an American Furniture Outlet (I think).
I have a Kenmore Elite refrigerator that's still in good shape. I always bought heavy appliances and Craftsman tools at Sears. I will miss them.
town center is a dying mall anyway.
stumblebee said...
I would like to see something a little nicer go in there, like Dillard's but it won't happen.
Robert Hand said...
I have been buying my Levis from Sears for 40 years. Always best prices. Good selection.---
I bought a refrigerator Thanksgiving November 30th holiday. And a refrigerator has yet to arrive and they've been delay in it and delaying it now I guess I better just get my money back and be glad.0
Craftsman tools are now available at Lowes.
please clarify the Phipps Plaza statement in the post " was to have been a new NOBU " Is this project off the rails for good or is it a temp delay due to Covid. The way it reads brings to mind the original Shops of Buckhead project which was stopped dead in the water leaving blight for years... The rona decimation is just beginning thanks
FYI, there are still several Sears "Hometown" stores in GA
http://www.searshometownstores.com/
Simon Properties should consider converting some of their supplies suburban mall properties to over 55 living entities with some retail and other services to almost a all you need is right there, plenty of parking to convert to greenspace, ect. - a total all you need is there or Sam close-by. My envision would work,just not sure if financially if it could, but worth a study. Also residents could be built-in labor resource. I am ready to live there!
Jerry said...
That was stated in the article.
The over 55 suggestion makes a lot of sense!!!
Cody Cargle said...
Anonymous said on May 29, 2020 at 11:42 Am Town Center at Cobb isn’t going anywhere Kennesaw is a different animal compared to Douglasville or Atlanta near Suntrust Park where Cumberland Mall is, actually Town Center at Cobb is probably the best mall near my old house that wasn’t high end honestly because I just went into Arbor Place Mall for the first time last week since I was attending a funeral for a family relative recently and was staying at the La Quinta in Douglasville and I will say the Sears over there is going to be sitting vacant a lot longer than the one in Kennesaw will honestly, I think once Covid 19 settles down there’s a good chance Dillard’s or the return of Kohl’s into shopping malls will more than likely replace Sears, so with that being said it looks like JCPenney’s might stay in Kennesaw for a little while longer considering the existing circumstances within the company. 🤔
Stumblebee said on May 29, 2020 at 11:50 Am Don’t be negative at all, I think Dillard’s will consider this location because if you read some news about Sears that aren’t in Georgia or Florida, some of the Texas locations including out west actually have converted over to Dillard’s over the past years in general, Kennesaw always innovates itself just like Panama City Beach does, one thing both Kennesaw and PCB have in common is the government is similar very conservative and another fact Pier Park is owned by the same people as Town Center at Cobb as well, the difference with Town Center at Cobb vs Gwinnett Place/Northlake is the areas of Duluth and Tucker are not very well ran cities considering how badly rundown the malls are, like Mall of Georgia and Sugarloaf Mills have kept up unlike Gwinnett Place, where Perimeter has thrived more than Northlake has as well, so before you assume things, Kennesaw has a future unlike those malls do, I’m not saying Arbor Place or Cumberland will go under, but Macy’s and Costco is what keeps Cumberland going besides Truist Park ballfield, and Arbor Place still has Macy’s, Dillard’s, and Belk keeping it running so with that being said things will improve between 2020 and 2023. 🤔
child. you have no idea what you are talking about.
coming from someone who actually lives in kennesaw no. it is dying.
Anonymous said on May 31, 2020 at 2:05 Am and 2:06 Am Wtf you are calling me a child, I’m a young adult I’m 24 years old going to be 25 I know what the hell I’m talking about sounds you don’t moron? 😂 Okayyyy smartass name one thing that is falling apart in Kennesaw that pertains to Town Center at Cobb because last I checked it’s still doing better than Arbor Place and Cumberland Mall as whole, if anything Douglasville is dying, Hiram is falling apart, Powder Springs is about gone, Austell is on the verge of death, Mableton is too, Marietta is about gone, Smyrna is slowly dying, so either way if you claim to live in Kennesaw it shows how much you know about your area just because some stores and restaurants have come and go doesn’t mean it’s dying, and the nerve of calling a grown man a child real classic lol! 😂 What are you going to do when I turned 30 or 40? 🤣 I think your acting like a child saying the mall is dying, have you even taken a look at the surrounding communities especially Atlanta recently with all the bs going on right now, so therefore may I suggest you need to make a complaint to Simon malls about it or better yet the City of Kennesaw about your concerns! 🤔
My last experience with Sears was a few years ago. I bought a Craftsman workbench. It was such a painful experience watching the employees struggle to figure out how to get it ordered for me that I predicted that day they would be out of business soon and desevervedly so. It turned out great for me because they ordered a bigger nicer workbench but only charged for the one I had planned to buy. Then when I went to pick it up they didn't have the full order so I got free delivery on the rest.
To the 24 year who thinks he/she knows it all.
You don't have a clue !
Anonymous said on June 10, 2020 at 12:11 PM I never said I knew it all, you don’t have to be an asshole about it, I get what your saying but you obviously are reading too much into this gloom and doom, I can tell off the bat Douglasville Georgia is definitely dying not Kennesaw every tourist that comes to Panama City Beach has never said anything bad about Kennesaw except for the horrible traffic on Barrett Parkway that’s it, the last time I went to Town Center at Cobb in 2015, the place was not doing horrible it was doing decent, your getting your panties in a wad about this I mean Jesus calm the hell down why don’t you? 🤦🏻♂️
Sad to see the store close, but people want to buy cheap junk instead of quality products.
I'd like to see Kenmore cannister vaccum cleaners still sold and all Kenmore items. Someone please take pver.
I would like to see someone else pick up Kenmore appliances especially cannister vaccum. I hate to see the older places go out. I live in the past where things were simple and things were made a lot better. Old times I really miss.
Holy vow, that was one sentence!
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Open for business: Minnesotans return to dining…
Open for business: Minnesotans return to dining rooms and bars closed to slow coronavirus spread
Also reopening: Bowling alleys, theaters and museums
By Nick Ferraro | nferraro@pioneerpress.com | Pioneer Press
Minnesota’s bars and restaurant dining rooms opened back up Monday — with capacity restrictions — after a long winter and amid the backdrop that vaccinations have begun to battle the coronavirus.
And for some people, that meant getting back to fully supporting their favorite businesses that have been struggling since the onset of the pandemic and all the starts and stops — the latest being the shutdown of indoor dining on Nov. 20.
But others might have to wait a bit longer as many restaurateurs are taking a cautious approach and pushing back when they will open the doors, whether it’s because of financial reasons, lingering worries about the virus — or both.
That wasn’t the case when Flaherty’s Arden Bowl in Arden Hills opened back up Monday morning. The same two regulars who were first in line when the doors flew back open in June were back again.
“One guy had a celebratory Coors Light,” said Adam Flaherty, general manager and a fourth-generation family member to work at Flaherty’s, which opened in 1938. “It was great. Just to see that Coors Light come out of the bar … it just felt normal, I guess.”
But the bowling alley’s 36 lanes won’t look normal anytime soon, as the new capacity limits in place will mean less league bowlers on any given night. Indoor events and entertainment — like bowling alleys, movie theaters and museums — may open at 25 percent, with no more than 150 people in each area of the venue. Face coverings are required, and they may not offer food service after 10 p.m.
The capacity restriction scares Flaherty, who said they’ve had to juggle league schedules to try and fit in everyone. And not all of them are returning.
“It’s doable,” Flaherty said of the restrictions. “But what I think is the most frightening aspect of it is once a league or a team decides that they’ve survived the year without their weekly entertainment, it’s very difficult to get them back.”
Regulars were also waiting outside Bad Weather Brewing when the St. Paul taproom opened at noon Monday. Although with the sun shining and temperatures hovering in the mid-30s, many chose to remain outside on the patio, said Joe Giambruno, a Bad Weather co-founder.
“We’ve had people split 50-50 between outside and inside,” he said Monday afternoon.
During the latest indoor closure, the brewery was “pretty shocked” how people came out and drank in the cold, while trying to stay warm by a flame table and a couple propane heaters.
“We got a text from our brewer who came in over the weekend and said a tear came to his eye that so many people were out there,” Giambruno said.
SOME HOLDING OFF
Indoor dining at bars and restaurants can open at 50 percent capacity, with a maximum of 150 people. Parties of no more than six people must remain 6 feet from other parties; bar seating is open to parties of two; reservations are required; and establishments must close dine-in service by 10 p.m.
But that wasn’t enough for Luci Ancora to reopen Monday to dine-in service, despite the recent addition of an ISO-Aire air purification system that works alongside its air filtration system. The St. Paul restaurant, which has been a mainstay at Randolph and Cleveland avenues since 1997, will not have indoor service until Jan. 21. And even then it will be with reduced days, just Thursday, Friday and Saturday nights until further notice, co-owner Maria Gans said.
She said the decision to hold off on opening the dining room was made “intentionally and with the well-being of both our staff and customers in mind.”
“We figure that New Year’s just hit, it’s not been 14 days,” she said. “We also know the variant strain is out there.”
They still will offer takeout seven days a week.
“When we decided this,” she said of delaying reopening, “one of the things was that it costs less to do takeout than it does to open up, gear-up and then to go backwards when you have to shut down again. And we could very well shut down again. So we decided to take baby steps, even though I feel we are prepared in the sense that we have invested in the ISO-Aire unit.”
French Meadow Bakery and Café has decided to hold off until Friday to reopen its St. Paul location off Grand Avenue.
“I quite frankly wished the governor hadn’t opened 50 percent,” owner Lynn Gordon said. “At 50 percent, we lose money. It’s very expensive. And you lose money on produce and everything that you have that’s perishable.”
French Meadow Bakery’s St. Paul location has been hit especially hard. Gordon, who is 72, said she contracted COVID in mid-November, as did Francois Paradeise, the 75-year-old general manager of the St. Paul location.
While the restaurant’s Minneapolis location has been open for takeout during the pandemic, Gordon decided to shut down the St. Paul site entirely just after Thanksgiving.
“Personally, I’d rather we wait until it’s 100 percent seating,” she said, adding she believes another state-mandated shut-down of indoor dining is a possibility. “We feel very jerked around.”
She opened in Minneapolis on Monday, although with lots of skepticism.
“It was like plugging my nose and jumping in with no enthusiasm whatever, with skepticism beyond skepticism,” she said.
Coronavirus Monday update: Minnesota to pilot coronavirus vaccine push in nine communities
Coronavirus: New variant of COVID-19 showing up in rising numbers across California
In Minnesota, a GOP lawmaker’s death brings home the reality of COVID
Tim Walz
Nick Ferraro | Dakota County reporter
A Minneapolis native, Nick Ferraro joined the Pioneer Press in 1997 after graduating from the University of St. Thomas in St. Paul. He's been a reporter covering Dakota County communities since 2007.
nferraro@pioneerpress.com
Follow Nick Ferraro @NFerraroPiPress
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The Lure of Ironman
The lure of Ironman can be very intoxicating. It is time-consuming, expensive, prestigious and awe-inspiring. Who wouldn't want to do it? The time, money and effort of training will all fade into the background as you take the glorious stroll down the finish line runway to the simple refrain of Mike Reilly's Ironman song "insert name here you ARE AN IRONMAN!!" You are a triathlete, you've biked a long way, why can't you? It's probably easier to say why you shouldn't. You shouldn't do Ironman if: -you don't like to be separated from your money. It has been estimated by some to cost as much as $35,000 for one event. That includes everything from the $800 registration fee, a tri bike averaged at $8,000 to the things most don't think about such as nutrition ($1000-1600), wetsuit ($500), Tubes ($10 each) plus regular massage or yoga class, your celebratory tattoo and framing your medals. -you don't like to be separated from your time. Most Ironman training plans last for 8 to 9 months and build to average 15-20 hours a week. That might not seem like much but that's moving time and does not factor in pre-training prep time, post-training nap time, early to bedtime and therapy time leaving not a lot of personal/family time. -you don't like to be sore, tired, irritable, dazed, confused or forgetful. The single reason you overlook all of that and do Ironman? To hear that siren song.
Triathlon Jargon
Run Safely
While we plan to run or walk in the cooler, darker hours of the summer, the same time of day in the fall and winter brings with it health and safety issues. When exercising outdoors wear synth
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Que Sera, Sera: Manchester United Under Dave Sexton and Big Ron
In the 1980s Manchester United was the footballing byword for underachievement. The club had struggled to rediscover its identity after the shock dismissal of Tommy Docherty in 1977 and a four-year spell under Dave Sexton, a highly respected coach but the polar opposite of his predecessor. Ron Atkinson brought the thrills back to Old Trafford and won two FA Cups before being dismissed in November 1986.
'Big Ron' was the latest in a long line of managers who tried but failed to win the prize United wanted most - the First Division championship. Yet contrary to his reputation for glorious failure, Que Sera, Sera reveals how Atkinson's footballing ideals made him the perfect man to lead the biggest club in the country. Drawing on meticulous research and exclusive interviews, Wayne Barton shines a guiding light on a greatly neglected period of Manchester United history that was filled with big characters and big controversy.
Here, for the first time, are the unbridled views of the players, chairman Martin Edwards and 'Big Ron' himself.
Format: Paperback / softback 352 pages, Includes colour picture section
Publisher: Pitch Publishing Ltd
Imprint: Pitch Publishing Ltd
Range: Book
Que Sera, Sera: Manchester United Under Dave Sexton and Big Ron Reviews
Ron Atkinson
Dave Sexton
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Peter Jennings Reporting – LAPD looks at what happens when the nation’s most famous police officer takes over the nation’s most infamous police department. The result is a complex tale about the struggle for power—from the top brass to the rank and file cops to the gang members who plague the streets of Los Angeles. When William J. Bratton was sworn in as the 54th chief of the Los Angeles Police Department, the LAPD was in turmoil and the city was under siege. The scandals of the recent past—Rodney King, OJ Simpson, and Rampart— left police officers demoralized. LAPD’s finest were staying in their cars engaging in what Bratton calls “smiling and waving policing,” and the streets were left to the gangs. When Bratton arrived, Los Angeles was the murder capital of America.
LAPD spends a year inside the toughest division in the city. South East division is 10 square miles where some 65 gangs rule the streets. The violence is staggering. It spares no one, not even the police. Riding with gang officers, following detectives through investigations, observing the top brass planning policy, and talking with community members in the aftermath of police crackdowns, this program explores how a department with a troubled reputation struggles to stem the violence and gain the trust of a skeptical community.
LAPD draws a complicated, challenging, and at times tragic portrait of the devastation wrought by gang warfare and the struggle of a police department to regain control.
LAPD first aired February 17, 2004 on ABC.
PRODUCED & DIRECTED BY Richard E. Robbins
CORRESPONDENT Peter Jennings
WRITTEN BY Peter Jennings and Richard E. Robbins
EDITOR Gillian McCarthy
DIRECTOR OF PHOTOGRAPHY Ben McCoy
ASSOCIATE PRODUCER Dana Reinhardt
SENIOR PRODUCTION ASSOCIATE Talleah E. Bridges
SOUND Steve Lederer
ADDITIONAL CAMERAS Guido Frenzel Jerry Henry Richard E. Robbins
COMPOSER Ben Decter
TITLE DESIGN Kyle Cooper – Prologue Films
COORDINATING PRODUCER Gabrielle Tenenbaum
EXECUTIVE PRODUCER Tom Yellin
Download the transcript:
Script_LAPD.doc (168k)
peter jennings reporting
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| Provisional ballots frustrate students at the polls
Provisional ballots frustrate students at the polls
Of the five on campus polling locations — Harrison, Harnwell and Hill college houses and Vance and Houston halls — 5 percent of all ballots cast were provisional
By Sarah Smith 11/07/12 1:16am
A relatively high number of students who went to the polls today were told to cast provisional ballots.
Several students arrived with registration cards, but their names were not on the voter rolls at the poll. Others did not have registration cards and their names were not on the voter rolls, but were listed in the Pennsylvania Department of State database as registered.
Of the five on campus polling locations — Harrison, Harnwell and Hill college houses and Vance and Houston halls — 5 percent of all ballots cast were provisional, according to Executive Director of the Fox Leadership Program Joe Tierney.
Provisional ballots are counted within seven days of Election Day. Provisional ballots were created after the 2000 presidential election and are used when voters don’t meet the criteria to vote.
11/7/12: America re-elects President Barack Obama
11/7/12: More than 3,500 students turned out to vote on campus
11/7/12: Democrats win big in state elections
11/6/12: Provisional ballots become issue at campus, city polls
11/5/12: Penn gears up for Election Day 2012
Across Philadelphia, the number of provisional ballots were up from those in 2008.
“This is an unacceptably high number,” Tierney said.
Voters with registration cards but not on the voter rolls are still entitled to vote regularly, according to the City Commissioner’s Guide for Election Officers. If names are not in voter rolls and the voters don’t have their cards, they are instructed to cast provisional ballots.
The approximately 41,000 voters who registered later in the season did not have their votes processed in time to be on voter rolls and receive voter registration cards in the mail, Committee of Seventy President Zack Stalberg told The Philly Post.
“It has been a nightmare … I’ve never seen anything like this before,” said Carol Jenkins, Democratic ward leader for Ward 27, which includes Penn’s campus. “We might see some court action taking place.”
Jenkins believes it has likely been a larger issue for the 27th Ward than other wards in Philadelphia.
Polling places on campus were inconsistent in their voting requirements throughout the day. Houston Hall required voters to be “on the books to vote on the machines,” said Dawn Deitch, director of the Office of Government and Community Affairs, who is also an election judge.
A voter with a registration card but not on the voter roll was told to cast a provisional ballot at Vance Hall, said polling attorney Lee Rohn, who is volunteering for the Obama campaign. Later, voters at Vance were allowed to vote with a card even if they weren’t on the rolls.
Hill College House also changed its rules in the middle of the day. In the morning, Hill let voters who were not in the books but were in the database vote, according to elections judge David Flaumenhaft. Later, the city commissioner said they couldn’t.
The Free Library of Philadelphia at 40th and Walnut streets required voters to be on the roll to vote on the machines. Poll workers were given instructions to call the city voting commission to check for people who thought they should be on the roll, but “it was a busy signal all day,” said Alice Wells, acting election judge at a division in the Free Library.
“The most disturbing [incidents] were where people [had] registered and gotten their card back in the mail … but they’re not on the official registry,” she said.
College freshman Jibreel Powell, who voted in Germantown — a neighborhood in northwest Philadelphia — cast a provisional ballot because he was not on the voter roll and the poll workers did not ask for his registration card. When poll watchers attempted to call the commissioner on his behalf, they could not get through.
Graduate School of Education doctoral candidate and Free Library poll worker Kirsten Hill saw the frustrations of students who were forced to cast provisional ballots. “I think a lot of frustration was because there was confusion over the rules,” she said.
“It’s really a shame. A lot of groups on campus worked really hard to register people to vote,” Tierney said. “It’s a shame the city couldn’t get them processed properly in good order for Election Day.”
Penn Democrats told students who had problems to contact them immediately for assistance. The student group called Election Protection also contacted the Obama campaign to look into the issue.
College freshman Grayce Hoffman had previously registered in Pennsylvania but changed her address when she got to Penn. She did not receive a registration card and her name was not on the voter roll.
“They asked me to fill out a provisional vote,” she said. “I’m really disappointed that my first voting experience had to be on this paper.”
Holly Otterbein, a reporter at the blog It’s Our Money, run by Philadelphia Daily News and WHYY, tweeted that Philadelphia City Commissioner Stephanie Singer said there had been more requests for provisional ballots as of 3 p.m. than the office got on all of Election Day in 2008.
In the morning, a Philadelphia Common Pleas Court judge refused to order the Board of Elections to deliver extra provisional ballots. However, in the afternoon, lawyers from the Obama campaign complained that some precincts were running low, according to NBC News. Lawyers from the Romney and Obama camps compromised on sending election commissioners to the 120 polling locations in Philadelphia in question and supply additional ballots if needed.
The Penn Center for Rehabilitation and Care at 36th and Chestnut streets received a refill of provisional ballots at around 5 p.m. because they were running low, according to Penn Leads the Vote.
Other confusion included voter identification requirements. The Commonwealth Court handed down an injunction on the law on Oct. 2, so voters were not required to show ID to vote. However, there were numerous reports across the state that poll workers were requiring ID, according to TribLive. The Philadelphia Inquirer reported incorrect signs at voting stations. Allegheny County officials reported Republicans outside a polling location were asking for an ID, but a common pleas judge ordered them to stop, TribLive reported.
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Social Security Disability Funding Fix Hits Brick Wall
By Eric Pianin
President Obama’s plan to shift $330 billion in Social Security retirement funds around to avert a huge shortfall in the disability insurance program is meeting stiff resistance from Senate Republicans in the early congressional deliberations over the president’s $4 trillion fiscal 2016 budget.
Senate Budget Committee Chair Mike Enzi (R-WY) kicked off a hearing into the proposal on Wednesday. He criticized the administration for trying to gloss over a looming crisis in the disability insurance trust fund instead of seeking a more permanent solution to protect millions of disabled Americans from the threat of sharp benefit reductions.
Related: Obama Juggles the Numbers to Save Social Security Disability Benefits
“His effort to paper over the problem is a classic example of Washington ducking a real American need,” Enzi said. “In this case, disabled Americans and workers deserve a long-term solution so the program doesn’t once again flirt with disaster and, more importantly, reflects the full ability of the disabled to contribute their talents to our country.”
With more Americans turning to the program – and increasing evidence of billions of dollars in fraud – the latest Social Security trustees’ report projects the fund’s reserves will be depleted in late 2016. By law, Social Security can only pay benefits if there is a positive balance in the appropriate revenues in two funds, for old age and survivors’ benefits (OASI), and for disability benefits (SSDI).
Without those reserves, the only funds the government can use to cover disability claims is incoming tax revenue. Yet there would only be enough to cover 81 percent of scheduled disability benefits.
Acting Social Security Commissioner Carolyn Colvin defended the Obama proposal in testimony, saying the plan would shift the $330 billion from retirement accounts over the next five years. The shift would stave off an estimated 19 percent cut in future benefits should the program become insolvent late next year.
Related: The Government Entitlement Program That’s About to Dry Up
“The proposal to reallocate existing payroll tax collections between the OASI and DI trust funds is consistent with past congressional actions,” she said. “These are earned benefits, and these two funds provide social insurance for Americans at all stages of life.”
She added, “We must take steps to insure its stability, and avoid deep and abrupt cuts or cessation of benefits for individuals with disabilities.”
Sen. Bernie Sanders (I-VT), the ranking member of the Budget Committee, stressed that shifting money between the two Social Security accounts has been done successfully 11 times before, dating back to the Johnson administration in 1968. Those moves, though, have usually been accompanied by actions to strengthen the program’s finances.
House Republicans recently passed a rule that would require any shift of funds to the disability program to be paired with reforms designed to bolster the program. Democrats and the administration opposed that rule change.
Related: The New Senate Budget Chief Is a GOP Dealmaker
Sanders, a liberal who is considering challenging former Secretary of State Hillary Clinton for the 2016 Democratic presidential nomination, charged that Republicans were trying to precipitate a crisis to force cuts to the benefits of the 11 million people currently claiming disability benefits – an accusation Enzi and other Republicans dispute.
“In my view, the debate we are having today is nothing more than a manufactured crisis, which is part of the long-term Republican agenda of trying to cut Social Security,” Sanders said.
But Enzi and other Republicans received some support from Sen. Angus King, a Maine independent who caucuses with the Democrats. King, a former governor, said a reallocation of funding would simply avoid dealing with the finances of Social Security, which need to be beefed up as more baby boomers retire.
“This is just a way of making this problem worse when it does come,” King said. “Problems put off rarely get easier with the passage of time.”
The key provision of the Obama plan would shore up the SSDI Trust Fund with the substantial income transfer. Currently, employers and their workers each pay a total of 6.2 percent of their wages to the Social Security system – 0.9 percent is allocated to SSDI and 5.3 percent to OASI. Under Obama’s approach, neither the overall tax rate nor the solvency of the combined trust funds would be affected.
Instead, the plan would reallocate a few tenths of a percentage point of payroll tax revenue from the OASI fund to the SSDI fund, so that both trust funds would be sustained until 2033.
The plan also calls for testing early intervention strategies to keep people in the workplace, hiring more administrative law judges to reduce a backlog of appeals of adverse rulings, and bolstering a program that reviews cases every three to seven years to determine if a beneficiary’s medical condition has improved.
The AARP and most other groups that advocate for older Americans are actively promoting the Obama plan and opposing the recent House-passed rule.
Related: To Beat the Coming Disability Insurance Disaster, Stay Healthy
The Committee for a Responsible Federal Budget, a fiscal watchdog group, said yesterday that the House rule only requires small changes in either the OASI or DI programs, similar to laws recently passed or proposed.
“Although the best way to deal with DI’s imbalance would be through comprehensive Social Security reform that restores long-term solvency for both funds – as the 1977 and 1983 reforms did while reallocating revenue as part of comprehensive reforms – the new rule requires much less than that,” the group said in a blog post. “It does not even require savings equal to the amount of reallocation. It simply requires that reallocation be accompanied by changes of any size to improve solvency of the combined OASDI Fund, which is consistent with past actions on reallocation.”
Congress is running out of time to address this latest financial crisis. Legislation will be required during this session of Congress or, at the very latest, in a rush of activity early next year to prevent large sudden benefit cuts.
Top Reads from The Fiscal Times:
How Wall Street Is Fighting to Rip Off Your Retirement Money
Oops—White House Loses $22 Billion on Student Loan Plans
5 Stupid Tax Proposals Hidden in Obama’s Budget
What Trump and Biden Would Mean for Social Security
After years of warnings about the financial challenges facing Social Security, the coronavirus pandemic and its...
Worried about getting stuck with unpaid tax bills in 2021, private employers have largely passed on President Trump’s...
Social Security Trust Fund Depleted by 2031: CBO
The Social Security Old Age and Survivors Insurance fund will be depleted by 2031, according to a report released...
Eric Pianin
Washington Editor and D.C. Bureau Chief Eric Pianin is a veteran journalist who has covered the federal government, congressional budget and tax issues, and national politics. He spent over 25 years at The Washington Post.
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Home > My Agenda > “Tuaregs” at the Musée des Confluences
Tahoua and Zinder crosses with a ring, donation of Masnat - Niger, 20th century © Mathias Benguigui
Tasassarut veil keys, donation of Denise and Michel Meynet - Mali, 20th century © Musée des Confluences
Talhakimt pendant - Niger, 20th century © Mathias Benguigui
Sherot head adornment made of an alloy of silver, tinplate, copper and brass - Niger, 20th century © Mathias Benguigui
Sherot head adornment (detail) © Mathias Benguigui
Takaza noura gold jewelry set - Niger, Agadez, 2017 © Musée des Confluences
Tesabit earrings, donation of Masnat - Niger, 20th century © Mathias Benguigui
Iferouane cross pendant, donation of Masnat - Niger, 20th century © Mathias Benguigui
Ankle jewel, donation of Masnat - Niger, 20th century © Mathias Benguigui
“Shatshat” necklace - Niger, 20th century © Mathias Benguigui
“Iguezam” necklace made of silver and leather - Hermès, Fall/Winter 1994
“Tuaregs” at the Musée des Confluences
This exhibition highlights the jewelry of the nomadic tribes of the Sahara. Often dismissed as worthless trinkets by the public, they are in fact rich in beauty.
The exhibition with its 280 objects is largely based on the donation of Jean Burner, an accountant in sub-Saharan Africa and the President of the Masnat association (which facilitates the settlement of Tuaregs from Niger). Anxious to preserve an aesthetic identity threatened with disappearance, Jean Burner went to local smiths in the second half of the 20th century and bought second-hand jewelry which was about to be melted down and recycled into new items.
A graphic aesthetic
The aesthetic of these pieces reflects the values of Tuareg society: simplicity and movement. With their triangles, squares and diamonds, most of these necklaces, rings and bracelets appeal first of all to the ear – they come to life because of the fringes, bells and other articulated elements that move when the wearer rides around by camel. “This evocation of the nomadic way of life is also reflected in the shatshat, the first jewels given to young girls, whose very name captures the sound of the pendants clinking against each other,” explains Marie Perrier, in charge of the museum’s collections.
The predominance of silver
Silver, obtained through melting European coins used for trade, reflects the same value system: it is precious without being ostentatious. It comes in rich and varied shades, ranging from red to yellow thanks to alloys with copper or brass. There are few stones except some jasper, cornelian and glass or plastic beads in the case of the most recent jewelry. One piece bears witness to the rise of yellow gold: “This fashion arrived in the cities with the men returning from Libya or Saudi Arabia,” explains Marie Perrier. The young women also saw it as a more stable value than silver, in the event of divorce.
Emblematic jewelry
The Agadez cross is immediately associated with Tuareg culture, as is the veil key. Originally, the latter was used as a padlock for bags in the tent and was owned by women, as Tuareg societies are matriarchal. To avoid losing it, they used to attach the key to a corner of their veil and then throw it behind their back, using it as a counterweight. Little by little, this key, whose size and silver content were proportional to the wealth of its owner, lost its utilitarian function and was simply worn in the hair or as a pendant.
The impact of the West
Faced with unemployment, conflicts and even drought, these Saharan nomads have adapted their jewelry to the tastes of tourists. In a film made for the exhibition, we discover that each of the twenty-one crosses bearing a city name, brought together in a painting, were invented only to satisfy tourist demand. Originally, there was only one: that of Agadez. On the other hand, Western brands have also adopted the aesthetics of this style as shown by the jewels of Ombre Claire and Hermès. The reinterpretation by the Parisian fashion house in 1992 was the most accurate ever, and betrayed none of the codes. Made by a local blacksmith, it makes sublime use of the roughness of leather and the sobriety of silver. A beautiful tribute to close the exhibition.
“Tuaregs” at the Musée des Confluences, Lyon – Until 4 November 2018.
Banner picture © Marie Planeille
1970s Piaget watches at Artcurial
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In this book “Jean Dunand”, Félix and Amélie Marcilhac offer a first: a selection of some fifty clasps, torques, bangles and watches.
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Luz Camino at the PAD
First Spanish designer Luz Camino presents her high jewelry creations for the first time to the Parisian public. Head over to the Second Petale stand at...
“Behind the scenes at the Jean Vendome exhibition", The School of Jewelry Arts
For two hours, including the private visit of the “Jean Vendome Artist Jeweler” exhibition, an expert offers a unique insight into the work of this pioneer...
Jean Vendome in the "Gems" exhibition
The “Gems” exhibition at the National Museum of Natural History (Paris) presents six pieces by Jean Vendome.
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December 5, 2017 | Directors/Producers Report
Moroccan Filmmaker Khadija Alami seeks collaboration with Nollywood
Source: Nathan Nathaniel Ekpo/Nollywoodgists.com
Veteran Moroccan film producer, Khadija Alami, has called for collaboration in filmmaking between morocco movie stakeholders and the Nigerian movie industry, popularly known as Nollywood.
She made the call during an interview with the News Agency of Nigeria (NAN) on the side line of the 2017 edition of the ZUMA Film Festival (ZUFF) held Dec.1 to Dec. 3 in Abuja, organised by the Nigerian Film Corporation (NFC).
According to Alami, such collaboration will also serve as a platform to further expose and grow both countries film industries, promote exchange and transfer of cultural heritage and further boost their bilateral relations.
She noted that the two countries have rich potentials and opportunities, as well as huge human resources in the motion picture industry that can be harnessed to better position Africa films on the global stage.
“The Nigerian Nollywood is vibrant and one of the best in the world, and although Morocco film sector is doing well, it still has a lot to learn from Nigeria.
“I urge investors and stakeholders in the film making sector from both countries to consider working together for the growth and benefit of the two countries.
“Morocco and Nigeria have very rich culture and arts, which can be promoted and harnessed through movies to strengthen our relationship.
“If we exchange what define us as people, like music, dressing and other cultural identity, then we will accept one another better,’’ she said.
Alami noted that although Nigeria was a purely English speaking country, while Moroccans dominantly spoke Arabic, and French, language difference was never a barrier to the motion picture sector, especially in this digital age.
She therefore commended the organisers for repositioning ZUFF as an international brand that brought together movie/film stakeholders across Africa and beyond.
NAN reports that Alami, the Chief Executive of K Films, is the first Moroccan woman to join Oscars Jury Committee alongside Moroccan filmmaker, Nabil Ayouch.
She is an acclaimed national and international producer, known for her production of the movies: `Tala Hadids, “`The Narrow Frame of Midnight’ (Itar El Layl) and `Jawad Rhalibs’ (Insoumise).
She has also contributed to the production of important feature films such as, `The Exorcist, Beginning’ by Paul Schrader, and“`Captain Phillips’ by Paul Greengrass.
Some of her works that also gained international applauds in recent times include; Captain Phillips (2013), Son of God (2014) and Our Kind of Traitor (2016).
NAN reports that the ZUMA Film Festival, now in its 8th edition, is a platform for Nigerian film practitioners to network with their counterparts from other parts of the world and thus stimulates co-production and financing opportunities.
It presents the Nigerian film industry as a vibrant and viable investment option to Nigeria and international business communities.
Khadija Alami
Moroccan film producer
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TS Encyclopedia
Links to useful websites
Mahatma Letters Wiki
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Theosophy - Country websites from around the world
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Welcome to Theosopedia
This Encyclopedia contains all the articles of the printed Theosophical Encyclopedia published by the Theosophical Publishing House, Manila. In addition, new articles that are not in the printed version are continually being added. Many of the articles are also being updated.
You may contribute to this Encyclopedia by sending your article by email to the General Editor at editor.theosopedia@gmail.com.
This Encyclopedia is intended to be a useful resource to everyone. Although the articles are copyrighted, the articles may be quoted freely provided that the Theosophical Encyclopedia is acknowledged as the source.
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A Simplified Course of Raja Yoga
An Introduction to Esoteric Principles - Doss McDavid
Communications Manual for Branches - John Sell
Diploma Courses in Theosophy
Introductory Study Guides to Theosophy
Pilgrim and the Path
Study Course - Basic Theosophy
Study Course on The Secret Doctrine - Pablo Sender and Juliana Cesano
The Basic Ideas of Occult Wisdom
The Bhagavad Gita Study Course
The Myths of Our Lives: A way to personal transformation
The Technique of the Spiritual Life by Clara Codd
Theosophical Classics
Theosophy - An Introductory Study Course by John Algeo
Theosophy in 21st Century
A mystical writer of the 6th century CE who had an important influence on Christianity. His major works attempted a synthesis of Neoplatonism and Christianity. He is referred to as Pseudo-Areopagite because he should not be confused with Dionysius the Areopagite mentioned in the New Testament as having been converted by St. Paul (Acts 17:34), and who was later identified with St. Denys of France.
Dionysius wrote four major works (The Celestial Hierarchy, The Ecclesiastical Hierarchy, The Divine Names, and The Mystical Theology) covering the hierarchy of angelic beings, and the church hierarchy as reflective of the angelic hierarchy, the names of God that describe his attributes, and the mystical ascent of the soul.
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Over 66% couples divorce in the UK every year? Approximately, 350, 000 couples separate in the UK year. Approximately 200,000 children each year experience separation of their parents? At least 1 in 3 children will experience parental separation by age of 16 ? Over 1,000.000(Million) children lose contact with a parent after separation?
EVEN WORSE ...
Children from separated parents are more likely to exhibit long term psychological
Maladjustment; more than double the incidence in the general population (Lamb, 2007).
Chronic parental conflict and loss of meaningful contact with a parent has long term effects on a child’s wellbeing with symptoms of anxiety and depressive affecting education, behaviour and emotional wellbeing and risking criminality, addictions, teenage pregnancy and dysfunctional adult relationships in the long term.
COVID19 ‘The Dark & Scary Side’ of Social Isolation
Sadly, due to social isolation measures, Domestic Violence Reports have increased by over 50%, leaving more women and children at risk, with the worst yet to come. For children & young people trapped between warring parents, life is a disheartening living nightmare. Consequently, we are currently experiencing an exponential 40% increase in referrals for our Child Contact Intervention Support
Unfortunately separated families rarely meet the threshold criteria for Local Authority Social Services Statutory Support . Meaning, separated families struggle and children and young people are at significant risk of not having their emotional and psychological needs met.
Voice of the Child – Child Contact Centre is the only Nationally Accredited Child Contact within a 75 miles radius of Reading, Berkshire; providing a wide range of Child Contact Intervention Support Services, open and accessibly Six
days a week.
We are under enormous pressure to simultaneously secure adequate resources to meet increasing demand whilst safe-guarding the Child Contact Centre from drowning due to the unprecedented financial impact of COVID19.
Updated: 14th December, 2020
Outcomes We Seek
Forms & Referrals
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Mr Eyre’s Family Story, told by Mr Eyre, 38, 2018
“I had a violent outburst that changed my life forever…”
Shortly after Freddie was born, I was in a very bad motor accident. I was in the hospital for weeks and came out with a severe brain injury and a badly affected temper. The relationship I had with Freddie’s Mother completely deteriorated and our little family fell apart.
On one occasion, we had a huge fight and I ended up in a rage. It’s not something I’m proud to admit, but I acted violently and received a criminal record because of my terrible behaviour. To this day, there is not a moment that passes that I wish I could undo what happened that night.
Needless to say, we separated soon after that, and I was no longer allowed to see Freddie as his Mother no longer trusted me. Eight months passed by, painfully, and I decided to apply to the Courts to receive acc
ess to Freddie. I needed to prove I could effectively meet his needs as a Father, so I was granted limited weekly supervised Contact at Voice of the Child.
Freddie had just turned 18 months old, and the support team at VOC really helped show me the ropes. I never felt judged, and slowly but surely gained the confidence to change my first nappy! As the weeks went by, our bond grew stronger and stronger and I learnt how to talk with my son. I finally felt like the Father I knew I could be.
I have now recovered from my accident and been granted a clean bill of health. Words cannot describe the happiness and relief I felt the day the doctor told me. I returned to the courts with this news and they awarded me with unsupervised but supported contact with my little baby boy.
I see Freddie regularly now and it is all thanks to the incredible team at Voice of the Child. Thank you for giving me a life back with my son.
Mr Eyre’s Family, told by Mr Eyre, 38, 2018
Updated: 13th November, 2020
Author: Connie Ojong
The Martell’s Family Story, told by the VOC, 2019
Ms Shaloome’s Family Story, told by Ali, 5, 2019
Ms Fields’ Family Story, told by Sophie, 11, 2018
Mr Wills’ Family Story, told by Mr Wills, 46, 2018
Mr Sikes’ Family Story, told by Emma, 12, 2018
Mr Ray’s Family Story, told by Mr Ray, 42, 2018
Mr Jones’ Family Story, told by Mr Jones, 35, 2017
Ms Twist’s Family Story, told by Ms Twist, 32, 2018
Mr King’s Family Story, told by Ben, 5, 2017
Advocacy & Independent Visiting
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Karlovic, oldest ATP match victor since Connors, wins at 41
Richard W. Rahn
Offsetting the misery of the U.S. government’s spending disaster
By - Associated Press - Friday, January 8, 2021
MIAMI (AP) - Ivo Karlovic of Croatia, the oldest player to win an ATP Tour match since 1995, hit 27 aces Friday night to beat No. 7-seeded Pablo Andujar of Spain 6-3, 5-7, 6-4 in the first round of the Delray Beach Open.
Karlovic, who turns 42 next month, earned his first tour victory since last February. He already was the oldest to win on the top men’s tour since Jimmy Connors at age 42 some 25 years ago.
No. 8 seed Frances Tiafoe defeated fellow American Donald Young 6-3, 6-4. Qualifier Roberto Quiroz overcame a shaky stretch in the first set to beat American Noah Rubin 7-6 (1), 6-3.
Big Tech declares war: 'Woke capitalism instead of freedom'
Quiroz led 5-3, lost serve twice and then rallied, dominating the tiebreaker. The victory was the second career ATP Tour win for the 28-year-old Ecuadorian, who played at the University of Southern California.
Quiroz’s uncle, 1990 French Open champion Andres Gomez, played his final ATP Tour match at the inaugural Delray Beach Open in 1993.
In other first-round play, American Christian Harrison swept Tomas Martin Etcheverry of Argentina, 6-4, 6-2. Harrison next plays No. 1-seeded Cristian Garin of Chile.
Bjorn Fratangelo beat fellow American Kevin King 6-2, 6-2; Daniel Elahi Galan of Colombia eliminated Andrej Martin of Slovakia, 6-4, 6-4; and Cameron Norrie of Britain drubbed J.C. Aragone of the United States.
More AP tennis: https://apnews.com/hub/tennis and https://twitter.com/AP_Sports
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Coroner confirms toddler in Bywater died of sharp force injuries
WDSU Digital Team
WEBVTT THE CORONER HAS RELEASED THEIDENTITY OF A LITTLE GIRL WHOWAS STABBED TO DEATH, ALLEGEDLYBY HER FATHER.18-MONTH-OLD AMINA GERHARTHAMBRICK DIED TUESDAY OF SHARPFORCE INJURIES ACCORDING TO THECORONER.INVESTIGATORS SAY MARK HAMBRICKSTABBED AND SUFFOCATED THETODDLER, BEFORE CALLING POLICEHIMSELHE'S BEING HELD AT THE ORLEANSPARISH JAIL ON 2ND DEGREE MURDERAND SECOND DEGREE CRUELTY TOJUVENILES.HE IS DUE BACK IN COURT ON
The coroner's office released the name of the girl who was found dead and whose father was arrested in connection with the crime.Amina Hambrick, who was 18 months old, died Tuesday of what the coroner called sharp force injuries. Investigators said Mark Hambrick stabbed and suffocated the toddler before they said he called police himself.Police said around 7 a.m. Tuesday, Hambrick called them to report that he had killed his daughter because he said God told him to. Investigators said the child was found dead at a home in the 3100 block of North Rampart.Hambrick was arrested on a count of second-degree murder, and a count of second-degree cruelty to a juvenile. His next court date is Nov. 7.Keep up with local news, weather and current events with the WDSU app here. Sign up for our email newsletters to get breaking news right in your inbox. Click here to sign up!
The coroner's office released the name of the girl who was found dead and whose father was arrested in connection with the crime.
Amina Hambrick, who was 18 months old, died Tuesday of what the coroner called sharp force injuries. Investigators said Mark Hambrick stabbed and suffocated the toddler before they said he called police himself.
Police said around 7 a.m. Tuesday, Hambrick called them to report that he had killed his daughter because he said God told him to. Investigators said the child was found dead at a home in the 3100 block of North Rampart.
Hambrick was arrested on a count of second-degree murder, and a count of second-degree cruelty to a juvenile. His next court date is Nov. 7.
Keep up with local news, weather and current events with the WDSU app here. Sign up for our email newsletters to get breaking news right in your inbox. Click here to sign up!
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Four sculptures installed at Knowledge Center
When you think about a technologically advanced, state-of-the-art Knowledge Center opening on campus this summer, do you also think of art? If you don’t, maybe you should.
Four contemporary sculptures were installed at the University of Nevada, Reno’s 295,000-square-foot Mathewson-IGT Knowledge Center June 9 in a project that has been in the works since September 2006. Featured in the garden are: Melvin Schuler’s Offset Forms 08, Randall Shiroma’s Remembrance #3, Michael Todd’s Punjab VIII and Boaz Vaadia’s Ginnetoy 2nd.
A generous donation from the Carol Franc Buck Foundation and some assistance from Turkey Stremmel, director of the Stremmel Gallery in Reno, helped complete the new sculpture garden in the heart of the University campus.
"The Foundation and our trustees are very proud to be part of the Mathewson-IGT Knowledge Center sculpture garden," Carol Franc Buck said. "I am quite impressed with the changes the University has made to campus over the past 10 years. To be a part of that is exciting and satisfying. The new Knowledge Center is beautiful and it is a great leap forward for the library."
Thought provoking sculptures will help students connect, explore and create new ideas.
“I know people will embrace this art,” Stremmel said. “It will force people to think, question and contemplate.
“The same thing will likely take place when someone picks up a new book or accesses an electronic journal from the Knowledge Center. There is nothing else like this on campus. It will truly add to the vibrancy of the University,” Stremmel said.
When asked why she got involved in the project, Stremmel said, “Reno is my home and Nevada is my University. I was thrilled to work with Carol while giving back to my community and embracing my passion for the arts. When I work on projects like this, I feel renewed and excited.”
It took Buck and Stremmel nearly two years to select the featured works.
“Carol came to me with her idea to develop a sculpture garden at the Knowledge Center,” Stremmel said. “I assisted her in identifying the right artists to feature in the garden. We started by considering nine artists and worked hard to select the perfect four.”
"Working on the Sculpture Garden with Turkey was so much fun," Buck said. "She has impeccable taste and is so knowledgeable. All of the pieces in the garden are of the highest quality."
According to Stremmel, many traditional gardens that feature sculptures have a significant amount of plantings. They’re known for lots of flora and fauna.
“I loved the space at the Knowledge Center because it is contemporary,” Stremmel said. “The focus is on the art.
Stremmel added, “Schuler’s Offset Forms 08 will be the first piece patrons of the Knowledge Center see.”
Schuler is familiar with the University and was even offered a position in the art department many years ago.
“I had a really amazing experience at the University many years ago when I was asked to show my paintings and sculptures,” Schuler said. “While installing my work many students would stop and ask me if they could help. They worked with me and it was just a beautiful experience.
“After the installation I gave a talk to the students in the art program,” he added. “This was a real challenge to me because, at that time, I was a stutterer. When I approached the lecture hall, I felt completely relaxed and comfortable because I was so warmly welcomed. I spoke for more than hour presenting my work and answering questions.
“Following that, I was offered a sculptor-in-residence position by Charlie Ross in the art department. Ultimately I turned it down, but the whole experience for me was very freeing and it changed my life. This is why I am so delighted to have my work commissioned by the University so many years later. It is very fulfilling,” Schuler said.
Schuler’s copper over redwood piece is from a theme he uses often. It weighs more than 400 pounds, and it took his craftsman Ed Oliver more than four weeks to finish the copper work.
“My piece addresses the space between two people when they first meet,” he said. “The space between the bodies is often the most important. I have explored what is in between and what is going on in Offset Forms 08.
“I have to feel really good about making something. I think most people need some sort of creative outlet. When I am working I am transported out of myself and into another world. Time just flies by and I am fulfilled.”
Over time, Stremmel hopes to add to the collection and expand the sculpture garden.
“I think art literally lifts the spirit,” Stremmel said. “If you have a really lousy day or have been bashed around and then you see a substantial, beautiful and creative piece of art, you can transport yourself to another place. I do not know what is better than that.”
The Mathewson-IGT Knowledge Center is the University’s most ambitious construction project in its 134-year history. The five-story Knowledge Center will be one of the most technologically advanced libraries in the country, including all facets of information technology in the digital age. It combines traditional library resources with the latest in digital and multimedia production technologies. This new facility is designed to foster collaboration, nurture creativity and stimulate intellectual inquiry.
The Knowledge Center will open Aug. 11. A formal grand opening event will take place Aug. 28.
Top stories of 2020: COVID-19 influenced University life in every way possible
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Nevada Today
Online town halls to discuss new rounds of Paycheck Protection Programs
Extension offering information on assistance programs, taxes and digital marketing for small businesses
Research findings confirm Indigenous Americans took hallucinogens and created rock art
University of Nevada, Reno anthropologist performs radiocarbon analysis on Datura wrightii quids
Dr. Cornel West student composition contest
Students are invited to create a composition to celebrate Dr. West’s work and vision, shared during his virtual visit with the University this month
" “We are reconnecting through writing's reflections - reaching deeper, writing more authentically, learning and growing thoughtfully, and understanding the world around us more richly.” – William Macauley, University of Nevada, Reno professor of English
Vision 2021: The Nevada Economic Forecast
College of Business invites business and industry leaders to attend informational online forum
" Vision 2021 is an attempt to understand how the pandemic has impacted the state’s economy and how the state’s economy will continue to be affected.
Scientists keep watch on climate and weather as drought grips Nevada
Interdisciplinary approach from University of Nevada, Reno Extension keeps people informed and involved
Green industry trainings offered online
Extension classes teach green industry topics to become Nursery Worker Certified
Three days of events planned leading up to Martin Luther King Jr. Day of Service
The Center for Student Engagement encourages participation in this year's activities
" “The function of education is to teach one to think intensively and to think critically. Intelligence plus character – that is the goal of true education.”-Dr. Martin Luther King Jr.
Three faculty granted tenure in the Reynolds School of Journalism
Birkinbine, Crosswell and File promoted to associate professor on July 1, 2021
Educate your inbox with Nevada Today news
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Venezuela Deliberately Reduces Oil Prices in Effort to Boost Petro
Jun 03, 2020 at 12:58 // News
Venezuela has been pressing different knobs to find the right answer to save its struggling crypto, the Petro.
From promising to Airdrop Petro to doctors to threatening to pay pensions in the digital currency, Maduro’s government has done its best to promote the crumpling crypto. It now reduced oil prices at filling stations to campaign for the oil-backed Petro.
Due to the economic crisis mostly inflicted by the tough US trade sanctions, oil-rich Venezuela’s economic growth trajectory has depicted a negative correlation with its vast oil endowment. Although the country is a major producer of petroleum products and has the world’s largest oil reserves ever known, at least 87% of its population live below the poverty line.
It’s upon this background that the Maduro regime in October 2018 decided to roll out a national currency tagged against its oil wealth—the Petro, with the hope that the nation would bypass US economic sanctions currently biting its oil sector, defeat hyperinflation, and revamp the economy.
US sanctions increase the popularity of cryptocurrencies in Venezuela
The US, since the inauguration of President Trump, has imposed various degrees of sanctions on Venezuela, accusing it of drug dealing and poor governance. The economy has, since then, lost headway. The 2014 oil price crash coupled led to five-digit inflation figures and by June 2018, inflation was recorded at 46000%, some of the highest in world history.
The failing economy forced citizens to find alternatives and crypto has been seen by Venezuelans as the ultimate safe haven. Coinidol, a world blockchain news outlet, recently reported that starting this month, more than 20,000 merchants in the South American country would now accept Bitcoin as a means of payment.
Maduro’s past attempts to publicize Petro in vain
Successfully getting the Petro off the ground is a commitment Venezuela’s President, Maduro has made since it was rolled out in 2017, but the task appears to give the government a hard time. After failing to patiently wait for the market forces of demand and supply to determine the status of Petro, Maduro resorted to using force to popularize the national digital currency.
Among the things the President previously did was forcing the Central Bank to accept Petro, threatening to pay pension in Petro, obliging citizens to buy passports using Petro, and ordering filling stations to use Petro as a medium of exchange.
Latest attempt: Petro users to buy 60 litres of gasoline for $1.2 each month
Because all the past efforts to publicize Petro have yielded little results, the Venezuelan government has now reduced fuel prices at all filling stations in the country provided that Petro is used as a means of payment in a latest attempt to make Petro known.
The new strategy cuts oil prices for car-owners down to $0.02 per litre for the first 120 litres they purchase each much using Petro, while motorbike owners purchase at the same rate for their first 60 litres each month. If you get the math right, it means 60 litres of gasoline will cost Petro users just $1.2, while any excess of that would be subjected to $0.50 per litre.
Venezuela is doing everything it can to get its national cryptocurrency ahead and ultimately restore the economy. The new campaign, though sounds great for motorists might still not earn Petro the desired popularity. The government has maintained that all government vehicles would get free gasoline, which analysts think could boost the oil black market and put Petro at risk.
If reproduced, please indicate the source: https://www.uucj.net/venezuela-deliberately-reduces-oil-prices-in-effort-to-boost-petro/
Retail Bitcoin Traders Repeatedly Shaken Out While Following Trends
Numerai Raises $3M in Another NMR Token Sale With Union Square Ventures, Placeholder
Which Cryptos Should You Have Invested in on NYE For Max Gains?
From the start of 2020, crypto prices made significant recoveries. While analysts were reluctant to call an altcoin season, some assets marked impressive gains. Altcoins Remain Risker, Promise Higher Short-Term Gains Altcoins remain riskier and much more volatile in comparison to Bitcoin (BTC). While the leading crypto coin bounced off lows around $7,100 in January to above $10,000, some altcoins made even bigger gains. If a trader decided to allocate $1,000 into altcoins on January 1, 2020, the average gains of top 20 coins were 43%. This is not an impressive gain for the world of crypto, especially having to wait more than a month. But it is still a positive move, despite taking into account the recent price slump. But investing in four specific assets would have led to more significant gains. The biggest gainers in the crypto space were Bitcoin SV (BSV) with 274% gains; Tezos (XTZ) with 222%, Chainlink (LINK) with 234%, and Dash (DASH), which is up 254%. The average gain of these four assets is close to 246%, significantly higher in comparison to the overall…
Bitcoin Worth $3 Billion Expected to be Mined in 2020
According to recent estimates, bitcoin mining in 2020 is expected to take off at an explosive pace. Miners are predicted to mine around $3 billion worth of BTC as per the coin’s current price. Bitcoin mining has always been a crucial part of the BTC network. Mining involves validating transactions, adding blocks to the blockchain, which leads to the production of new BTC adding to bitcoin’s total supply It has been growing at a pretty steady rate over the years, and as more people became interested, bitcoin mining difficulty continued to appreciate. Meanwhile, two subsequent BTC halvings led to an increase in the bitcoin price due to reduced supply and increased demand. Bitcoin Mining Threatened by Volatility, What Can be Done? Bitcoin’s infamous price volatility has both been rewarding and besetting for all market participants. BTC miners especially have had a tough time navigating through this volatility, as it affected the coin’s value, and therefore — their earnings. The extreme bitcoin price movement in 2018 led to many unplugging their mining gear and leaving the industry, as the cost of…
Gold Price Just Smashed 3-Month Highs: 3 Reasons Why
Gold peaked at more than three-month highs on Friday and looks poised to end 2019 on a positive note. Bullion is on track for its best yearly return since 2010. At least three underlying factors have supported the yellow metal over the past few weeks. The price of gold ended the week on a high note Friday, as seasonal influences and political headlines pushed investors into the traditional haven asset. Somewhat surprisingly, gold is rallying while stocks are at all-time highs, sending a strong signal that investors are becoming weary of the decade-long bull market. February gold futures climbed $3.70, or 0.2%, to $1,518.10 a troy ounce on Friday, the highest since Sept. 24. Gold for February settlement finished at three-month highs on the Comex division of the New York Mercantile Exchange. | Chart: Bloomberg Bullion is rounding out its best year since 2010, having returned 18.5% so far. The price is still down 3.4% from its early September peak. Here are three reasons why gold is going up along with stocks and why it could continue in 2020. Low…
3 Deceptive Reasons the U.S. Housing Market Suddenly Looks Red-Hot
The U.S. housing market is unexpectedly vibrant, given the economic fallout of the coronavirus. Redfin data shows bidding wars are surprisingly commonplace. Here are the real reasons why real estate looks so hot. Real estate brokerage Redfin published some astonishing housing market data this week. Not only has the coronavirus pandemic failed to dent homebuyer demand, but bidding wars have become startlingly commonplace. The housing market looks as hot as ever. But peer beneath the surface, and the sector may not be as healthy as it initially appears. Covid-19 Fails to Dent the U.S. Housing Market’s Annual Spring Bloom Everyone wants to buy a house in the spring. The weather’s nice, the gardens are blooming, and sometimes there are babies on the way. This year, with nearly 40 million Americans unemployed and a nationwide lockdown, it seemed spring wouldn’t come for the sellers. But that’s not what happened at all. Bidding wars are surprisingly common in key U.S. housing markets. | Source: Redfin Not even the most deadly virus can change the fact that single-family homes look nicer than ever…
Even Spider-Man Won’t Be Enough to Save PS Now
PlayStation’s streaming service, PS Now, offers playable games without any need for downloading huge files. A recent leak makes it seem like PlayStation Now is about to get access to Insomniac’s Spider-Man. As great a game as Spider-Man is, it can’t save PS Now on its own. PS Now is one of several high-profile game streaming services. It might be one of the longest-running ones since it originally came out back in 2014. But it’s struggled to find the success of similar competing services such as Xbox Game Pass, which doesn’t even offer streaming. A new leak makes it seem likely that PS Now is about to get a pretty significant upgrade. Insomnia’s Spider-Man might be making its way to the service if a recently leaked ad is to be believed. If this is true, even Spider-Man can’t save it all on his own. The leaked advert popped up on a french gaming forum, according to ResetEra user Lant_War. | Source: ResetEra User Lant_War Spider-Man Is a Great Addition to the PS Now Lineup, but He’s Not Enough Many streaming…
Bitcoin’s Bull Bias Intact Despite 6 Percent Price Pullback
Bitcoin has pulled back from seven-week highs above $8,400, but the bullish breakout confirmed on Jan. 6 is still valid. The price drop was backed by low seller volumes and may be reversed. The bullish case would weaken if prices find acceptance under key support at $7,567. Bitcoin has pulled back from multi-week highs but is still hovering in bullish territory above key support near $7,600. The number one cryptocurrency is currently trading at $7,910 – down 6.5 percent from the seven-week high of $8,463, according to CoinDesk’s Bitcoin Price Index (BPI). The pullback began during the U.S. trading hours on Wednesday with gold and other safe havens losing ground on easing of geopolitical tensions. “Bitcoin‘s price dropped down to $8,100 (from $8,300-$8,400 range) right as President Trump announced at 11 a.m. ET that the U.S. will not escalate the conflict with Iran,” Hong Kim, co-founder and chief technology officer at Bitwise Asset Management tweeted Wednesday. Popular analyst Ran NeuNer also put out a tweet, drawing attention to the fact that both bitcoin and gold moved lower following President Trump‘s…
Rat Poison? Millennial Investors Prefer Bitcoin To Buffett’s Berkshire Hathaway
Bitcoin has in the past been called a Ponzi scheme, a scam, a tool for money laundering and criminal activities, and even has been dubbed rat poison by the Oracle of Omaha himself, Warren Buffett. But that “rat poison” is a more sought after investment in millennial investors than the Buffett-backed Berkshire Hathaway, and many other top stocks. Bitcoin Outranks Traditional Stocks In Millennial Investors Cryptocurrencies like Bitcoin , Ethereum, Ripple, and thousands and thousands more, are an emerging asset class that despite being new, untested, and unproven, are a more appealing investment to millennial investors than many of today’s top-performing stocks. Related Reading | Bolster Your Personal Opsec With This Crypto Investor Checklist According to a new report from brokerage firm Charles Schwab, it shows how the Grayscale Bitcoin Trust from Grayscale Investments stacks up against the likes of Netflix, Walk Disney, Microsoft, and Warren Buffett’s Berkshire Hathaway. The study surveyed a number of millennials, gen Xers, and baby boomers, and found that of the millennial subset, Grayscale’s Bitcoin Trust received more inflow than Walt Disney, Microsoft, Netflix, Alibaba,…
BTC/USD Rising Triangle Pattern Reversal Targets $8,400 |
Bitcoin price recovers from the weekend support at $9,500 but stalls short of $10,000. The selling pressure at $10,000 is still intact; if unbroken in the short term, BTC/USD could spiral to $8,400. Bitcoin price is facing a make or break situation. If the key hurdle at $10,000 is broken, Bitcoin could easily sail towards $10,500. However, if the selling pressure at the same zone stays intact, then Bitcoin could start losing momentum. For instance, the weekend session already saw BTC/USD retest $9,500 support. After the support was confirmed, Bitcoin buyers’ confidence increased. The renewed bullish grip is currently dealing with the resistance at $10,000. Meanwhile, Bitcoin price is trading at $9,876 following a minor correction from the intraday high at $9,957. The Relative Strength Index (RSI) clearly shows that the bulls are in control and could continue to pull the price upwards. The same bulls are also facing their ultimate test to break the key $10,000 seller zone. Note that if this resistance is conquered, more buyers that are watching from the sidelines could join the market in order…
Ripple’s UBRI Participants Striving for a More Environmentally Sustainable Cryptospace
Ripple’s University Blockchain Research Initiative (UBRI) participants, Professor Anwar Hasan of the University of Waterloo’s Department of Electrical and Computer Engineering, alongside Research Associate, Crystal Roma, are conducting blockchain research to find out ways bitcoin and other cryptos can be made more environmentally friendly, reports Ripple Insights on April 28, 2020. Towards An Environmentally Sustainable Cryptospace While Bitcoin (BTC) still maintains the lead as the world’s number one cryptocurrency, giving the traditional financial ecosystem a run for its money, Satoshi Nakamoto’s revolutionary invention is often criticized for its massive energy consumption and relatively large carbon footprints. In the latest development, Professor Anwar Hasan of the University of Waterloo’s Department of Electrical and Computer Engineering, and Research Associate, Crystal Roma are partnering with Ripple’s University Blockchain Initiative (UBRI) to analyze distributed ledger technology (DLT) and find out ways cryptos can be made more environmentally friendly. In her 2018 report, University of Pittsburgh energy technology researcher, Dr. Katarina Kelly Pitou made it clear that what really matters is not the amount of energy consumed during bitcoin mining operations but the source of…
Lightning Network (LN) payments plummets to lowest value since late 2018 |
Twitter Facebook reddit Pinterest Hacker News LinkedIn Tumblr Google+ VKontakte Lightning Network (LN) payments dip to lowest levels in a year. Bug or reduced interest? DeFi keeps breaking records, is $1 billion possible in 2020? In our last DeFi update we highlighted the explosive growth of decentralized finance in both USD and Ether based valuation. The DeFi apps hit an all-time high in total USD value locked at $702 million USD on November 29th, representing a staggering 185% increase since January. In this update we focus on an unusual case of LN payments seeing a massive 90% drop in usage on November 29th 2019. LN payments drop by 90% in 24 hours The second layer Bitcoin solution, LN network, is no stranger to bugs as the platform continues to witness daily developments and upgrades to give users the ultimate payments experience using Bitcoin. The last 24 hours however saw a peculiar drop in LN payments before the volume further recouped back to normal levels. Twitter Facebook reddit Pinterest Hacker News LinkedIn Tumblr Google+ VKontakte Twitter Facebook reddit Pinterest Hacker News…
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Faculty / Staff Search
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Marita Kloseck
Marie Savundranayagam
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Achievements 1996-2018
Marie Savundranayagam, PhD
Research Cluster Lead
Community Dementia Care
Formal and Informal Caregiver Support
Dr. Savundranayagam is an Asssociate Professor in the Faculty of Health Sciences, Director of the Caregiving Research (CaRe) Lab and a member of Western's Brain and Mind Institute at Western University, Canada. Her research focuses on improving caregiving relationships through enhanced communication, identifying ways to enhance personhood for individuals with dementia, and uncovering the mechanisms by which caregiver interventions are effective. She received the Canadian Institutes of Health Research ‘Age Plus’ Award for her work on communication problems and burden among family caregivers of persons with dementia. Her work on communication and dementia led to two knowledge translation and exchange efforts sponsored by the Gerontological Society of America (GSA): a publication called “Communicating With Older Adults: An Evidence-Based Review of What Really Works” (2012) for health professionals and policy experts who work with older adults, and an e-learning module on “Communicating With Older Adults With Mild Cognitive Impairment” (2014) for pharmacists, pharmacy technicians and elder law attorneys. Additionally, Dr. Savundranayagam’s research, funded by the Alzheimer’s Association, assessed the effectiveness of communication strategies used by caregivers to resolve communication breakdowns and investigated the differential impact of effective versus ineffective strategies in predicting caregiver burden. Dr. Savundranayagam serves as associate editor for the Clinical Gerontologist and is on the editorial boards of Educational Gerontology, Journal of Family Communication and Social Work in Health Care.
Sam Katz Community Health and Aging Research Unit
Arthur and Sonia Labatt Health Sciences Building - Room 316
London, Ontario, Canada, N6C 5B9
Tel: 519.661.2111 x81230
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High Country Crime: Police investigate burglary at Steamboat marijuana shop; cocaine and Fireball fuel 111-mph chase
A photo of the suspected burglar from a surveillance video at Steamboat's Golden Leaf dispensary.
The Steamboat Springs Police Department is investigating a burglary at one of the city’s pot shops.
Police sent out a vague news release about the burglary that occurred early Wednesday morning, Aug. 9, at Golden Leaf, 1755 Lincoln Ave.
Commander Annette Dopplick said she did not want to say what items were stolen because releasing details might prevent them from identifying the culprit.
Police released two photos from video surveillance at the pot shop.
One shows a man in a dark jacket with a hood next to a window at the front of the building, and it appears he is about to break a window.
The other photo is infrared, and it appears the man is reaching through a broken window.
A list of police calls from Wednesday morning does not include any alarms at Golden Leaf.
Routt County Crime Stoppers is offering a $500 reward for information leading to the identification of the suspect.
People can contact the police department directly at 970-879-1144, or they can remain anonymous and call Crime Stoppers at 970-870-6226.
Tips can be sent by text message by texting NABM, followed by the tip, to 274637. A confirmation text will then be sent.
—Matt Stensland, Steamboat Today
COCAINE AND FIREBALL FUEL 111-MPH CHASE
Garfield County deputies last Saturday deployed a spike strip on Interstate 70 near Rifle to end a high-speed chase involving a red Hyundai Sonata clocked at up to 111 mph.
Gun drawn, a deputy directed the driver from the vehicle, and saw that he was “extremely unsteady on his feet,” according to an arrest report. The same was true for two male passengers in the front and back seats.
The 27-year-old driver told a deputy that he didn’t stop because he had just been in a fight in Glenwood and was trying to get home.
The man had “bloodshot, glassy, watery” eyes and appeared sleepy, the deputy reported. With slow and slurred speech, smelling of alcohol, he told the deputy that he pulled over because he thought he hit something.
Asked why the driver did not stop, the rear passenger told deputies that the driver was “extremely intoxicated and had been looking at his phone, so he didn’t know what was going on,” according to the arrest report. He also said the driver had not been in a fight that night.
In the vehicle deputies found a half-empty bottle of Fireball Whisky. They also found an uncapped 750 ml bottle of Fireball outside the passenger-side door, spilling onto the ground. In the dirt and spilled Fireball deputies also found a small bundle containing nearly 2 grams of cocaine.
The 26-year-old, who was sitting in the passenger seat, was arrested on possession of a controlled substance.
The 27-year-old driver was arrested on felony vehicular eluding, along with misdemeanors including violation of a protection order, DUI, driving under restraint for an alcohol offense and reckless driving.
—Ryan Summerlin, Glenwood Springs Post-Independent
TEXANS STEAL WEED FROM BRECKENRIDGE POT SHOP
A pair of Texans allegedly made off with a jar of marijuana at a store in Breckenridge on Aug. 1, after an apparent sleight-of-hand trick.
Police arrived at around 2 p.m., and a store clerk said two men with Texas IDs had come into the store earlier that day. The clerk said he placed five jars of marijuana on the counter while discussing transactions with the men.
The “smaller man,” described as wearing a collared shirt and red ball cap, made the first purchase, buying an eighth of an ounce of the strain Pachamama. The clerk handed him his bag and then completed the larger man’s purchase.
As the two walked away from the counter, the clerk noticed that one of the jars was missing, but he elected not to make a scene and confront the men as they departed.
Police viewed security camera footage that confirmed the clerk’s account, but there was no way to identify the suspects. There was no additional footage showing them entering a vehicle.
The case was closed due to lack of suspect information. The jar contained an eighth of an ounce of marijuana valued at $40.
—Jack Queen, Summit Daily News
3 STEAMBOAT BARS TO PAY FINES AFTER LIQUOR LICENSE VIOLATIONS
A trio of Steamboat Springs bar owners whose establishments were recently cited for liquor license violations have agreed to pay fines to avoid having to stop serving alcohol for two days later this summer.
The Cabin at the Steamboat Grand and Slopeside Grill were cited and punished for serving alcohol to underage high school students during a compliance check in March.
Twelve other businesses that were visited for the compliance checks passed and did not serve the minors.
Cantina was cited by police after an officer observed illegal gambling hosted by the bar in April.
While having dinner at the restaurant, the officer noticed bar patrons playing a game of dice.
The officer returned in plainclothes at a later date and played the dice game himself.
Police then seized the dice, a sign and the $60 pot of money from the bar as evidence.
A bartender told police the highest the pot had reached was $151.
Owners of all three of the bars that were cited admitted to the violations and agreed to settlements proposed by the city.
Instead of having their licenses suspended for two days later this summer, the bars will pay a fine equivalent to 20 percent of their liquor sales over a two-day period.
The settlements were agreed to at a 10-minute hearing on Thursday.
—Scott Franz, Steamboat Today
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Home Page › WWII History › June › World War II Today: June 12
World War II Today: June 12
General Sir Edmund Ironside, C-in-C of British Home Forces, completes plans for the defense of Britain against German invasion.
On the orders from General Weygand, C-in-C of the French Army, the French forces opposing the advance of Army Group A withdraw to the South, offering little resistance. The Germans cross the River Marne, consolidate bridgehead South of the Seine and claim to have occupied Rheims. Four French divisions and most of the British 51st Highland Division is cut off and captured by Rommel at St. Valery-en-Caux.
The Soviet Union issues an ultimatum to Lithuania, demanding that the Red Army be allowed to occupy the country.
RAF bomb docks in Tobruk, Libya.
Italian submarine Bagnolini sinks British cruiser Calypso south of Crete.
The RAF raids the Ruhr, Rhineland and German ports in the first of 20 consecutive night raids.
The German pocket battleship L¸tzow (formerly Deutschland) is attacked and damaged by RAF aircraft off the southern coast of Norway.
Rommel, having now brought up tank reserves, could now muster 124 tanks against the 248 British tanks. He therefore attacked the British positions between Knightsbridge and El Adem, trapping much of the British armor.
The RAF launches a heavy raid on Bochum in the Ruhr. The Luftwaffe carries out a night attack against Plymouth.
King George VI lands in Morocco, only his second sanctioned visit of the war to forces overseas.
U.S. troops fighting for Carentan, link up with British troops, thereby completing a solid line along a 50-mile battle front. So far, the allies have landed 326,000 men and 54,000 vehicles onto the Normandy beaches.
Rosenberg orders operation ‘Hay Action’, the kidnapping of 40,000 Polish children aged ten to fourteen for slave labour in Germany.
Eisenhower is awarded the Order of Merit and becomes the first U.S. recipient.
Words At War: Guys On the Ground
WWII Today: April 11
WWII Today: April 9
In:June, WWII History
Tags: ww2 history, ww2 today, WWII June
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- - - - - - - - - - - - Imaginary inspection report 200000 - up you Policies and regulations -
Imaginary inspection report up you 200000 < p> 2017 - 03 - 16 13:24:42 < / p> < p> the national YaFang group events is particularly profound lesson today, one does not have test qualifications, in more than ten years of time, the certification has spread all over the crest, Colgate toothpaste and 'lotte' xylitol chewing gum and other daily consumer goods, until found two lawyers, and put it to court. < / P> < P> if such 'inspection agency' in our province, how will? Are working on the inspection institutions in zhejiang province 'management ordinance ( The draft) 'To give the answer. This has already been submitted to the provincial standing committee, and the ongoing review of the draft regulation: < / P> < P> 'inspection institutions engaged in inspection services, shall be certified by the province quality and technical supervision department, if without the metrological certification inspection service activities, will be of quality and technical supervision department shall be ordered to correct, with 1-100000 yuan, and confiscate the illegal income. '< / P> < P> inspection institutions wild speculations legislation will stop < / P> < P> hunan company had complaints to the relevant department, enterprise to an inspection institution to hand in 640000 yuan each year' inspection fee ', and individual product inspection fee charging standard, higher product prices. < / P> < P> inspection agencies to collect fees in disorder, the hot issues in our province is also the masses feel strongly about. < / P> < P> a total of more than 1000 inspection institutions of all kinds, in our province is widely distributed in the chemical building materials, metallurgy, machinery, weather, hydrology, transportation, environment and resources, such as measurement of surveying and mapping industry, service covers areas such as industry, agriculture, commerce, international trade, and the administrative, judicial, civil and commercial arbitration and other activities. < / P> < P> for this purpose, the draft regulation is put forward, the inspection institution shall, in accordance with the entrusted inspection agreement, inspection fee, it shall not violate the provisions of the relevant national and provincial price management; Inspection institution shall recommend to the society or participate in the recommended products, shall not be produced, and sale, to participate in the production and business operation activities of the product. < / P> < P> fiction inspection report unit up 200000 < / P> < P> draft, metrology accreditation review personnel shall remain independent, objective and impartial, shall not participate in to its place unit has the business competition relations or other interest relationship of inspection agency review; During the period of review, shall not be any business relationship with the review by the inspection agency. In violation of the provisions, if the circumstances are serious, the relevant personnel will be discharge, and can no longer be employed in three years. < / P> < P> in addition, for false inspection reports and data, forgery, as a result, the unit will be fined $5-200000, the person in charge directly responsible and other directly responsible personnel will be fined $2-50000. < / P>
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- - - - - - - - - - - - State administration for industry and commerce issued notice to strike hard and false illegal advertisement - Policies and regulations -
State administration for industry and commerce issued notice to strike hard and false illegal advertisement < p> 2017 - 03 - 16 13:25:20 < / p> on May 25, the state administration for industry and commerce 'about to crack down on false illegal advertisement notice', the following is a notice: in full notification regarding the crack down on false illegal advertisement in order to implement the State Council on the decision of the special action against commercial fraud, crack down on use of advertising cheat and mislead consumers business fraud, the state administration for industry and commerce under the State Council in conjunction with the State Council office for rectifying the central propaganda department, the Ministry of Public Security, ministry of supervision, the State Council, the ministry of information industry, ministry of health, state administration of radio, film and television, press and publication (gapp), the state food and drug administration, state administration of traditional Chinese medicine, such as department, issued false illegal advertisement rectification work plan, decision since May 2005, a year or so, false illegal advertisement rectification work. To effectively curb false illegal advertisement, the desired control target, regarding the contents and main measures notice is as follows: first, the renovation work, focusing on the punishment of false illegal advertisement, especially the health food, medicine, health care, cosmetics and beauty services false illegal advertisement, and the use of the Internet publishing false advertising. False illegal advertisement is investigated the following content: 1, the news report form to release advertisement; 2, consumers, patients, experts, and in the name of the image as evidence of health food, medicine, health care, cosmetics advertisements; 3, promote treatment or exaggerated functional health food advertising; 4, to exaggerate the function, ensure efficacy of drug advertisements; 5, exaggerated features, ensure cure medical advertisements; 6, exaggerated features, cosmetics and beauty services advertising of false advertising. Second, advertisers, advertising agents and advertisement publishers after the announcement, continue to engage in false illegal advertisement publicity, the administrative department for industry and commerce according to law shall be given heavier processing: 1, the serious problems of false illegal advertisement advertisers, advertising agents, in accordance with the law to stop ( Or limit) Its closed for its advertising, or requirements, shall be given a heavier punishment. 2, serious problems of false illegal advertisement publishers shall, in accordance with the law shall be given a heavier fines, stop ( Or limit) Advertising, closed, shall turn over the advertising business permit. To release false illegal advertisement media unit those responsible, at the same time by the relevant department in charge to party discipline, ZhengJi dispose. Advertising for goods or services is used as the false propaganda, suspected of a crime is constituted, transferred to public security organs according to law, shall be investigated for illegal behavior person of criminal responsibility by judicial organs. Third, relevant departments will use the mass media or the Internet, exposure to the typical cases of false illegal advertisement. The illegal advertisers, advertising agents and advertisement publishers list, conduct illegal advertisement warning activities. To be punished the advertisers, advertising agents, timely input of industrial and commercial enterprise credit supervision system, take warning, yearly check when key review public disclosure, strengthen routine inspections, the illegal act, the regulatory measures of reducing the credit rating. When necessary for cross-regional joint control or supervision. Advertising agents and advertisement publishers because of false illegal advertisement behavior be punished in accordance with the law, will lose to participate in the China advertising association 'creating advertising industry spiritual civilization advanced unit' of the selection. Four, in accordance with the 'false illegal advertisement rectification work plan' requirement, the administrative department for industry and commerce for the renovation work to be responsible for the organization and coordination, take effective measures, to focus on serious or typical false illegal advertisement. Information industry, health, radio, film and television, press and publication, the food and drug supervision and management, management of traditional Chinese medicine and other departments will also take corresponding industry management measures, to strengthen the governance of false illegal advertisement from the source. Five, advertisers, advertising agents and advertisement publishers must fulfil legal obligation, to establish the basic management system, and carry out the advertising strengthen advertising content review. Basic management system of advertising does not implement, false illegal advertisement issued severe unit, in addition to the punishment according to law, may take warning, head of the rectification, the relevant training regulations, announcements for advertising management measures such as key regulators. Six, the relevant units to carry out advertising activities, must operate in accordance with the law, establish the good faith idea, strengthen the social responsibility, to meet the serious harmfulness of false illegal advertisement, strengthen the study of laws and regulations, the problems of false illegal advertisement for this unit, take effective measures of self-check, purify the operating environment of the advertising market. Notice is hereby given that the state administration for industry and commerce ( Chapter) May 25, 2005
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PVC Coated Paper Game Cards
card-playing, dominoes as good as virtual reality games in stroke recovery: study
Hey, time traveler!
This article is published in 27/6/2016 (1164 days ago)
Therefore, the information in it may no longer be up to date. TORONTO -
Simple recreational activities, such as playing cards or repeatedly throwing foam balls into the waste paper basket, are as effective as playing virtual reality games like Wii, helping patients recover their power and dexterity after stroke, a Canadian
Led research found.
\"We all like technology and tend to think that new technologies are better than old ones --
But sometimes this is not the case, \"said the doctor.
San Gustavo sabosnik is a neurologist.
The study, led by Michael Hospital in Toronto, was published in the Journal of Medicine on Monday.
\"In this study, we found that simple recreational activities that can be implemented anywhere may be as effective as technology,\" he said . \".
\"This is very important for getting care.
\"Researchers from 14 centers in Canada, Argentina, Peru and Thailand recruited a total of 141 stroke patients who suffered a stroke affecting one arm.
Half are randomly assigned to accept 10
Two-hour meeting
A week to play virtual games like tennis and basketball using the Nintendo Wii platform.
The other half is low.
Cost activities such as cards-
Play, Domino, bingo and ball
During this time, toss in the same number of sessions.
The additional treatment is that in addition to the traditional rehabilitation, each patient has received an attempt to restore strength and Common
Due to brain damage caused by a stroke, the coordination of the arms and hands is lost.
Saposnik said the arm and hand functions of both groups of patients improved by 30 and 40 at the end of both groups
After the intervention, weekly intervention and four weeks respectively.
\"There was no significant difference between the two groups in strength, dexterity, total motor skills, quality of life or activities of daily life,\" said Saposnik, who admitted to being surprised by the results.
\"I think technology
So virtual reality
More effective than simple entertainment.
\"Stephen Glass was diagnosed with a stroke in Saint last week.
Michael\'s Hospital said Monday that fine motor skills and walking in his hands were affected.
Although no one noticed that he was listening, he also felt that it was difficult for him to speak easily as usual. The 51-year-
Old will begin traditional rehabilitation this week, but is not sure if one of the adjuvant therapies described in the study will be offered.
Still, he believes that the principles of these two therapies are the same --
It\'s just different methods.
\"I think for people of my age, maybe a little older, and for the people below, it shows how they work in their daily lives --
With the ipad, with the screen, with the technology --
\"It\'s going to be a pleasant thing and something they\'re going to involve,\" said Glass . \" He gave up his career as a pianist and conductor last year in pursuit of becoming a broadcaster
\"But I can imagine if a 60-or 70-or 80-year-
The elderly have a stroke and want to find an activity that meets their cultural norms --
Play cards, put the ball in the trash
Will bypass any anxiety they feel (
About Technology)
Let them focus on the actual task.
Saposnik said many previous studies, including his own 2010 pilot studies, have concluded that virtual reality therapy is an effective way to promote rehabilitation for stroke patients.
Overall, this study shows that the motor skills of patients receiving this treatment have increased by 30.
More participants participated in this new trial.
To make its discovery more powerful
Compared with previous studies, these studies are also different in design: They compare the combination of traditional rehabilitation and virtual reality therapy with traditional therapy.
Interactive game technology is different from other game technologies.
Focused pursuit like card
Play, he said.
\"Now I can say that whatever you prefer, you can do traditional healing or virtual reality or simple entertainment because
Immersive virtual reality is no longer working.
He said: \"This is important for those living in the Canadian region or developing countries that do not have VR technology.
Follow @ SherylUbelacker Weibo.
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Coronavirus latest: 831,066 cases in Ohio; 326,675 in Kentucky; 592,709 in Indiana 1 HR Breaking News: COVID-19 maps of Ohio, Kentucky and Indiana: Latest coronavirus cases by county Breaking News: Tracking the curve of COVID-19 cases, deaths Breaking News: Sign up for our Coronavirus & Rossen Reports Newsletters <% if ( weatherAlerts > 0 ) { %> Severe Weather <% var weatherAlertsMessage = "There " + ( weatherAlerts > 1 ? "are" : "is" ) + " currently " + weatherAlerts + " active weather " + ( weatherAlerts > 1 ? "alerts" : "alert" ); %>
5 dead in I-75 wrong way crash near Dayton
Photo via Flickr Creative Commons, Ken Hawkins
A suspected drunken driver going the wrong way on an Ohio interstate slammed head-on into an SUV, killing himself and four people inside the other vehicle early Saturday, police said.Police said the driver who caused the crash on Interstate 75 in downtown Dayton also may have been arrested on a DUI charge in the last few days, the Dayton Daily News reported.Friends of those inside the SUV told investigators they were in another vehicle and had to swerve to avoid the wrong-way driver, said police Sgt. Matthew Beavers.A truck driver, Chris Dues of Springfield, Kentucky, said he came upon the wreckage in a construction zone about a minute or two after the crash around 3 a.m."It was horrific," he told the Daily News. "There was no front end on either of the vehicles. There was an alternator 10 feet from the car, just sitting out in the road. It was crazy."Dues said the victims in the SUV, which flipped onto its roof and landed on the other car, were trapped inside.Three men and one woman were in the SUV, said Beavers, who estimated that the victims were in their late teens or early 20s. The driver of the car was in his 60s, he said.All five were pronounced dead at the scene.The crash shut down northbound Interstate 75 for about five hours.
DAYTON, Ohio (AP) —
A suspected drunken driver going the wrong way on an Ohio interstate slammed head-on into an SUV, killing himself and four people inside the other vehicle early Saturday, police said.
Police said the driver who caused the crash on Interstate 75 in downtown Dayton also may have been arrested on a DUI charge in the last few days, the Dayton Daily News reported.
Driver in crash that killed 5 had blood-alcohol level nearly 3 times legal limit, police say
Driver in crash that killed 5 had DUI incident hours earlier
Friends of those inside the SUV told investigators they were in another vehicle and had to swerve to avoid the wrong-way driver, said police Sgt. Matthew Beavers.
A truck driver, Chris Dues of Springfield, Kentucky, said he came upon the wreckage in a construction zone about a minute or two after the crash around 3 a.m.
"It was horrific," he told the Daily News. "There was no front end on either of the vehicles. There was an alternator 10 feet from the car, just sitting out in the road. It was crazy."
Dues said the victims in the SUV, which flipped onto its roof and landed on the other car, were trapped inside.
Three men and one woman were in the SUV, said Beavers, who estimated that the victims were in their late teens or early 20s. The driver of the car was in his 60s, he said.
All five were pronounced dead at the scene.
The crash shut down northbound Interstate 75 for about five hours.
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Legal Cashier From £22,000 to £26,000 per annum BRISTOL, AVON, SOUTH WEST, UK Artis Finance are delighted to be working with this extremely reputable and award winning international professional services firms based at their beautifully refurbished offices in Central Bristol. They are an incredibly inclusive employer with a genuinely collaborative working environment and...
Senior Legal Cashier From £28,000 to £32,000 per annum BRISTOL, AVON, SOUTH WEST, UK Artis Finance are delighted to be working with this extremely reputable and award winning international professional services firms based at their beautifully refurbished offices in Central Bristol. They are an incredibly inclusive employer with a genuinely collaborative working environment and...
Legal Cashier NORTH YORKSHIRE We are working with a reputable North Yorkshire based firm who are seeking a Legal Cashier to join their close knit team. Competitive salary on offer DOE. The Firm - This is a recognised high street firm who have been in the market for over 100 years. The firm have grown organically over the years...
Commercial and Residential Property Lawyer LONDON, UNITED KINGDOM ...in the position. Legal Cashier The Legal Cashier role requires someone who is proactive and ready to hit the ground running. It is essential that the individual has prior experience working within the Legal sector The successful candidate will be responsible for maintaining the office and client...
Legal Cashier 22000 - 24000 GLASGOW, LANARKSHIRE My client, a multi award winning law firm, is looking for a Legal Cashier to join their busy cashroom in their Glasgow City Centre office. Reporting directly to the Finance Manager, you will be responsible for reviewing ledgers, debit and credit cash balances, deposits and liaising with...
Legal Cashier £22,000 NORTHAMPTON, NORTHAMPTONSHIRE, UK LEGAL CASHIER NORTHAMPTON Up to £24,000 + BENEFITS + PROGRESSION MONDAY TO FRIDAY 9AM - 5PM THE OPPORTUNITY: Get Recruited is working with a leading and award-winning law firm in Northampton who has been recognised as a Top 500 Law Firm. Due to the continued growth of the business, my client...
Legal Cashier 30000 - 35000 NORTHAMPTONSHIRE GWG is delighted to be partnering with one of our best clients in the search for an Office Manager with Legal Cashier Experience to join this friendly family run law firm. Working for a lovely, very profitable, family orientated practice in Northamptonshire are looking to recruit an experienced...
Legal Cashier 18000 - 20000 LEEDS, WEST YORKSHIRE Legal Cashier Leeds City Centre £18,000 - £20,000 My client are a well-established legal firm based in Leeds City Centre who are looking for a Legal Cashier to join the team. As a Legal Cashier your duties will include: Daily reconciliation of client and office bank accounts...
Legal Cashier £20,000 BARNARD CASTLE, DURHAM, UK Full-service law firm in County Durham seeks Legal Cashier on a permanent basis. This is an opportune time for a dynamic Legal Cashier to join our client s office located in the Barnard Castle area. Possessing the technical proficiency to manage a varied workload, the successful cashier will...
Legal Cashier SOUTHAMPTON, HAMPSHIRE Legal Cashier Our legal practice client are currently in search for a Legal Cashier to be an integral member of their accounts team. The Legal Cashier role requires a proactive and ambitious individual who is looking to progress within their Legal Finance career. Wortking as a Legal Cashier some of...
Senior Legal Cashier 22000 - 29000 LIVERPOOL, MERSEYSIDE Page Personnel have partnered with a Global Law Firm recruiting Senior Legal Cashier with strengths working disbursements experience based in Liverpool City Centre. The successful candidate will have Legal Cashiering or Legal Accounts experience. Disbursements is a major advantageous. The firm is...
Legal Cashier/Legal Accounts Manager 25000 - 35000 HORSHAM, WEST SUSSEX Legal Cashier/Legal Accounts Manager This is a great opportunity for an experienced Legal Accounts Manager or Legal Cashier to join a law firm that offers a professional and welcoming working environment in their offices in Horsham, West Sussex. Unlike some legal roles which are restricted this...
Legal Cashier 24000 NORTHAMPTON, NORTHAMPTONSHIRE Are you an experienced Legal Cashier? Our client based in Northampton in seeking an experienced Legal Cashier to join them on a permanent full time basis. To be consider the role of Legal Cashier, it is essential that you have previous legal cashiering experience and a working knowledge of SRA...
Legal Cashier 20000 - 25000 WAKEFIELD, WEST YORKSHIRE My client are are a well-known, leading legal services provider based in Wakefield, are seeking an experienced Legal Cashier to join their team. This role would suit someone who is able to work in a fast paced environment and who works well as part of a team. Key requirements of a Legal Cashier...
Legal Cashier , WEST YORKSHIRE, , UNITED KINGDOM IPS Finance are working with a market leading law firm looking to employ a Legal Cashier to join their busy team in Leeds City centre. The Legal Cashier will be focused on providing support to the Cashier Team Leader, initially working from home. The ideal candidate will work accurately with...
Legal Cashier £17,000 CHESTERFIELD, DERBYSHIRE, UK Edwards Employment Solutions are pleased to be working with a well-established, firm of Solicitors based in Chesterfield. We are recruiting for a full time Legal Cashier within the Conveyancing Department Legal Cashier duties will include Conducting daily banking including checking online...
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Xiangkhoang
Nam Tha
Nam Tha Weather
, Xiangkhoang, LA Outlook Hourly 3 hr Past Avg
Time in Nam Tha is Tue 19th Jan 4:03 am |
Nam Tha Current weather report
Weather today in Nam Tha, Lao People's Democratic Republic is going to be Partly cloudy with a maximum temperature of 26°c and minimum temperature of 5°c. Expected precipitation falling is 0.00 mm.
1 km/h NE
2 km/h NNE
Weather tomorrow in Nam Tha, Lao People's Democratic Republic is going to be Partly cloudy with a maximum temperature of 26°c and minimum temperature of 7°c. Expected precipitation falling is 0.00 mm.
0 km/h WNW
0 km/h SSE
0 km/h S
0 km/h N
Weather in Nam Tha, Lao People's Democratic Republic
Today's weather is turning out to be partly cloudy. The visibility is going to be around 8 km i.e. 4 miles and an atmospheric pressure of 1015 mb . The daytime temperature is going to reach 26 °c and the temperature is going to dip to 5 °c at night. It will be dry with no precipitation and cloud covering 31% of the sky, the humidity will be around 71%.
Tomorrow weather is forecasted to be partly cloudy. The visibility is going to be around 10 km i.e. 6 miles and an atmospheric pressure of 1013 mb. The daytime temperature is going to reach 26 °c and the temperature is going to dip to 7 °c at night. It will be dry with no precipitation and cloud covering 14% of the sky, the humidity will be around 71%.
On Thursday weather will be partly cloudy with daytime temperature reaching 28 °c. Night time temperature are expected to be 7 °c.It will be dry with no precipitation. The visibility is going to be around 10 km i.e. 6 miles and an atmospheric pressure of 1012 mb. It will be dry with no precipitation and cloud covering 12% of the sky, the humidity will be around 68%.
Book flights and hotels for Nam Tha
Please also visit Nam Tha Historical Weather, Weather widget and Weather Charts pages. Historical or past weather forecast page provides historical weather forecast from 1st July, 2008 till now in 3 hourly interval. Text weather page will allow you to get a weather text summary for next 14 days and weather chart page displays weather pattern like temperature, wind speed, gust, pressure, etc. in graphical mode for next 14 days. We hope you like it.
Looking to buy past/historical weather for Nam Tha, please visit Historical Weather Data section.
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Chicago issues Emergency Travel Order for travelers from Alabama
(Source: CNN)
By WBRC Staff | July 2, 2020 at 6:19 PM CDT - Updated July 2 at 10:11 PM
CHICAGO, Ill. (WBRC) - The Chicago Department of Public Health Commissioner issued an Emergency Travel Order Thursday for travelers entering or returning to Chicago from several states, including Alabama.
The order includes states experiencing a surge in new COVID-19 cases.
If someone comes to Chicago from Alabama they will be asked to quarantine for a 14-day period.
The Order will go into effect on Monday July 6, 2020, at 12:01am.
Violators can be charged fines of $100 - $500 per day, up to $7,000.
States Currently Covered by the Order:
When the order goes into effect on July 6, travelers from the following states will be directed to quarantine upon arrival in Chicago: Alabama, Arkansas, Arizona, California, Florida, Georgia, Idaho, Louisiana, Mississippi, North Carolina, Nevada, South Carolina, Tennessee, Texas, and Utah.
Copyright 2020 WBRC. All rights reserved.
Russia’s prison service said opposition leader Alexei Navalny was detained at a Moscow airport after returning from Germany on Sunday.
Phoenix police: 1 man dead, 11 injured in separate shootings
One person is dead and six others injured after an early-morning shooting Sunday outside a Phoenix nightclub, police said.
Protests start small at newly fortified US statehouses
Single-vehicle crash on I-85 leaves 1 dead, 1 injured
ASU closes campus as precaution ahead of possible protests
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Verizon Looks to Unload Tumblr Blogging Site
Wireless giant seeks buyer for social-media service that has lost ground to Facebook
Verizon is seeking a buyer for Tumblr, the free online blogging service that Yahoo bought for about $1 billion in 2013. Attendees at a Tumblr exhibit at a digital marketing event in Cologne, Germany, in September 2016.
Photo: Krisztian Bocsi/Bloomberg News
Benjamin Mullin
@benmullin
benjamin.mullin@wsj.com
Sarah Krouse
@bysarahkrouse
sarah.krouse@wsj.com
Updated May 2, 2019 3:12 pm ET
Verizon Communications Inc. is seeking a buyer for blogging website Tumblr, according to people familiar with the matter, as it tries to steady a media business that has struggled to meet revenue targets.
The sale process, which is ongoing and may not result in any transaction, comes as the wireless carrier tries to improve the fortunes of Verizon Media Group. The business, which was previously known as Oath, is home to websites and online services acquired when Verizon bought Yahoo in 2017 and AOL in 2015.
It is unclear how much Verizon might get for Tumblr, a free service with more than 400 million blogs. Yahoo paid about $1.1 billion for the New York-based site in 2013, when it was among a number of fast-growing startups such as online scrapbook Pinterest and news aggregation and commenting site Reddit.
But Tumblr struggled to generate meaningful revenue for Yahoo and was eclipsed by other social media, such as Medium, Facebook and Instagram, which Facebook bought in 2012. Yahoo wrote down Tumblr’s value by $230 million in 2016.
A Verizon spokesman declined to comment.
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Gaby's Serves Homestyle German Cooking in Unlikely Lakewood Spot
Mark Antonation
| Ethniche |
Mark Antonation | June 6, 2018 | 5:54am
Pierogies, cabbage rolls and liver dumpling soup are among the options at Gaby's in Lakewood.
German cuisine doesn't make many lists hyping the hottest, sexiest food these days. Bold, vibrant and spice-laden dishes from Thailand, Vietnam, China's Sichuan province, Oaxaca and South India get the lion's share of attention from culinary adventurers seeking out the new and exciting. But that doesn't matter to Gaby Berben: She's happy cooking the food she grew up with, living in an industrial town near Cologne. And she's cooking more than ever since opening Gaby's German Eatery at 245 South Harlan Street in Lakewood this spring.
The Gaby's name might be familiar to folks who frequent farmers' markets or have a fondness for the annual Christkindl Market that makes downtown just a little more festive each holiday season. Berben moved to Denver from Germany in 2010 and the next year founded Gaby's Soups, selling fresh and frozen products at farmers' market stalls before introducing other traditional German dishes at the Christmas market. She says she's collected more than 700 soup recipes from family members and friends over the years, many of which she has never cooked for customers.
Gaby Berben inside her bright and tidy German restaurant.
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"People kept asking us if we could open a shop," Berben explains. A year and a half ago, she found a vacant space that had once been a tattoo parlor wedged between the garages of an auto mechanic's shop. Converting the spot into a kitchen with a small dining room took months of work and lots of patience, but Berben says that Lakewood officials were cooperative and helpful throughout the process. Since the grand opening in April, customers — including some of those city employees — have been finding their way in for "food like Grandma's," as the sign out front of Gaby's reads.
Berben helped her mother bake cakes and cook sauerbraten and beef rouladen when she was young. "She was a great cook and a real innovator," she recalls, pointing out that the mocha buttercake on the restaurant's menu was a family recipe that originated in her mother's home state of Thuringen. Her grandfather was "a waiter in high-class restaurants in Europe — the Cote D'Azure and London," she adds, so his tastes and expectations at the home table were very particular. This background shaped Berben's love of cooking, as well as her insistence on quality ingredients.
Gaby's German Eatery, at 245 South Harlan Street.
While much of the menu at Gaby's will be familiar to those in search of German comfort food, Berben notes that her cooking technique borrows from another tradition. She follows the Chinese method of cooking with the "five elements": earth, metal, water, wood and fire. Ingredients correspond to each of the elements and are added sequentially in a specific order to maintain balance and achieve circular harmony, she explains.
The chef also uses organic, non-GMO ingredients for the majority of her cooking. "I believe in good food, real food," she adds. "I don't get deliveries; I go out and get my produce from Grower's Organic, my meats from Western Daughters and Boulder Natural Meats."
Dishes are simple and hearty, but not heavy. In addition to the sauerbraten and rouladen of her youth, Berben serves goulash, stroganoff, spätzle with cheese, sausages with potato salad or sauerkraut, and cabbage rolls. She wanted a dumpling dish for her menu but realized that she didn't have time to make them herself; instead, she offers pierogi from Pierogies Factory. Polish people really know what they're doing, she explains, adding that Cezary Grosfeld, the owner of Pierogies Factory, is the best. (In fact, Grosfeld has become something of a pierogi celebrity in Denver as he followed a route similar to that of Berben, showing up at farmers' markets and food-truck rallies and selling frozen pierogi while launching his own restaurants.)
Not surprisingly, soups are a big part of Gaby's menu, with daily specials that range from blood-red borscht to German-style lentil, carrot-ginger-coconut and liver-dumpling soup bobbing with golf-ball-sized liver meatballs. While the dining room is austere, the soups are served in elegant white bowls that resemble miniature tureens.
Gaby's is a counter-service restaurant, but Berben comes out and chats with customers, making sure that everyone is comfortable and taken care of as well as they would be at any fine-dining establishment.
Still, the cakes are what keep people coming back, she says. They include an iconic Black Forest cake, German cheesecakes, apfelstrudel and sachertorte, among others.
When you go, be sure to ask for the soup specials; for the full German experience, stick around for a slice of that cake and a cup of coffee. And you might want to bring friends. "There's no TV or music; people really sit and talk," Berben points out. "Eating is a social act — that's why I like to cook for people."
Gaby's is open from 11:30 a.m. to 7:30 p.m. Tuesday through Sunday. Call 720-329-8188 or visit gabysgermaneatery.com for more information.
Ethniche
Mark Antonation is the Westword Food & Drink Editor. He got his start by eating at and writing about every restaurant on Federal Boulevard and continues to cover metro Denver's diverse international food scene, as well as the city's quickly changing restaurant landscape. Mark was awarded Outstanding Media Professional by the Colorado Restaurant Association in 2018.
Twitter: @mantonat
Instagram: mantonat_westword
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Carton House Hotel, Golf & Leisure
Carton Demesne,
Maynooth, Co. Kildare
David Kearney (Director of Golf).
The Golf Union of Ireland National Golf Academy.
18 holes. Tree-lined & open parkland. Undulating terrain - a few slopes to climb (especially on the back-nine).
Woodland.
Mark O'Meara & Tim Lobb
At the same location:
Above distances are for the O'Meara course. Also at Carton House is the 18-hole Montgomerie Course (par-72; 7301 yards from back tees).
25 km W of Dublin
From the M4 motorway (west of Dublin) take exit Maynooth / Naas (R406) and follow direction Maynooth. After 1.8 km at traffic lights turn right direction Leixlip (R148). After 220 metres bear right following direction Leixlip. After 2.4 km turn left into Carton House.
Carton House (O'Meara)
Carton House Golf Club (O'Meara course)
Carton House Golf Club (O'Meara course): The elegant O'Meara course at Carton House makes excellent use of an expansive area of natural and stately parkland. Here you can ply your golfing skills in a delightful parkland setting, which for many centuries was enjoyed by the FitzGerald family (aka the Earls of Kildare). At times open, at others more tree-lined, the course exudes an air of quality in its design and upkeep.
Arguably the best stretch of holes comes in the layout's most wooded section, which nestles down alongside the River Rye. A handsome and testing pair of par-3s at 14 and 16, are connected by the dog-legging par-5 15th. All three of these holes require water to be crossed before the safety of the green is reached.
The O'Meara occupies gently undulating terrain, into which classically designed fairway bunkers will capture wayward drives, and deep rough awaits anything seriously off-line. An equally liberal array of greenside bunkers will swallow approach shots played short or wide. At the par-4 10th you'll be teeing off alongside the Tyrconnell watchtower, a high-point on the course from which you'll get the benefit of picturesque views over the neighbouring hills and countryside. Additional tree planting around the course will not detract too significantly from its generally open parkland character.
Must book in advance. Handicap required.
Visitor fee, 18-holes in high season (May thru' Sept): Mon-Thur €80; Fri-Sun €100.
Credit cards accepted. Contact club for full details, discounts, hotel resident rates, Stay&Play packages, etc.[Last updated: 2020].
The wonderful water features and great variety of trees that adorn the O'Meara course are the legacy of Emily FitzGerald, Duchess of Leinster (1731-1814). Also known as the Countess of Kildare (1747-61) and Marchioness of Kildare (1761-66), Lady Emily played a significant role in the development of the Carton House estate in the mid-to-late 1700s, when not attending to the demands of her 23 children.
The immaculate hotel and spa facilities opened their doors to the public in 2006, making this one of Dublin's premier out-of-town Stay&Play venues.
Carton House's Montgomerie course has hosted many top level amateur and professional events (see our Tournaments section >by Venue > Carton House).
Published ranking
2019 Golf World rating: 62nd best course in Ireland; 10th best Stay&Play golf resort in Britain & Ireland.
Carton House Hotel, Golf & Leisure5-star
Carton House, Maynooth, Co. Kildare
Located just twenty minutes from Dublin, Carton House is one of Ireland's top luxury hotels and golf Stay & Play venues. The 1,100-acre private parkland estate provides an all-encompassing playground for leisure and corporate guests alike. Features include - two Championship Golf Courses, a leisure centre with pool, Spa, Training Pitches, Tennis Courts, Purpose Built Events Centre and state of the art conference facilities. The house itself dates from 1739, with significant enlargement and alterations made in 1815.
Carton House (Montgomerie and O'Meara courses).
K Club (Palmer and Smurfit courses); Luttrellstown Castle.
Castleknock; Palmerstown House; St Margarets.
Glenroyal Hotel & Leisure Club3-star
Glenroyal Centre, Maynooth, Co. Kildare
Our Leisure facilities are second to none. With two pools one a kid’s free zone. Gym, Sauna, Jacuzzi, Steam room and Hydro Spa.
Carton House (Montgomerie and O'Meara courses); Luttrellstown Castle.
Castleknock; K Club; Palmerstown House; St Margarets; Grange.
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WHYKEEPHEALTH
Health & Medical Self-Improvement
Resolutions and Desire
Wednesday, January/15/2020
The first week of January is barely over, and already the media is bombarding us with reflections on New Year's resolutions and how most people fail within the first month, or even first week.
As a slight aside, are you aware of the top ten resolutions? Here's a list as produced in an American national paper: 1.
Spend more time with family and friends.
Fit in fitness.
Tame the bulge.
Enjoy life more.
Quit drinking.
Get out of debt.
Help others.
All very laudable resolutions, and each one is aimed at making life better, or making us better people.
So how sad is it that 95% of resolutions are never kept? It seems that making a resolution is so easy, but keeping it is so difficult.
Why do people find it so difficult to keep their resolutions? The key reason is that to keep a resolution means moving out of your comfort zone.
It's been very comfortable to sit in front of the TV and eat convenience food.
It's much less comfortable to visit the gym at least three times a week and really watch what we eat.
How deep is the desire? How much do you really want a better body, or how important is it to you that you give up smoking? The story is told of the young man who approached the philosopher, Socrates, and said, "Socrates, teach me what you know.
" The great teacher looked at the young man and said, "Do you really want to know all that I know?" "Oh, yes teacher, I do," the student replied.
"Then walk with me for a while," Socrates said.
So they walked for a while in silence.
The learned philosopher slipped his arm around the young man's shoulder and guided him off the path and into the shallow waters of a lake.
The young man thought that this was a strange way for the philosopher to teach him what he knew, but after all, he was Socrates, so the student decided to go along with what was happening.
They continued to walk into the water; it rose to their ankles, then knees and hips, until finally they were standing in water to their shoulders.
Suddenly the arm that was around the young man's shoulders tightened around his neck and pulled him underneath the water's surface.
This was a very strange way to teach the student what he wanted to know, but this was Socrates, after all, so he submitted.
He grabbed a breath before he went under, so he wasn't bothered for the first fifteen or twenty seconds, but after about 30 seconds he wondered when Socrates would let him up.
He gave a signal to indicate that he had been under long enough and wanted to get out.
Another few seconds and the young man began to fight for all he was worth.
He kicked and clawed and scratched, but the hold was strong and he began to lose his strength.
At that moment Socrates pulled him out of the water and dragged him to the shore where he began to revive him.
When he caught his breath, angry and confused, the student looked into the face of one of the greatest philosophers of all time and said, "What was that all about?" Socrates looked into his eyes and said, "When you desire to know what I know as much as you just desired to live, then you will know".
How strong is your desire? How much do you really desire to start your own business, or get out of debt? To be really successful in keeping your resolutions and achieving your goals, then your desire has to be everything.
You need to really want to lose weight, run that marathon, learn to speak French - whatever it is, it has to be your focus.
It's the first thing you think about upon waking, and the last thing you think about at night.
Does it sound like a tall order? I'm not surprised, but if you really want to achieve something, to be one of the 5% who actually keeps a New Year's resolution, then this is the level of commitment that is required.
Nothing else will do.
Still want to get back into shape?
Tags Goal Setting resolution focus desire goals comfort zone health Medications Drugs Medical
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Film-Actress
Lauri Peters
Obituary of Lauri Peters
Lauri Peters (born on July 2nd, 1943) was a Film-Actress who was probbly best known for playing Liesl Von Trapp in the original Broadway production of "The Sound of Music" in 1959. Lauri died on (Not Deceased) and her death was possibly because of complications due to her aging. She was only 77.
Please help us remember the life of Lauri Peters by contributing to her obituary, her ancestry, family tree, her birth, family, career and death in the sections below.
Lauri Peters Biography Wiki:
Dead or Alive: Alive
Full Name: Peters, Lauri
Common Name: Lauri Peters
Birth Name: Patricia Peterson
Birthplace: Detroit, Michigan, U.S.
Birth Date: July 02, 1943
Also Known As: Patricia Peterson, Patricia Peters, Pat
Category/Genre: Film-Actress
Jon Voight (married 30 April 1962-divorced 1967)
Father: Ned Peterson
Date: Alive
Cause of Death: N/A
Lauri's Notable Roles:
Is she dead or alive? According to our unconfirmed records, Ms. Peters has not passed away.
Wikipedia.org: Lauri Peters
IMDB.com: Lauri Peters
Melissa Brasselle
Monica Stachielczyk: Today, I saw Laurie Peters in an episode of Gunsmoke (Season 9 - Episode 20.) She played Festus's cousin. Her name was May Blossom. I went to the internet to see what else she was in and discovered that she died. How sad. A lovely woman.
Grant Whitwam: I also saw her on an episode of Gunsmoke, what a absolute beauty.
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Ouvrir le menu Shop Replier le menu Shop
Ouvrir le menu About Replier le menu About
Introducing "Dawn" Collection
A small, limited series of work made with dark, dramatic resin and fine metals. Released for Fall 2020, capturing dried florals in ethereal designs, set with fine 14k gold-fill and sterling silver.
I was interested in making a new series for fall (even though my last release was only in September), and just sort of found myself making these dark, moody pieces in the studio one day. In stark contrast to my usual bright blues and soft neutrals, these black & white pieces started to form into a really different kind of series. With Halloween right around the corner, these necklaces and earrings work really well as an autumn collection - but I think they also have a timelessness and elegance that will work year-round.
I named the series "Dawn," from the well-known saying, "it's always darkest before the dawn." These are dark times, in many ways - and it's hard to see the end of it. But it will come, gradually and softly, like the morning always does. That's the hope I hold tightly, and resolutely. My intention for this series is to act as a small and daily reminder to wait for the light and hold to hope, even in dark times.
You can view the full collection here.
Veuillez noter que les commentaires doivent être approuvés avant d'être affichés
← Retour à News & Updates
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Building Unity: Our Community Centres
Changing perception of treaties
School and community project promotes real democracy
By: Ligia Braidotti
Posted: 05/23/2018 3:47 PM | Last Modified: 05/28/2018 9:09 AM | Updates
PHOTO BY LIGIA BRAIDOTTI
Talitha Kaethler, the integrated arts teacher at David Livingstone Community School and the project co-ordinator for the Treaty Mosaic Project says the project will turn treaties into something positive for the community.
Hey there, time traveller!
This article was published 23/5/2018 (971 days ago), so information in it may no longer be current.
A local school is turning something that has resulted in much harm into an ever-lasting pledge with their community.
The mosaic was designed by the students and inspired the school’s community treaty.
On June 1 at 9:45 a.m., David Livingstone Community School (270 Flora Ave.) will unveil a community mural that is the result of a two-year project that comprised the themes of reconciliation and treaty history.
During colonization, many treaties were signed between the Indigenous peoples in Canada and the Crown, describing exchanges of interests and were viewed as sacred covenants between nations, forming a constitutional alliance. Over the years, promises were made and broken and the term "treaties" gained a negative connotation among Indigenous people.
To change that perception and bring about healing among students, staff, community, and families, David Livingstone has worked with people from the four groups to create a community treaty that describes the responsibilities and rights of each of them.
In the fall of 2016, teachers started working with their students in creating treaties for classrooms.
"Instead of having class rules, I refer to this (the treaty) and this is where I can hold them to this standard and they can also hold me if I’m not doing one of the things I said I would. They can point and say ‘You’re not holding up here,’" Talitha Kaethler, integrated arts teacher at David Livingstone and the project co-ordinator for the Treaty Mosaic Project, said.
At the end of June 2017, the school put all the information gathered from parents, students, staff and community organizations that surround the school together and launched its community treaty with a week of celebrations and activities.
This past fall, the school, and the community started working on the project’s final component, a mosaic mural that will be installed at one of the school’s old doors, facing a field where kids play, Lord Selkirk Park Housing, and Turtle Island Community Centre. The mural will remind the community of the treaty they made with each other and become a symbol to newcomers living in the area.
"I think there have been a lot of mistakes made in schools (in the past), and the idea that the old door is closed and taking the old and remaking it as new is very symbolic," Kaethler said.
The mosaic’s design was created by the students and local mosaic artist Ursula Neufeld, who came into the school with the technical skills, to train and build the piece with the community. She worked in small groups and taught them how to cut and shape tiles and composition. Students and Neufeld consulted with local elders to ensure that the project was reflective of their culture.
Neufeld has been working with community and school projects around Winnipeg for more than 10 years. She said she feels grateful for having the opportunity to work with David Livingstone in this project.
"I’m so proud of the school for tacking this controversial topic and bringing into a very positive light, teaching kids how to have a respectful treaty where they can reconfigure the democracy and make a more balanced type of treaty which was supposed to happen many years ago," she said. "They are learning what is like to be heard, to be respected and to be treated democratically."
The mosaic is hugely significant to the community, Kaethler said.
Demographically, 61.8 per cent of families served by David Livingstone identify themselves as Indigenous — the highest rate found across the Winnipeg School Division. According to WSD records, 63.6 percent of David Livingstone’s elementary students and 71.4 per cent of secondary students are Indigenous
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"I think that the healing that this generation is going to bring to our broken community and country — I stand in awe of what they are already doing and they are going to do more," Kaethler said. "They are so different from each other, they come from different places, they have different nations that they belong to, and they are open to working with each other. The different voices aren’t a problem. Is not that they all agree, but they don’t have a problem with disagreeing. That’s not where it ends."
Kaethler also said the different groups of the project connect to each other through the circle. A student is a community member and is part of a family, she explained.
"You can look for something that connects with you whether it’s a colour or image and then you’re in it, then you see that you are invested and that you are a part of it."
Neufeld added the mosaic will last for 100 years or more, reminding all generations that come through the school and community of this important treaty.
"Mosaics have been around for thousands and thousands of years. They don’t just go away."
All community members are invited to attend the unveiling of the mosaic.
Ligia Braidotti
Community journalist — The Times
Ligia Braidotti was the community journalist for The Times.
Updated on Monday, May 28, 2018 at 9:09 AM CDT: Corrects time of event.
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Mobile / Reviews
by Abe Olandres · April 13, 2017
LG has once again surprised us with a new direction with the LG G6. In the last 3 years, they’ve played with a fashionable phone, a modular phone and now an immersive display.
LG’s approach with the G6 is safe and exciting at the same time. Safe, because they abandoned the modular design and went back to the standard fare; and, exciting because they have moved on and gave us the more important things in a smartphone – bigger screen, water-resistance and wireless charging.
From the modular LG G5, the LG G6 went back to basics and crafted an all-metal unibody design. There’s still some semblance of the G5 and the V20 here but it’s safe to say this new design is pointing at a different direction.
The first thing you will notice with the G6 is that super shiny, glossy back panel due to the sheet of glass layered on top of the metal frame. So yes, it’s going to be a fingerprint and smudge magnet.
The size of the G6 is just right, feels good on the hands and almost the same dimensions as the LG G5. While the G6 has a slightly curved back, the sides have sharp corners, unlike the G5 that’s slanting inwards.
There’s no physical buttons at the front and very sparse around the sides. Only the volume controls are placed on the left side. It can be confusing at first since there’s almost nothing in there but it makes more sense once you use the phone more.
The power button is found on the back and has been there since the LG G2, so we’re already used to the ergonomics. The circular home button also serves as the fingerprint scanner. The entire back panel is covered in Gorilla Glass 5 which slightly tapers toward the edges. It’s very glossy and easily attracts a lot of smudges.
The USB Type-C charging port is at the bottom end along with the lone speaker grills and primary microphone. The 3.5mm audio port is on top together with the noise-cancelling microphone. There are two antenna bands at the top and one at the bottom but they’re barely noticeable.
The metal frame with chamfered edges makes it easier to hold and while the size is just right, we still sometimes find it a bit slippery. Perhaps that glass and glass exterior for the front and back isn’t really ideal to give you a solid grip.
Nevertheless, the G6 looks good with a simple yet elegant design that’s miles better than the G5.
LG also finally went with an IP68 Rating for dust and water resistance, making the G6 the first flagship in their line-up to get the certification.
One of the highlights of the G6 this year is the display. From the usual display sizes of 5.2 to 5.5 inches, the LG G6 pushed ahead and went for 5.7-inches. This puts the G6 in the same category as the LG V20 but despite that bump up in the display size, the LG G6 is still manageable with one hand.
LG V20 vs. LG G6: Same display size, different body type.
This was made possible by increasing the screen-to-body ratio and removing un-used space on the phone. This means the G6 has much narrower bezels especially on the top and bottom sections.
Also noticed that the corners of the display are rounded instead of a sharp right angle like the one in the G5 and V20. Been using the LG V20 for a while now so it’s also a huge difference to get the same screen size on the G6 with a much smaller body.
LG’s main differentiation is its 5.7-inch QHD+ FullVision display which has an unusual aspect ratio of 18:9 and a slightly higher resolution of 2880×1440 pixels (565ppi). The G6 also gets full Dolby Vision certification (for watching High Dynamic Range content from sources like Amazon and Netflix).
It is also interesting to note that LG used Gorilla Glass 3 to protect the display yet covered the back panel with a tougher Gorilla Glass 5. We’re not sure about this decision by LG as it could be due to the thickness of the glass or the cost of materials.
HDR is also a new feature that’s starting to invade mobile phone displays and LG did it ahead of everyone by partnering with Dolby.
Standard Dynamic Range vs. High Dynamic Range on the LG G6
Video streaming services such as Amazon Prime and Netflix are now incorporating HDR in a number of their titles and you can now enjoy these improved color quality in the LG G6.
Age-old features such as the double-tap to wake/sleep (KnockON) is present which is great since there are no physical buttons on the front. The AlwaysON display is also customizable to include your signature or custom text.
The G6 supports 32-bit/192kHz audio which is nice if you’re particular about sound quality. The speakers at the bottom end produce really good sound, very loud (registers up to 85dB in Sound Meter) at maximum volume though there’s not a lot of bass at the upper range. There’s no B&O Play certification compared to the V20 and while the G5 can match the quality in the low and mids, the V20 gets a little advantage in the highs.
Another old feature that’s no longer included is the IR blaster which you can use as a universal remote for your home appliances. There’s an FM radio tuner but in the age of Spotify, they’re not that needed much these days.
Since the G5 and V20, LG has been banking on their dual camera setup with one of the lenses having a wide (125-degrees, from 135-degrees in the G5) field of view. This allows the G6 to take wide angle shots that are useful in tight spots or scenic views.
At the rear is a dual 13-megapixel sensor — both cameras have the same 13MP maximum resolution but with different aperture and field of view (Sony IMX258, 1/3.06″, 1.12µm pixels). These are completely different sensors compared to the G5 (16MP+8MP) and the V20 (16MP+8MP).
The camera settings also offer the same 18:9 aspect ratio on top of the standard 16:9 and 4:3 aspect ratios normally found in other smartphones.
LG was one of the first ones to introduce a manual mode in their cameras and it has become our standard for a versatile camera. You can take long exposure shots at night and get stunning results like the one below.
Manual Mode at Night: ISO 50, f/2.4, 13 seconds.
In manual mode, you can set the ISO from 50-3200, the shutter speed from 1/4000 of a second to 30 seconds, and adjust the white balance from 2400K to 7400K.
Photos looked nice, balanced and fairly saturated. The G6 tends to sharpen the edges of the subject to make it look sharper and well-focused though in some cases it’s too obvious. Dynamic range is very good with wide contrast and no noticeable aberrations.
Switching to the wide-angle shot results in much wider field-of-view although the photos will obviously distort around the edges. Also note that while the normal camera has AF and image stabilization, the wide angle camera does not.
Video recording can go up to UHD (16:9) or full HD at the native 18:9 aspect ratio. We prefer the full HD 16:9 at 60fps. Focus tracking is only available at FHD and HD resolution.
Also note that while both cameras are 13MP, you will not get the same image quality since one has f/1.8 while the other has a f/2.4 aperture.
The front facing camera was changed to just 5MP with f/2.2, a move that seems to be a downgrade from the G5 (8MP f/2.0) and even the V20 (5MP f/1.9). This is because the G6 now prioritizes groufies instead of selfies by widening the field of view of the camera.
OS, Apps and UI
The G6 comes with Android 7.0 Nougat right out of the box with LGUX 6.0 as the custom skin. Google Assistant is baked into the system. It’s a simple, clean and flat UI that looks really close to the vanilla UI which we liked. There’s no app drawer but there’s an endless loop of home screens, which means you can just group your apps into folders for better organization.
Swiping the screen down calls up Google Search in your apps and the Smart Bulletin is disabled by default but you can easily add it to your home-screen from the settings.
The LGUX comes with 5 default themes to choose from but you can just download more from the LG SmartWorld along with other LG-developed apps. A number of native LG apps are also pre-installed, most of which are management and services app. Evernote is the only 3rd-party app we saw that was pre-installed as well.
The navigation menu at the bottom of the home screen can be customized to accommodate up to 4 keys. With the LG UX, you can change the type and order of these keys to your liking.
There are a number of smart settings you can tinker with — like app resizing to fit them to the 18:9 aspect ratio, system optimization, and custom profiles.
The App Trash is a nice addition to the system. It gives you the option to move an app into the trash than completely delete it right away. The app will stay in the Trash for 24 hours. After which, it will be deleted permanently. There’s also the option to hide an app from the home screen.
The G6 uses a Snapdragon 821 chip which has a 2.35GHz quad-core processor and Adreno 530 graphics. There was a lot of discussion about the G6 not running the recently announced Snapdragon 835 (used by the upcoming Xperia XZ Premium and the newly announced Galaxy S8/S8+) but the SD821 is still a very capable and powerful chipset.
Here are the benchmark scores we got:
Antutu Benchmark: 147,716
Quadrant Standard: 39,253
PCMark: 5,106 (Work 2.0), 5,317 (Work 1.0)
PCMark Storage: 4,008
Vellamo: 5,418 (Browser), 3,571 (Metal), 4,315 (Multi-core)
Geekbench 4.0: 1,804 (Single core), 4,220 (Multi-core)
Needless to say, the device can handle anything we threw at it — from multiple tasks to graphics intensive games like NBA2k17. It’s fast, snappy and responsive.
The variant that will be released in the Philippines will have 64GB of internal storage, 12.5GB of it is used for system storage, upgradable up to 2TB via the microSD card slot.
Call Quality, Connectivity and Battery Life
The G6 has all connectivity options available to the user — dual-SIM, LTE support, fast WiFi, Bluetooth, NFC, and GPS. Unfortunately, there’s no more IR blaster here — a feature we really liked from the previous models like the V20.
Call quality is excellent — voice calls are loud and clear, SMS are sent and received quickly and signal strength for WiFi, GPS and mobile internet are good in most cases. The hybrid dual SIM support allows for two nano SIM cards or one SIM and a microSD card of up to 2TB. Both SIM slots are LTE-capable and support up to 12 bands, including the 700MHz band.
GPS is pretty good with an accuracy rate of about +/-12m based on our GPS tests. We’ve had some GPS problem with our G5 before (came up after several months) so we hope the one in the G6 will not have the same issue.
The LG G6 now comes with a higher 3,300mAh Li-Ion battery. This is way better than the 2,800mAh of the G5 and even slightly higher than the 3,200mAh of the bigger V20.
In our standard video loop test, the G6 lasted 13 hours and 40 minutes at 50% brightness and 0% volume. (PCMark Battery Test keeps on crashing so we’re not able to get scores from there).
With Quick Charge 3.0 support, the LG G6 can charge really quick and takes about 80 minutes from zero to full. Unfortunately, the units that will be released in the Philippines do not have wireless charging (only the North American units have them).
Big changes for LG this year but these are changes that made sense and pointing to a more concrete identity. They’ve been experimenting for the last three years and this time, we think they’ve got it right. We hope they stick to this philosophy and improve on them moving forward.
Nothing fancy. Nothing gimmicky. It’s a proper flagship — big, gorgeous display, great performance, very nice dual-camera setup, good battery performance — just the right amount of goodness peppered all over the G6.
The LG G6 will be released in the Philippines at the end of April 2017 with a suggested retail price of Php37,990. Available colors in black and platinum.
LG G6 specs:
5.7-inch QHD+ FullVision display @ 2880 x 1440, 565ppi
Qualcomm Snapdragon 821 2.4GHz quad-core processor
2 x 2.35GHz Kryo & 2 x 1.6GHz Kryo processors
Adreno 530 graphics
64GB UFS 2.0 storage
expandable via microSD up to 2TB
LTE-A 3 Band CA up to 600 Mbps
13MP f/1.8 and 13MP f/2.4 Wide-angle Rear cameras with Dual LED Flash
5MP f/2.2 Wide-angle front camera
WiFi 802.11ac
GPS with aGPS support
FM Radio tuner
IP68 Dust and Water resistance
32-bit HiFi Quad DAC Chip
USB Type-C 2.0
Android 7 Nougat with LGUX 6.0
3,300mAh Li-Po battery (non-removable)
148.9 x 71.9 x 7.9mm (dimensions)
163 grams (weight)
Colors: Mystic White, Astro Black, Ice Platinum
What we liked about it:
* Beautiful design
* Gorgeous display
* Great performance
* Water-resistance
* Quad HiFi DAC
* Great battery life
* Very nice dual camera setup
What we did not like:
* No wireless charging for PH units
* More expensive than before
ASUS ROG Phone Review
Huawei P30 Pro Review
Article Under:lg g6 review lg g6 review philippines lg g6 reviews
Abe Olandres
Abe is the founder and Editor-in-Chief of YugaTech. You Can follow him on Twitter @abeolandres.
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32gb storage for 36k is a deal breaker for me lg. Akala ko pa naman 64gb storage ang irerelease nyo sa pinas dahil walang wireless charging sa asian models.
HUNGhunks says:
Di ka ba nagbabasa ???? Lmao
*The variant that will be released in the Philippines will have 64GB of internal storage
Read more at http://www.yugatech.com/mobile/lg-g6-review/#loXZpQiD8IJDi8SH.99*
Mark Stephen says:
I really love this smartphone. It’s without any doubt the best among all…
Hi. what are included in the box for Lg G6? does it have the earphones, usb-C to micro usb adapter?
Iqbal Hossan says:
Beautiful Design Lg G6. Camera performance really Gorgeous. I Love This Phone.
PrimeUser says:
Hi abe, can you update us on the this as a Daily/Work Phone? Hows the battery life before/after the updates, is it experiencing connectivity issues on Wifi(low throughput) and Bluetooth conenction?
Planing on getting this, if its good enough for daily/work phone, then this is likely my phone of choice.
Abe Olandres says:
Still using this phone as one of my primary units. Battery life is still very good. Can last more than a day. No problems with connectivity.
Yan B. says:
This or Huawei P10? Having ahard time deciding.
Hi Abe, do you experience and foggy(shot) or scratch on the camera area, most of the redditor concerns are the visible scratch that appears on the camera glass because of a poor coating, seeing that yours is a retail(?) is either one of this happening now?
Reina says:
This LG G6 or Huawei P1 Plus? I’m using the camera quality as basis.
whelzkie says:
Is this true or propaganda against g6?
See comments from this video, which may seem to be experienced by many users:
https://www.youtube.com/watch?v=dChIbwDm5E4
There are also multiple forums from Reddit which many other people said they experienced the same thing:
https://www.reddit.com/r/lgg6/comments/6cy5pj/lg_g6_camera_cover_crackedshattered/
https://www.reddit.com/r/lgg6/comments/67fksa/lg_g6_rear_camera_glass_broken/
iamjunsowhat says:
how come Yuga there’s no Sample sa Selfie Camera? dahil ba panget? i checked one sa mall ung selfie nya ampanget… super filtered kahit naka auto mode na!
dickenson says:
why not octacore?????
h4t3r says:
More cores != better performance. Bobo
Archipelago says:
I have an LG G6 and am a Smart subscriber. I just am NOT getting OTA updates. My last security update is March 2017 — yes 2017. LG has several security updates but I am not getting them on my G6. I can’t figure out if the problem is with LG or with Smart. Any suggestions?
Jaime Jose says:
I have a very bad experience with LG phones. After you bought one unit and the thing goes out of function, after sales service is so poor. I will never biy any LG phones in the future..
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YMCA of the East Valley
Highland Family YMCA
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Camp Edwards
Highland Schedules
Redlands Schedules
San Bernardino Schedules
Wellness Education
Y Outdoors
Highland Run
Darren’s Y Story
It has been 18 years since Darren first learned he had Multiple Sclerosis.
Since it is a disease that attacks the central nervous system, much of the structure and routine of Darren’s life vanished after his diagnosis. Despite the challenges of living with MS, Darren lives each day with infectious passion and purpose.
But the road to achieving his positive attitude and outlook took courage and determination. He battled with depression and suffered great personal losses following his diagnosis. However, Darren came out from these dark moments with a redefined look on life.
“Being diagnosed with Multiple Sclerosis was the best thing that ever happened to me because it taught me how to live,” shared Darren.
Today, Darren is a testament to positive thinking and advocacy. From 2005-2008, he rode across the United States to raise money for Multiple Sclerosis research. Now, he spends his days tackling personal goals, such as visiting every national park and all 50 states, the latter a goal he reached recently.
In 2017, Darren decided to join the Y.
Motivated to maintain his current strength, Darren remembered his moments at the Y as a kid and decided to become a member once again. The Y has offered Darren a place with the equipment and environment he needed to focus on his health. Since joining, Darren has formed friendships with members and staff alike.
“I’ve seen Darren grow here at the Y and I can personally see his progress in reaching his goals,” shared Raheem Odomes, the Redlands YMCA Membership Director. “More than that, I think Darren gives to the Y as much as he gets. He is always sharing insight and inspiration; he wants everyone to know that you can overcome any obstacle with a smile on your face.”
Darren’s exceptional journey and attitude help other members struggling to find that ray of positivity. Darren’s journey is made possible through the Y’s Financial Assistance program. With MS, it is crucial to maintain strength and the Y has given Darren the opportunity to stay strong.
“I hope that members at the Y can look at me and feel inspired to rise above their challenges.”
Support members like Darren
1 in 4 of our members receive Financial Assistance
The YMCA provides Financial Assistance so that we can eliminate the financial barriers that keep families and individuals from wellness resources and a community of support. When you donate to the YMCA of the East Valley, 100% of those donations go straight into our Financial Assistance program so we can serve more in our community.
Giving to the Y
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Currently selected:
Nedbalka Gallery
The building of the Nedbalka Gallery hides an impressive interior featuring an internal structure resembling the Guggenheim Museum in New York. Its four floors provide space for a permanent exhibitio...
House in the Moor
The Haus im Moos (House in the moor) is an open air museum and an institution for environmental education. Furthermore you can visit the biggest wisent-herd in South-Germany disposing of round about 2...
Exposition of Dolls in Traditional Costumes
Exposition of costumed dolls (Búč) which are accurate copies of the traditional folk costumes from more than forty villages in Slovakia. ...
Bratislava City Museum
The BratislavaCityMuseum, established in 1868, chronicles the history of Bratislava. Its collections, of exceptional artistic and historical value, document the history of the town from the earliest p...
Civilization Museum Gumelnita
Established in 1957, this is one of the most important civilization museums along the Romanian Danube, having a large collection of more than 15.000 archaeological artifacts. ...
Wax Museum (city of Odessa, Ukraine)...
Archaeology and Ethnography Museum Corabia
You can visit two sections: popular art and ancient history. It is a good place where to find out more about the ancient civilizations from the region. ...
Ethnography and Art Museum Calafat
The museum is hosted in an impressive building, listed as national heritage monument.It was built in 1904 by Stefan Marincu, an important local personality....
Ethnographic Museum
Ethnographic Museum (Belgrade, Serbia) Opened in 1901, it houses 150,000 objects which illustrate rural and urban culture of the Balkans, especially in the area of former Yugoslavia....
FC Red Star Belgrade Soccer Museum
A museum dedicated to one of the most popular clubs in Belgrade and Serbia...
Memorial Museum of Zemun
The museum shows the local history of Zemun...
Gallery of Frescoes
Opened in 1953, this gallery presents a fine collection of Serbian medieval ar...
Gallery of the Museum of Natural History
Erected in 1825 – 1835 within the Belgrade Fortress limits...
Heritage House ...
Items in the exhibition are dedicated to 25th May, once (1945 – 1987) a national holiday (Youth Day)....
Jewish History Museum
The museum presents depictions of the 2,000 years old history of the Jewish community...
Manak’s House
The museum showcases old Balkans urban architecture...
It was opened in 1904.There are 25,000 exhibits of this museum located within the Belgrade Fortress complex. ...
Museum “25th May”
Entrance to the Tito memorial Center....
The Museum of African Art
1,800 works of art from West Africa...
Museum of Applied Art
Museum of Applied Art ...
Museum of Automobiles
Museum of Automobiles – a Collection of Bratislav Petković ...
Museum of Aviation
The collection consists of 200 aircrafts...
The first contemporary art museum in Europe...
Gallery-Legacy of Milica Zorić & Rodoljub Čolaković...
It houses 117 different collections with more than 1,500,000 objects...
Museum of Pedagogy
Since 1896, it has presented artifacts and items that show the history of education in Serbia...
Museum of Science and Technology
The 25 collections with 700 items are presented on 2,500 m²....
Museum of the Camp at Banjica
Dedicated to the memory of the victims of the Nazi concentration camp from WW II ...
Museum of the City of Belgrade
With over 130,000 cultural and historical objects, presented in 14 sections, the museum exhibitions reflect the outstanding rich history of Belgrade from prehistory to 19th century. ...
Museum of the National Theater
This recent museum was opened in the theatre basement ...
Museum of the Serbian Orthodox Church
Since 1954, this museum has shown liturgical objects and exhibits related to historical events and persons...
Museum of the Yugoslav Film Archive
The archive is among the 10 largest worldwide and contains 95,000 film copies, starting with the oldest preserved film “Crowning of King Petar I” (1904). ...
Museum of Vuk and Dositej
Part of The National Museum ...
Museum of Yugoslav History
Since 1996; this museum has been the successor of the “Josip Broz Tito” memorial Center and others...
The first and oldest museum in Belgrade was founded in 1844. ...
Nikola Tesla Museum
Dedicated to the world famous Serbian scientist...
Old Museum
Originally part of the Tito memorial complex...
Petar Dobrović Gallery
The exhibition in the former atelier is dedicated to painter Petar Dobrović...
Railway Museum
Since 1950, the museum has presented the history of railways....
PTT Museum
Postal, telegraphic, and telephonic museum of PTT communications "Srbija"....
Residence of Princess Ljubica
Erected in 1831, it was the residence of Princess Ljubica, wife of Prince Miloš Obrenović....
Roma Museum
Opened in 2009...
Salon of the Museum of Contemporary Art
Exhibitions of works of Serbian contemporary artists...
Zepter Museum
First private and brand new museum in Serbia...
Foreign Art Collection
The collection of Western European art from Renaissance to 20th century owes its existence to Dr. Branko Ilić who donated his collection to the city of Novi Sad...
Gallery of Fine Arts
Gallery of Fine Arts – Donated by Rajko Mamuzić (Novi Sad, Serbia)...
Gallery of Matica Srpska
Тhe Gallery of Matica Srpska dates back to 1847, when it was founded in Pest (former part of Budapest, Hungary) under the guidelines of The Matica Srpska Society, the oldest cultural, literary and sc...
Museum of Vojvodina
The huge museum of the region, one of the best in Serbia, consists of an archeological department with the prehistoric, antique, medieval, numismatic and archaeological-biological sections, a history ...
Novi Sad City Museum
Integrated in the Upper Town of the Petrovaradin Fortress, in the Gunners' Barracks, in its two exhibitions, this museum shows the history and development of Novi Sad and the Petrovaradin Fortress...
Pavle Beljanski Memorial Collection
In 1957, Pavle Beljanski donated his art collection (185 art works by 37 artists) to Serbian people. ...
Theatre Museum of Vojvodina
Documents, manuscripts, costumes, theatre manifests and posters...
Zmaj Museum
This house museum and the municipality of Novi Sad is dedicated to the life and work of Serbian poet Jovan Jovanovic Zmaj ...
Ilok Town Museum
Ilok Town Museum is in Odescalchi Manor (Odescalchi Castle), which was built on the foundations of the 15th century castle of King Nikola Iločki....
City Zoo
It shows 2,000 animals from more than 200 species...
Museum Gugging
The Art / Brut Center Gugging, 20 kilometers from Vienna, is worldwide one of the most important places for Art Brut. ...
Art Gallery Nikola Petrov
The Art Gallery Nikola Petrov, above the Danube banks and 150m from the city centre, has been open since 1961....
Baba Vida Fortress and Museum
Baba Vida Fortress and Museum (City of Vidin, Bulgaria)...
Vidin town museum dates back to 1910....
Konaka Museum
Situated in the former Ottoman police station, built in 18th century and later on reconstructed in Bulgarian Revival style...
Krastata Kazarma Museum
Krastata Kazarma, the cross shaped barracks, were erected in 1798 – 1801 to house Ottoman troops, especially the janissaries of Osman Pazvantoglu....
Kaleto Fortress
Located 65 km east of Vidin, Belogradchik fortress is the main attraction in the tiny village ...
Art Museum-Muzeul de Arta
This museum is housed in one of the most beautiful buildings in town, a palace in an eclectic neo-baroque style, designed by Italian architects in 1890 for the rich merchant family Sabetay....
Iron Gates Regional Museum
Established in 1912 by members of the famous Trajan High School, the museum moved to this modern building, a former manor house, in 1926....
Tudor Vladimirescu Fortified Manor House
Located 5km north east of Drobeta Turnu Severin, this museum is dedicated to Tudor Vladimirescu, the leader of the Wallachian Revolution in 1821...
Iron Gate Hydropower Station and Exhibition
The museum of the Iron Gates Hydropower Station together with the Turbine Hall is easily accessible from Drobeta Turnu Severina)...
Baile Herculane Resort and Spa Museum
Opened in 1924 in a former casino, this museum presents the history of the world-renowned spa since Roman times...
Lepenski Vir Archeological Site and Museum
Archaeological excavation started in the 1960s when Djerdap dam I and hydropower station were built. ...
National Archaeological Museum Djerdap
Admire copies of Lepenski Vir statues, especially the famous ‘Ancestress’ and ‘Adam’ statues...
Canetti Trade House
This house was once built and used by Eliesar Canetti, the grandfather of Elias Canetti...
National Museum of Transport
This cultural institution, given the name of a National Museum in 1996, is on the banks of the Danube, outside Ruse and opposite the Romanian town of Giurgiu. ...
Pantheon of writers of the Bulgarian National Revival
This Pantheon, also an ossuary, is situated at the end of Tsar Osboboditel Blvd at the park entrance...
Regional Museum of History
The first floor of the 1882 museum building holds a permanent exhibition on Sexaginta Prista (read more in the section of round trips, Roman Emperors and the Vienna Route) and another nearby Roman for...
Roman Fortress Sexaginta Prista and naval station
The remains of this ancient Roman port and fortress were discovered by Felix Kanitz at the end of the 19th century in the north-western part of today`s city of Ruse, on an upland next to the bank of t...
Ruse Art Gallery
Established in 1933, the exhibition space (2,800 m²) shows paintings, graphics, prints and sculpture....
Toma Kardzhiev Museum Hall
Dedicated to Bulgarian Toma Kardzhiev, who was a revolutionary and a Russophile combatant for the liberation of Bulgaria, in 1887...
Tonka Obretenova House Museum
Ruse was the most probable birthplace of the popular Baba (Grandma) Tonka, a female Bulgarian revolutionary....
Zahari Stoyanov House-Museum
Zahari Stoyanov (1850 – 1889) was a revolutionary, writer and publicist...
Urban Lifestyle Museum
The exhibition in Kaliopa House (built in 1864) presents the Ruse lifestyle from the end of the 19th and the beginning of the 20th centuries, when the town became known in Europe as Little Vienna....
Folk Art & Ethnographic Museum (Muzeul de Etnografie si Arta Populara)
Folk art and ethnographic collection with agricultural and fishing tools, historic household items, decorative and traditional costumes and jewelry....
History & Archeology Museum (Muzeul de Istorie si Arheologie)
The prevailing theme is the historic development of northern Dobrogea (Dobruja) region until medieval times...
Museum Complex of Cultural Heritage of Dobruja: Museum of Fine Arts (Muzeul de Arta)
See more than 900 glass and wooden icons and avant-garde paintings and sculptures ...
Danube Delta Ecotourism Museum Centre (DDETMC)
The most visited museum in Romania and placed in the heart of the city’s cultural centre....
Casa Avramide
In this neoclassical building you can see part of the collection....
Old Lighthouse Museum
2.5 km from the shore of the Black Sea, it is the only monument of this kind in Romania...
Amerigo Tot Museum
The work of sculptor Amerigo Tot (1909 – 1984) and a donation by the artist, is shown on ground floor of the refurbished building in Káptalan Street 4 since 2011. ...
In this late Baroque style building (18th century), Archaeological Museum and Lapidarium are housed since 1922. ...
Busó Courtyard
Opened in summer 2013, this brand new attraction of Mohács is reachable from main Széchenyi square, turning into Vörösmarty Street....
Busó Museum
See a group of 20 Busó group members, three Sokác girls and one of the famous Jankele children......
Cathedral/Dome Museum
Enjoy free entrance into Cathedral, dome museum and bishop's cellar with your Visit Pécs! Card. ...
City History Museum
The museum of the local history in Tannery House, a residential building of 18th century, was once used by the families of tanners for dancing and other event...
Civil Community House/Gebauer Gallery
Look for actual exhibitions in this most prestigious town gallery...
Csontváry Museum
The museum was opened in 1973 in a neo-Renaissance building built around year 1900....
Endre Nemes Exhibition
The exhibition shows mainly works of the 1930s and 1940s....
Episcopal Cellar Museum
The cellar and the adjoining building were constructed in the time of Bishop György Klimó....
Erzsébet Schaár collection “The Street“
The only modern building at Pécs Museum Street, built by architect István Janáky, houses the “The Street” exhibition of Erzsébet Schaár ...
Ethnographical Museum
The Ethnographic Department of the Pécs Janus Pannonius Museum opened in 1996...
Ferenc Martin Museum
Ferenc Martyn (1899 – 1986), who died in Pécs, worked as sculptor, painter, graphic artist and illustrator....
Gallery of Modern Hungarian Art
The new permanent exhibition of the Modern Hungarian Gallery ...
Gallery of Modern Hungarian Art – International Collection
The international art collection of Gallery of Modern Hungarian Art can be found at Káptalan St. 4....
“Golden Age of Zsolnay” Museum
The collection of László Gyugyi, Hungarian collector from USA, is now the attraction in new Zsolnay Cultural Quartery...
Kanizsai Dorottya Museum
Named after famous Dorottya Kanizsai, a woman who buried the body of drowned King Louis (Lajós) II after the fatal Battle of Mohács in 1526...
Gránátalma, Pomegranate Museum Pharmacy
At southern end of St István Square, Hospitaller Brothers of St John of God established a pharmacy in 1796...
Marzipan Museum
All You need and want on Marzipan. ...
Mecsek Mining Museum
To remember the coal and uranium mining history, Mecsek Mining Museum was installed in a deep cellar with entrance in the yard of Káptalan Street 3...
Museum and Library of Mining History
The Museum and Library of Mining History opened at this place in 2004...
Nádor Gallery
Most important avant-garde art gallery in town ...
he continuously expanded collection shows the prestigious botanical collection of Adolf Olivér Horváth......
Paprika Museum
Magyar Füszerpaprika Múzeum verifies the rumor about Kalocsa being the hot spot of paprika agriculture in Hungary...
Permanent/Temporary exhibitions in Cinema Kossuth
This exhibition space is dedicated to famous black pottery from Mohács...
Pink Zsolnay Exhibition
Another Zsolnay attraction...
Puppet Museum
Interactive museum, where kids can also play with old puppets....
Renaissance Museum of Stonework Finds
Artifacts from Renaissance times that have been found in Pécs....
Saint Nicholas/Miklós Watermill
First mills in Mohács recorded are from 1331 AD....
Szabó Marzipan Museum
Little shop museum with direct sell of marzipan....
Schöffer Museum
In total, the museum presents 47 works of Kalocsa born Miklós (Nicholas) Schöffer...
Sipőcz House-Szerecsen-Saracen-Pharmacy Museum and Cultural Tourism Centre
Saracen Pharmacy was established in 1897 by István Sipőcz on the ground level of the three-storey corner building...
University History Collection, Klimo Collection and PTE Library
Opened in 2010, the history collection introduces Pécs from Middle Ages until today...
Victor Vasarely Museum
World famous Victor Vasarely, who was born in Pécs...
Zsolnay family and factory history exhibition
This top attraction in new Zsolnay Cultural Quarter describes the history of the Zsolnay family clan...
The tiny little house in village of Kölked, south of Mohács, is connected with the white stork for centuries...
Zsolnay Keramik Museum
This formidable museums shows most attractive master works of the world renown local Zsolnay Ceramic Factory...
Kossúth Museum Ship
100 years old original Danube passenger steam boat!...
Aquincum Museum
This museum on the spot of the ancient Roman settlement of second century AD, some 7 km outside (north) of the center (take the suburban train BHEV to arrive ), is dedicated to the Roman heritage in B...
Arany Sas Pharmacy Museum
Visit the oldest pharmacy in Budapest...
Bartók Béla Memorial House
The former private house of great musician and composer Béla Bartók ...
Budapest History Museum
This museum is three museums in one....
Budapest Museum of Fine Arts
This world class museum temple at Heroes Square is a must! It houses the finest collections of international art. ...
Budapest Museum of Transport
Közlekedési Múzeum owns one of the best collections of transport vehicles in the world...
Ernst Museum & Gallery
Dedicated to Hungarian art of 20th century...
Ferenc Hopp Museum of East Asian Arts
Exceptional collection of art from East Asia...
Godot Galéria
Important gallery for young modern and contemporary artists...
Gödöllö Royal Palace and Palace museum
Lots of roads are heading for city of Gödöllo (34 400 inhabitants), 30 km northeast of Budapest. But especially interesting for tourists are the new long distance theme routes called „Sisi Roads�...
György Ráth Museum
This museum, branch of Ferenc Hopp Museum and Museum of Applied Arts, houses the art of Chinese ceramics, an Oriental collection, and Ukiyo-e Japanese woodcuts from Count Péter Vay collection...
Hall of Art Budapest
Also known as “Kunsthalle Budapest” this building at heroes Square was built in 1896 in Neo-Renaissance style to house contemporary exhibitions. ...
Holocaust Memorial Center Budapest
The permanent exhibition From Deprivation of Rights to Genocide in the basement of the center and in the synagogue (1500 m² exhibition space) is a highly educative, modern, interactive presentation o...
House of Hungarian Art Nouveau
This museum is exclusively dedicated to the Hungarian Art Nouveau...
House of Terror
The house is dedicated to the documentation of the two totalitarian periods in contemporary Hungarian history and to their victims. ...
Hungarian House of Photography in Mai Manó House
Top world photographers have been or are of Hungarian origin, f. e, Robert Capa...
Hungarian Jewish Museum/Great Synagogue
People who visit the Great Synagogue at Dohány Street, the biggest in Europe and the second largest in the world, will also have access to the Jewish museum on the sight of the former house of Theodo...
Hungarian National Bank Visitor Center
The numismatic collections and details on money history are housed in a wonderful building from 1905...
Hungarian National Gallery
The largest public collection of fine arts in Hungary opened in 1957 and has been moved to Buda Royal Palace/Castle in 1975. ...
The oldest museum in Hungary started in 1802 with the collection of Count Ferenc Széchényi. ...
Hungarian National Railway Museum
A landscape park with outstanding interactive presentation of historic trains...
Hospital in the Rock Museum
Opened in 2008 as a private museum, today it is an official one, sponsored by EU since 2010, among others. ...
Hungarian Natural History Museum
The museum shows a wide selection of Hungarian and Balkan flora and fauna...
Imre Varga Museum
The collection shows exclusive works of famous sculptor Imre Varga...
Kiscelli Museum/Municipal Picture Gallery
Museum and gallery contain the Baroque sculpture hall, the history of printing houses and newspapers in Buda and Pest......
Korda Filmpark
Interactive museum of film-making, named after famous Hungarian Korda brothers...
Liszt Ferenc Memorial Museum
This wonderful museum in first floor has been arranged in the original place, where Ferenc (Franz) Liszt lived and worked during his stays in Budapest. ...
Ludwig Múzeum of Contemporary Art
Museum Ludwig in the new cultural hub of Budapest, the Palace of Arts (MUPA), is the top address of Budapest for contemporary and modern fine art....
Memento-Park
Certainly, monuments of Lenin and Karl Marx can be admired in Memento Park, an outdoor park in the periphery of Budapest, where 42 monuments from socialist period have been collected and are presented...
Military History Museum
See historic weapons, documents, flags and much more...
Millenium Underground Museum
Visit the oldest underground line in Continental Europe. ...
Museums in city of Szentendre
Szentendre is a town 20 km northwest of Budapest. A Roman rural villa has been found and excavated until 1984, and can be visited at the National Open Air Museum Skanzen, just 3 km out of the town. Re...
Museum of Applied Arts
Since 1872 this wonderful museum collects historical and contemporary applied arts....
Museum of Electrotechnics
The exhibition in a Bauhaus transformer station...
Museum of Ethnography
The fine marble building of architect Alajos Hauszmann was built 1896 ...
Museum of Hungarian Agriculture
This biggest museum of its kind in Europe is housed in a group of buildings, locally called "Vajdahunyad castle", on Széchenyi Island ...
Museum of Music History
Located on Castle hill, the Zenetörténeti Múzeum presents the glorious history of Hungarian music...
Palace of Miracles
Originally in the Millenaris complex, this great children`s attraction is now in Campona Shopping Mall. ...
Pétöfi Museum of Literature and Centre of Contemporary Literature PIM
Try to visit this temple of letters formed to literature, named after the most beloved Hungarian poet of famous Empress Elizabeth (“Sisi”), Sandór Petöfi...
See the unique building from 1886...
Semmelweis Medical History Museum
This museum, combined with the Library and archive of medical history, presents Hungarian medicine, pharmacy and medical system during the last centuries. ...
Southeast Asian Gold Museum
This outstanding museum was created by collector Dr. István Zelnik, a former diplomat who worked in Southeast Asia. It is prominently placed in Rausch Villa. ...
Stamp Museum
13 million postal stamps want to be admired!...
Telep Galeria
Gallery dedicated to Budapest underground art culture with exhibition space on three floors...
Trafó Gallery
Multifunctional arts center in a former electrical transformer station...
Gallery and showroom...
Várfok Gallery
Temporary exhibitions ...
Vasarely Museum
This museum on Buda side is, since 1987, dedicated to the art work (optic art) of Hungarian born Victor Vasarely...
X6 Photo Edition Gallery
Sales gallery ...
Zwack Unicum Museum
Visit the production spot of legendary Budapest bitter herbal drink Unicum ...
Archeological Museum
Oldest museum not only in Odessa but in whole of Ukraine opened as City Antiquities Museum, in 1825. ...
Arts Museum
Ukrainian and Russian visual art of 19th and 20th century...
More than 300 writers, who stayed or visited Odessa during last two centuries, are presented in 24 halls, which opened in 1977...
Modern Art Museum
The brand new attraction of Odessa opened in 2008...
This museum of the “Society of friends”, which Filiki Etrija means, is dedicated to the long history of Greek culture in Odessa...
Museum of F. P. dе Volan of the Odessa port
Opened on 10th of April, 1990, the 200th anniversary of Odessa ...
Museum of history of Jews of Odessa
This first Ukrainian museum dedicated to the highly important Jewish culture in Odessa opened in 1927...
Museum of Numismatics
Opened in 1999, it`s the first of its kind in Ukraine...
Museum of Western and Eastern Art
Number One in Odessa! ...
Open air museum of Anchors
Seafarer`s delight at Odessa marina...
Partisan Glory Museum “The Lost World of Catacombs”
The place to go! One of the actually most attractive museums is just 17 km from the city center (go on highway EU 95). ...
Pushkin Museum
While exiled in Odessa from July, 1823 to August, 1824, Pushkin stayed in this building...
Babit`s House
This museum is dedicated to Hungarian poet, teacher and philosopher Mihály Babits ...
Balassa Bálint Museum
The museum is housed in a Baroque style building in Víziváros (Watertown)...
Danube Museum
Founded in 1873, this highly interesting museum became the Hungarian museum of the year in 2001 and European museum of the year in 2003...
Danubiana Meulensteen Art Museum
Museum of modern art on Danube peninsula...
Museum of Cahul Land
The Museum of Cahul Land was founded in 1958 and has over 16 thousand exhibits with an undisputable artistic and patrimonial value...
Museum of History and Ethnography
The Museum of History and Ethnography, contains a diverse and rich collection of heritage and specific objects that is open to all the categories of visitors....
Museum of History and Study of Slobozia Mare Land, Slobozia Mare village
The Museum of History and Study of Slobozia Mare Land was founded in 1993 and contains 10,800 exhibits....
Traditional Peasant Courtyard “Casa Dorului”
The Traditional Peasant Courtyard "Casa Dorului" is a place where you meet the past. The life of our ancestors are presented through exhibits that are collected and kept in a traditional peasant house...
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#Beinglovedis always feeling supported (at Aerial Revolution)
0 Responses baby, beinglovedis, cute, family, instagood, photooftheday, trapeze Permalink
“#BeingLOVEDIs being twins. Steven and Me.” Cute little 8 year old #twins! Twins often have a stronger closeness than other siblings. Very special. #cute #kids #siblings #family #iphoto
0 Responses beinglovedis, cute, family, iphoto, kids, siblings, twins Permalink
“#beinglovedis being chosen.” This is an adoption family that always makes my heart melt!!! Here is their story:
Avery and James and got married in April 2010 and wanted to start a family right away. They tried to get pregnant for 8 months with no luck (and two very early miscarriages). They weren’t ready to get testing to find out why they weren’t pregnant, so they decided to get foster care licensed to see where that might take them. In March 2011 they went through all of the training to get licensed.
As luck would have it, shortly after they became licensed, Avery decided to go to the mall with a friend for a “pick me up day.” As Avery was getting her makeup done at a department store, she started chatting with the makeup artist (Caitlyn). Suddenly, Avery just blurted out: “We can’t have kids!” Then the most amazing thing happened – Caitlyn said “My sister is pregnant and can’t keep the baby.” Avery wanted to jump up on the chair and scream but instead she just calmly said, “Is she planning on placing the baby for adoption and has she chosen a family?” When she found out there were no plans for where to place the baby, Avery just said, “We’ll adopt him.”
Caitlyn revealed that her sister was using drugs and had 5 other children. She said that her mom and dad had adopted 4 of them in October 2010. Caitlyn said she would have her mom call Avery because her sister (Stacy) didn’t have a phone and was currently homeless. At that point Avery was feeling a little discouraged. Still, when she got in the car she called her husband and said, “I found a baby at the mall for us to adopt.” He was skeptical at first, but eventually they waited all weekend to hear from Caitlyn and Stacy’s mother.
Early the next week Avery and James were in the living room discussing if they should call that Caitlyn girl or not. Then, almost as if out of a movie, the phone rang. The voice at the other end said, “My name is Stacy. You don’t know me and this is a little awkward, but you met my sister at the mall last week and she told me you want to adopt a baby.” Stacy said she wanted to meet the couple and asked if they could set up a time. She said that she needed to call her mom and see when she was available because she wanted her there as well. Within a few minutes they had plans to meet at an Olive Garden.
When they met for lunch, Avery was so nervous she could hardly eat. She asked Stacy a bunch of questions about herself; she wanted to get to know her and show that she had a genuine interest in Stacy as a person. Stacy was quiet and nervous and didn’t say talk too much, but she opened up about her kids and about her pregnancy. Eventually, Caitlyn, Stacy and their mom all started crying and said they knew it was meant to be for them to meet Avery and James. Then Stacy said she liked the couple and that she wanted them to adopt her baby! She put her hand on her belly and said, “This is your baby, you are going to be parents, congratulations.” Avery couldn’t believe her ears — adoption wasn’t supposed to happen this easily! Stacy even invited them to an ultrasound appointment the next day.
At the ultrasound, Avery sat right next to Stacy and had her eyes locked on the monitor. As soon as she heard the baby’s little heartbeat and saw it beating on the screen Avery began to cry. The ultra sound tech asked if Avery was the aunt and Stacy responded that she was going to be his mother.
Avery and James met Stacy at the beginning of April, and from the time Avery met her until the day Stacy delivered they spent as much time together as possible and developed a true friendship.
Stacy wasn’t due with the baby until August, but in May, 10 weeks early, Avery and James’ son was born. They named him Oliver and for the next 6 weeks they stayed by his side at the Newborn Intensive Care Unit. Stacy relinquished her rights 24 hours after Oliver was born, but Avery and James allowed her and her family in the hospital whenever we wanted to see him.
Today Oliver is healthy and Avery and James still maintain an open relationship with Stacy and her family. Stacy’s parents even babysit sometimes and invite the family over for big dinners. Avery is secure as Oliver’s mother and is happy to allow Stacy and her family to be involved and love her son.
When Oliver was 7 months old Avery told her husband that it was time to do fertility testing and get to the bottom of what was going on. She told him that they would never be able to find another baby like they did with Oliver and that they needed to try and get pregnant if they wanted more kids. Ultimately, Avery and James found out that they both had fertility issues and that even expensive IVF (which they couldn’t afford) might not work. The couple considered taking out loans but they decided it was too risky considering there really wasn’t a guarantee. They decided to adopt again.
Instead of feeling sorry for herself, Avery wrote a letter to family and friends that read in part:
As many of you may or may not know, James and I have found out recently that the chances of us having biological children are less than 1%. When we received the news we were left wondering what our next step should be. After much prayer, thought, discussion, and soul searching we decided that we will not pursue any further fertility treatments. Even with the best medicine and doctors our chances are still very slim. We feel good about our decision and are at peace with it for now.
We believe that adoption is the way we will expand our family, it feels very right for us. We were so incredibly blessed with our son Oliver through the miracle of adoption and we are hoping for another miracle. Adoption through a private agency is currently between $30,000-$50,000. YIKES. What you may not be aware of is that private adoptions without an agency are between $2,000-$6,000. The only catch is that when you go totally private you have to find your own babies, there is no agency to help you find available babies/children.
That is where all of you come in to play… We would LOVE it if you would keep us in mind if/when you hear of someone who is considering placing a baby for adoption. We are open to babies of all races, ages, and even babies who are drug exposed. We are also open to open adoptions. We have enclosed a couple of cards that would make the sharing of our contact information a little bit easier for you should you come across someone.
Thank you for your friendship, love and support. It means the world to us to have you in our lives.”
After sending the letters, Avery and James took Oliver to Maui to unwind. While in Maui, a friend called and said, “I got your letter and this might be a long shot but I know someone who needs to place a baby.” At that instant Avery KNEW this was their baby! Her friend told her that the mother (Karen) was currently in jail but she would be paroled soon and Avery could reach her by mail. Avery wrote a letter, but was too afraid to send it. Instead, she waited until Karen was almost paroled to a half-way house and then found out how to arrange a visit. As it turned out, the process would take a week and Karen would have to officially agree to the visit. Avery got nervous – what if Karen had changed her mind and didn’t want to meet? To Avery’s relief, her visit was approved and Karen still wanted to talk about adoption.
Over a few months, Avery and her family visited with Karen, went to doctor’s appointments, and developed a friendship. Sadly, in the beginning of June Karen broke parole and was sent back to prison. Still, she and Avery wrote often and Karen kept her informed on the baby and her progress.
When a person is in prison no one can know if she goes to the hospital, including adoptive parents. Avery knew that she was going to be induced on September 20th and she also knew she wouldn’t get a call until a few days later. It was an awful time, and her mind raced with questions: Did she deliver on the 20th? Was he healthy? Does she still want me to adopt? What if they don’t call? Fortunately, the hospital soon called and let them know they had a sweet baby boy waiting for them.
Karen and Avery continue to have correspond through letters and she can show them to Carter (her son) one day. She wants him to know who his birth mom is and that she loves him. She sends her pictures often and has even been approved to visit Karen in prison.
Over the summer while Avery and James were waiting for Carter to be born they received a call from DCSF asking if they would be willing to take a 4 yr old boy into their home. DCFG told the couple that it would likely turn to adoption. They said yes and now have Aiden in their home as well. After a few months, Aiden decided that he wanted them to be his forever family, and thankfully a judge agreed.
This family shows how love can come from the least expected places! Avery’s advice for other couples looking to adopt is to be VERY proactive, asking friends and family to help them find a baby who needs a home. Letters and even Facebook can help you find a child who needs a forever home!
0 Responses adoption, adoptivemom, beinglovedis, cute, family, love Permalink
Being loved is exciting! Seeing new parts of the world, creating fresh memories, and spending time getting know each other builds familial bonds. Sometimes putting yourself in a new environment with the ones you love lets you see a new side of each other and makes you closer.
0 Responses beinglovedis, family, travel Permalink
“#beinglovedis traveling with your family.” Traveling can really show your love for each other when pushed to your limits and out of your comfort zones. Putting up with one another and dealing with grumpy times is a way to show love! #traveling #fiji #family #love #iphoto
0 Responses beinglovedis, family, fiji, iphoto, love, traveling Permalink
“BeingLOVEDIs being accepted.”
Accepted by friends, family, and others is part of being loved. Being taken for who you are as a whole. Such a strong message here.
0 Responses accepted, being loved, beinglovedis, family, love, support Permalink
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Machine Learning Trick of the Day (6): Tricks with Sticks
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Machine Learning Trick of the Day (6): Tricks with Sticks 2
3 Dec 2015 | Machine Learning and Statistics
Tags: Bayesian analysis · GLM · mixture model · non-parametrics · ordinal · regression · sampling
· Read in 8 minutes ·
Our first encounters with probability are often through a collection of simple games. The games of probability are played with coins, dice, cards, balls and urns, and sticks and strings. Using these games, we built an intuition that allows us to reason and act in ways that account for randomness in the world. But these games are more than just pedagogically powerful—they are also devices we can embed within our statistical algorithms. In this post, we'll explore one of these tools: a stick of length one.
Stick Breaking
I need to probabilistically break a stick that is one unit long. How can I do this? I would need a way to generate a random number between 0 and 1. And once I have this generator, I can generate a random number and break the stick at this point. The continuum of points on the unit-stick represents the probability of an event occurring. By breaking the stick in two, I effectively created a probability mass function over two outcomes, with probabilities and . And I can break these two pieces many more times to obtain a probability mass function over multiple categories, knowing that the sum of all the pieces must be one—the original length of the stick. This gives us an easy way to track how probability can be assigned to a set of discrete outcomes. By controlling how the stick is broken, we can control the types of probability distributions we get. Thus, stick-breaking gives us new ways to think about probability distributions over categories, and hence, of categorical data. Let's splinter sticks in different ways and explore the machine learning of stick-breaking—by developing sampling schemes, likelihood functions and hierarchical models.
Stick-breaking Samplers
The beta distribution is one natural source of random numbers with which to probabilistically break a stick into two pieces. A sample lies in the range (0,1), with parameters and . The essence of stick-breaking is to discover the variable in the range (0,1) hidden within our machine learning problem, and to make it the central character.
Enter the Dirichlet distribution. The Dirichlet is a distribution over K-dimensional vectors of real numbers in (o,1) where the K-entries sum to one. This makes it a distribution over probability mass functions, and is described by a K-dimensional vector of parameters .
Where is the hidden (0,1)-variable lying in this problem and how can we take advantage of it? The Dirichlet has two very useful properties that addresses these questions.
The marginal distributions of the Dirichlet are beta distributions.
Conveniently, the natural tool with which to break a stick is available to us by working with the marginal probabilities. We discover that the Dirichlet distribution is the generalisation of the beta distribution from 2 to K categories.
Conditional distributions are rescaled Dirichlet distributions.
If we know the probabilities of some of the categories, the probability of the remaining categories is a lower-dimensional Dirichlet distribution. Using to represent the vector excluding the kth entry, and similarly for , we have:
Putting these two properties together, we can develop a stick-breaking method for sampling from the Dirichlet distribution [1]. Consider sampling from a 4-dimensional Dirichlet distribution. We begin with a stick of length one.
Break the stick in two. We can do this since the marginal distribution for the first category is a Beta distribution.
The conditional probability of the remaining categories is a Dirichlet.
Break the length of the stick that remains into two. The length of the stick that remains is , and using the marginal property again:
Repeat steps 2 and 3 for the third category.
The remaining length of the stick is the probability of the last category.
By repeatedly applying the rules for the marginal and conditional distributions of the Dirichlet, we reduced each of the conditional sampling steps to sampling from a beta distribution—this is the stick-breaking approach for sampling from the Dirichlet distribution.
This is a widely-known alternative sampling process for the Dirichlet distribution.
Theorem 4.2 of Devroye [2] is one source of discussion, where it is also contrasted against a more efficient way of generating Dirichlet variables using Gamma random numbers.
Stick-breaking works because samples from the Dirichlet distribution are neutral vectors: we can remove any category easily and renormalise the distribution using the sum of the entries that remain. This is an inherent property of the Dirichlet distribution and has implications for machine learning that uses it, as we shall see next.
Stick-breaking Likelihoods
Stick-breaking can be used to specify a likelihood function for ordinal (ordered-categorical) data, and by implication, a loss function for learning with ordinal data. In ordinal regression, we are given covariates or features x, and we learn a discriminative mapping to an ordinal variable y using a function . Instead of using a beta distribution, we will break the stick at points given by squashing the points on the function through a sigmoid (or probit) function , which is a number in (0,1). If we consider four categories, a stick-breaking likelihood is:
This is exactly the stick-breaking formulation we used for the Dirichlet distribution, but the parameters are modelled as a function of observed data. The function can be any function, e.g., a linear function, deep network or polynomial basis function. The likelihood function carves out the probability space sequentially: each defines a decision boundary that separates the kth category from all categories j>k (see figure).
We can compactly write the likelihood as:
As a log-likelihood, this gives us one type of loss function for maximum likelihood ordinal regression.
The stick-breaking likelihood has been used for both regression and density estimation problems as an alternative to the more common cumulative logit for ordinal regression.
A Stick-Breaking Likelihood for Categorical Data Analysis with Latent Gaussian Models.
The work by Alan Agresti is one of the most comprehensive references for understanding models of categorical data and their assumptions [3].
An Introduction to Categorical Data Analysis
This stick-breaking is a generalisation of continuation ratio models, commonly used in item response theory, and allows us to further examine the assumptions that follow as a result of the neutrality property. The specific assumption that we should carefully review is independence of irrelevant alternatives (IIA).
Irrelevant alternatives.
Hierarchical Stick-breaking Models
Standard mixture view.
I would like to now consider something far more radical: replacing Dirichlet distributions wherever I find them by stick-breaking representations. Let us experiment with a core model of machine learning—the mixture model. Mixture models with K-components specify the following generative process and graphical model:
For c=1, ..., K
For i=1, ..., n
In Gaussian mixtures is the distribution of means and variances. When we replace the Dirichlet distribution with a stick-breaking representation we obtain a different, but equivalent, generative process:
Random measure view
In the first step, we re-expressed the Dirichlet using the stick-breaking, moving it into the loop over the K categories. We then created a discrete mixture G, where sampling from this chooses one of the mixture parameters with probability . The final step is then the same as the original. This view is the random measure view of the mixture model.
We now have an alternative way to express the mixture model that comes with a new set of tools for analysis. We can now be bold enough to ask what happens as the number of clusters : obviously, we obtain an infinite mixture model. This is one of the most widely-asked questions in contemporary machine learning and takes us into the domain of Bayesian non-parametric statistics [4].
Today Bayesian non-parametric statistics is the largest consumer of stick-breaking methods and uses them to define diverse classes of highly-flexible hierarchical models.
The stick-breaking representation provides one way to understand the Dirichlet process (DP).
Introduction to the Dirichlet Distribution and Related Processes
We repeatedly broke the part of the stick that remained after every sampling step. What if we continue to break the first part of the stick instead? This is what is used in another type of non-parametric model.
Stick-breaking Construction for the Indian Buffet Process
The analogy of breaking a stick is a powerful tool that helps us to reason about how probability can be assigned to a set of discrete categories. And with this tool, we can develop new sampling methods, loss functions for optimisation, and ways to specify highly-flexible models.
Manipulating probabilities remains the basis of every trick we use in machine learning. Machine learning is built on probability, and the foundations of probability endure as a supply of wondrous tricks that we can use every day.
This series has been a rewarding ramble through different parts of machine learning, and will be the last post in this series—at least for now.
Some References
[1] Jayaram Sethuraman, A constructive definition of Dirichlet priors, Statistica Sinica, 1994
[2] Luc Devroye, Nonuniform random variate generation, Handbooks in operations research and management science, 2006
[3] Alan Agresti, An introduction to categorical data analysis, , 1996
[4] Nils Lid Hjort, Chris Holmes, Peter Muller, Stephen G Walker, Bayesian nonparametrics, , 2010
2 thoughts on “Machine Learning Trick of the Day (6): Tricks with Sticks”
Reply ch11y Apr 21,2016 3:31 pm
Nice post. BTW, is there a typo p(y=2|η)=(1−σ(η1))σ(η1), should be η2?
Reply Jonatan Jul 6,2016 3:59 pm
Yes, I agree. In the first set of equations in the section Stick-breaking Likelihoods.
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Pain and Machine Learning
Through the Eyes of Birds and Frogs: Writing and Surveys in Machine Learning Research
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Queering Machine Learning
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Machine Learning Trick of the Day (3): Hutchinson's Trick
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Academy Award Winner Rita Moreno Sings > Rita Moreno
Audio / Vocal Recording
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Harold Arlen (572), Irving Berlin (708), Truman Capote (25), Sam Coslow (52), Al Dubin (189), Dorothy Fields (370), W. Franke Harling (12), Johnny Mercer (497), George Oppenheimer (9), Cole Porter (920), Leo Robin (210), Various (581)
Leroy Lovett (7)
Rita Moreno (24)
LP releases (2)
CD-R release (1)
Strand SLS-1039
14 collectors / 0 wish lists
A1. Come Rain, Come Shine
song from St. Louis Woman
A2. I Get Along Without You Very Well
song from Hot Shoe Shuffle
A3. Gonna Leave Off Wearin' My Shoes
song from House of Flowers
A4. Be Careful It's My Heart
song from Holiday Inn
A5. About a Quarter to Nine
song from Go Into Your Dance
B1. Sing You Sinners
song from Honey
B2. Day By Day
song from Words and Music
B3. Take It Easy
song from Every Night at Eight
B4. Why Can't You Behave?
song from Kiss Me, Kate
B5. Bye Bye Baby
song from Gentlemen Prefer Blondes
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Show Time on Broadway - 1964 Edie Adams
RITA MORENO SING
01. Come Rain or Come Shine
02. I Get Along Without You Very Well
03. Gonna Leave Off Wearin' My Shoes
04. Be Careful It's My Heart
05. About a Quarter To Nine
06. Sing You Sinners
07. Day By Day
08. Take It Easy
09. Why Can't You Behave?
10. Bye Bye Baby
11. Viva La You (Bonus Track from 'The Vagabond King')
SHOW TIME ON BROADWAY
12. Show Time on Broadway
13. Hello, Dolly
14. Lazy Afternoon
15. Show Me
16. Little Girl Blue
17. You're My Everything
18. A Bushel and a Peck
19. Goodnight My Someone
20. Make Someone Happy
21. I Get A Kick Out Of You
22. Bill
23. More Than You Know
24. He Was Too Good To Me (Bonus Track)
Warm, Wild, Wonderful
Wynne Records WLP 103
1 collector / 0 wish lists
A1 Come Rain, Come Shine 2:30
A2 I Get Along Without You Very Well 4:00
A3 Gonna Leave Off Wearin' My Shoes 2:45
A4 Be Careful It's My Heart 3:37
A5 About A Quarter To Nine 3:23
B1 Sing You Sinners 1:58
B2 Day By Day 2:30
B3 Take It Easy 3:15
B4 Why Can't You Behave 3:40
B5 Bye Bye Baby 2:09
27 Collectors
4 Wishlists
Contributors to database: oscarjaffe, BroadwayGuy More
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Submit Demos
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/ Naked Objects
/ Naked Objects – New Artist Q&A
Artist Interview Naked Objects
Naked Objects – New Artist Q&A
admin 25 February 2014
How did you first get involved in the Underground music scene?
Thinking back, it was when I was about 9 or 10. I had a few old underground compilation tapes that I’d picked up from the record shop in Banbury. At the time I was mainly into East Coast hip hop and grunge but these tapes were unlike anything else I’d heard. I didn’t know it at the time but they were my first taste of rave music and I really, really liked them.
The first time I found out what rave music culture was like was an episode of Morse! Some kids were at an illegal rave in an old country house somewhere. Even though it was staged for TV, I saw it and it totally stuck with me. The vibe and the sound – having a huge party in a mansion – sick! It was like putting two and two together: the old tapes I listened to when I was younger suddenly had another dimension added to them.
It was then when I was around 14, back in 1992 when I was at boarding school and kids were listening to tapes of some raves that they copied off their older brothers did I get my first taste of happy hardcore, breatbeat techno and jungle although jungle beats blew my mind, they were so hard to follow, it kinda didn’t make sense but it had wicked bass lines. Then I saw a few videos of raves and that was it – I wanted to be there, shacking out!
Free parties and pirate stations filled my years from 15 to 18. Tapes from the classics like Don FM, Dream FM, Rude FM & Weekend Rush were commodities at school. We could just about receive Kiss FM and Capital FM which would play jungle and hardcore late at night.
What made you get into the producing side of things?
It’s all John’s fault. He had decks at home, he taught me to mix and I got hooked on mixing first. A couple of years later we started messing around with Music on the Playstation. John was already familiar with the concept of making multi-tracking and making tunes – having been in a band at school and living in New Mexico for a year on an exchange project with a guy who had a fully-fledged studio out there.
We clubbed together and bought Reason. I think it was still Reason 1. We stuck at that for about four years, it was a good DAW to get to grips with sequencing and mixing down. After that we got our hands on Cubase and that changed the game. We’ve been using Cubase ever since, although John still uses Reason for writing midi parts when he’s on the move.
Can you tell me more about Naked Objects? How did you meet?
John couldn’t have said it better: Naked Objects is a loose collective of friends, musicians and artists that revolves around the core members of John, Joss and me. John and I originally met through mutual friends in a field outside Banbury to have a smoke many, many moons ago. A few years later when I was living in Brighton, I became good friends with Joss’ older brother Jethro and so was eventually was introduced to Joss. The rest is history. I guess the name Naked Objects is a play on William S. Burroughs “Naked Lunch” as we aim to distill complex musical ideas into something way more minimal.
What influences you when making music?
Wow, I don’t think that I get influenced, I get inspired. It really depends what kind of mood I’m in. Sometimes I feel aggy and want to make a stinking tune, other times I’m in a chilled mood and something really light and musical comes out.
Often I hear a sample and then a riff and vibe just pops into my mind. Other times I’ll hear a track and really like what they’ve done and take their approach and mold it into one of my tunes. More recently, I’ll be commuting on the train and listening to podcasts and some sick tunes are playing and I’ll think ‘yeah; I’m gonna go home and start a tune like these!’
The only influences on our music are one another’s feedback and that of our friends. If people tell us something sounds whack or not right then we’ll go change it.
Can you tell us about your production process?
80% of the time it starts with the beat, but not always. If I’ve got a sample or a riff in my head I’ll get that down and then write around it but mostly it’ll start with a beat. The beat is so instrumental in setting the tone for the track.
We live in different places in the UK now so we tend to work on a track and send it round for feedback. Often we just bounce a track down and send it to one another and we all write parts for the track at home.
We still get together in the studio to mix tracks down, it’s the best way – it stops lots of toing and froing and we arrive at a mutually agreeable mixdown way faster than if we were all working remotely.
What makes drum & bass different from other genres?
I believe that we all have our own tempo. Mine is 175bpm! That tempo just connects with me in a way that no other music does. I love the huge scope and variety that D&B offers. I love bass. I love bass – I’ll say it twice. There’s no point listening to music if you can’t hear anything below 130hz.
Who are your favourite Producers?
Wow. You can’t ask me that! Too many to mention. I think there are some ridiculous producers out there. I’ll list a few that I can think of right now: Noisia/Annix/ Decimal Bass/Konichi/Break/D Bridge/Lynx (& Kemo)/Dub Phizix/Dom and Roland/Spectrasoul/Tech Itch/Icicle/Serial Killaz/Sensai/A Sides/Netsky/Cammo and Krooked/Alex Perez/Heist/Slum Dogz/B-Complex/Calyx/Teebee/Commix/Logistics/DJ Sly/Cyantific/S.P.Y.
Who are your favourite DJ’s?
Now, I’m a turntablist so I’d have to take my hat off to DJ Friction – he blew me away a good few years ago with his crazy juggling and mulit-deck shit. DJ Craze, Kentaro, Brighton’s own JFB who introduced me to the joys of Serato 8 years ago, and Brighton’s secret weapon: Dj Dan Tuf.
As for the mix and blend skills I’m really feeling Alegria from Poznan in Poland (check his Drum Obsession show on Bassdrive). Then there’s Futurebound, Sigma, DJ Jamie G and Brockie, Komatic from Technimatic, Bryan G and Logistics.
How do you feel about the Drum & Bass scene today?
The D&B scene’s still alive and kicking, and the oldschool is coming through again which is sick. It’s always an exciting time in D&B, there’s sick new producers and DJs coming through constantly. It’s also one of those genres where if you like it you really like it, you don’t tend to get many kids thinking it’s cool to be at a dance – they go because they want to dance.
Talking of kids; there’s also nuff old gits at raves too! When I was raving pre ’96 you’d see the occasional old person there, usually a scared parent who was looking after their kid, but occasionally some 40-something on the proper charge, stomping away with their eyes in the back of their head but nowadays there’s nuff 40-somethings at dances just kicking back, drinking beer and soaking it all in. It’s nice to see the audience getting broader. It means there’s more people out there who will support D&B.
As time goes on there’s more niches, more specific sounds. I guess it’s getting a little like House now in that the genre’s been around for long enough for some really strong sub-genres to emerge which have their own mini-scenes.
Do you have any advice for other up & coming producers & Djs?
I wish I’d taken the time to listen and learn early on. My sound would have advanced so much faster than it actually did.
You should find some producers who’ve been at it for a few years and ask them if you can sit in on a few sessions but I’d recommend that you make sure they’re using the same DAW as you otherwise you won’t pick anything up and it’ll just confuse you.
You absolutely have to check out Pensados Place on YouTube for some pro tips:
https://www.youtube.com/user/PensadosPlace
When you think you’re serious about taking it to the next level, invest in some half-decent monitors and a sound card. Treat your ears with respect. If you’re going out raving, or even to a pub playing loud music, wear ear plugs. Seriously, I mean it. You may not notice it now, but by the time you’re 35 you’ll regret those times you stood next to the speaker stack.
Also – have confidence. The few people we knew who were only starting out but had confidence have gone a long way. But, there’s a fine balance between confidence and acting like a twat. Just have the belief in what you’re doing but never think you’re better than other producers – everyone has a unique approach and as someone who makes music you should respect that. And never, ever think you’re a badman just because you make tunes. Anyone can make tunes.
What has been the most memorable time since your involvement in the scene?
Oh man, probably playing at free parties in Oxfordshire. All the crew there, such wicked, wicked times. Working on the album was one of the best experiences. I’ve learnt so much about the process of finishing tracks, mixing down and mastering. We found a real resonance and were able to take long-distance collaboration to the next level. It proved that we can work together as one unit whilst under pressure.
What are your future plans on Default Recordings?
We’ve got some sick tunes lined up. There’s loads more in the archives which are ready to be reworked into 2014 standards. There’s always room for improvement so we will be honing our skills further.
There’s some exciting collaborative works with Four Eyes and some talented new vocalists we’ve discovered.
We hope to keep a steady stream of tunes coming out on Default, we love the ethos and vibe from everyone at Default and are stoked to be able to be a part of a great label and work with people who are all about the music.
I was only 11 when the Second Summer of Love was kicking off but Helter Skelter were based in the village I grew up in and so I was exposed to the rave scene through girlfriends who were going out with the older boys. I was also involved in a community music project that fused loads of different styles of music (I played guitar in bands at the time), street dance and VJs. This was in 1990 so the project (Technodrome) was really ahead of its time, not to mention run by excellent mentors including Steve Harris of Pinksi Zoo (R.I.P) and Eamon Murtagh of Sub:Trance.
During the school summer holidays, I’d always somehow manage to convince our music teacher that I was trustworthy enough to borrow the music department’s multitracker for a few weeks so we could learn how to record our band and produce demos. One day, someone played me Goldie’s “Terminator”on a tape and my best friend at the time (also a drummer) suggested we record him playing his drum kit so we could speed the beats up and make our own tracks in that style. One set of drum samples and a copy of Octamed later and I was completely hooked!
Naked Objects is a loose collective of friends, musicians and artists that revolves around the core members of Ziz, Joss and me. Ziz and I originally met through mutual friends in a field outside Banbury for a smoke many, many moons ago. A few years later when I was living in Brighton, I became good friends with Joss’ older brother Jethro and so was eventually was introduced to Joss. The rest is history. I guess the name Naked Objects is a play on William S. Burroughs “Naked Lunch” as we aim to distil complex musical ideas into something way more minimal.
It really depends on the context. If I am coming up with ideas on my own, I’ll look to my immediate environment or some memory to evoke an atmosphere. If we’re all together in-session, I get massively influenced bouncing ideas off one another. For me, working with other like minded people always ends up producing the most inspirational and unique concepts and sounds because it forces you to look at everything from a number of different perspectives.
We all live in different parts of the UK these days (some of the extended members of the collective live as far away as the US and Australia) and so we do a lot of our work across the internet. We either start with a fresh idea or something from our library of bits and pieces that we’ve collected over the years. Then it’s a case of developing the idea online, arranging recording sessions for instrumentalists / vocalists we would like to be involved and, finally, meeting up for some proper weekend sessions to bring everything together. It’s quite a long process but our sessions are sacred because of it and help us remain inspired.
Personally, out of all the forms of electronic music out there, I think drum & bass music is some of the most techically challenging music to produce. It requires you to think about all the individual elements in so much more depth than a lot of other genres – even just getting an authentic sounding drum break together can take weeks and weeks of work sometimes. The live drum feel of Drum & Bass also allows the style to gel really well with lots of diverse influences – that diversity can also be seen in the genres it has influenced too.
Such a difficult question to answer. There are so many producers both old and new (across a range of genres) that I have huge respect for – I could quite easily reel of a list of a hundred or so if I had the time! Here’s a small selection – Nico, Ed Rush and Optical, Matrix, D’Cruze, Bad Company, Cause 4 Concern, Bulletproof, Dom & Roland, John B, Decoder and Substance, Ram Trilogy, Adam F, TeeBee & Calyx, Spor, Noisia, Black Sun Empire,The Upbeats, Gridlok, Kraken, Blu Mar Ten, Calibre, PFM, Seba, Wickaman, Break, Komatic and Technicolour, Broken Note, Amon Tobin, Om Unit, Hybrid Minds, Baron, Koan Sound, Reso, Eat Static, P.O.B, Slacker, Leftfield, Fluke, Orbital, Joey Beltram, Squarepusher, System 7, The Boards of Canada, etc.
Again, so many good DJs out there, some of whom have been honing their craft now for literally decades – it’s ridiculous: Timecode, LTJ Bukem, Nookie, Ash-a-tack, Darren Jay, Andy C, Trex, Dope Ammo, Jaybee, Alegria, Komatic, Drumsound, Annix, Hybrid Minds, Fret One, DJ Craze, The Skratch Perverts, DJ Matman, The Psychonauts, Adam Freeland, Jeff Mills, Carl Cox, Chris Woodward, Jonathan Watts.
To me, the scene seems more fragmented than it used to be. However, being a father I’m probably not the best person to ask, as I don’t get the opportunity to go out to that many nights anymore (in addition to having time available for the studio). That being said, the scene still is really healthy in terms of output and progression of the sound.
Learn as much about the physics of sound as possible – here is so much information out there on the internet these days, there is really no excuse! Apart from that, enjoy what you are doing and be prepared to put in the hours. Like with everything else in the world today, it takes something exceptional to make people pay attention to and, most importantly, remember your work.
I have very fond memories of the early 00s – they were an awesome few years. We were all living in Brighton, deep in the local scene and involved in a lot of free parties back home. At that time, we started to have the opportunity to hear our tracks on loud systems and get a bit of crowd feedback too. I remember when MySpace eventually exploded thinking how crazy it was to be getting so many messages from random people who had heard our mixtapes – even though we had done absolutely nothing to promote ourselves! Those were very special times.
We will be working hard to try and ensure each release tops the last. I know that’s a tall order (and subjective too) but, production-wise at least, we want to stay on top of our game and hone our style. We are really amped to have been signed to Default and hope to have the opportunity to collaborate with some of the other label artists when we have rounded off our first releases.
I had 2 older brothers who were in the rave scene when it first appeared in the UK and they were DJ’ing, MC’ing and running a pirate radio station.
From the age of 10 I was making music on the computer and my inspiration came from my brothers who had a large passion for Jungle DNB.
I was introduced to John and Ziz through my brother as he used to make music with them and then we all clicked really well and found each other’s strengths and weaknesses in producing. By bouncing ideas off each other we have this driving motivation to make something powerful, unique and original.
For me it’s to let my mind flow freely and express what feelings or thoughts I feel I need to express. I enjoy making music and I always get a kick out of it! (cheesy, laugh) The influences are too many to list and to tell the truth, life itself is my main influence.
Almost each song we make starts from a different source being a drum beat, vocal hook, lead sound, bass sound, riff or a random sample. From there we focus on the rhythm instruments and get them complementing a melody or vice versa depending on the songs characteristics. After we have our main motif we move onto the arrangement and bring the song to life to take you on a musical journey.
It incorporates almost all other genres and styles of music and transforms them or incorporates them into its own fast beated, drums and bass heavy sounds.
LTJ Bukem, Bad Company, Goldie, Noisia, Konflict, Tech Itch, Pendulum, DJ Die, Congo Natty, Prodigy, Break, SPY, to name but a few..
Nicky Blackmarket, Aphrodite, Bryan G, DJ Randall, DJ HYPE.
Well its lost a fair amount of it’s ecstasy rave vibes and the bass lines turned less melodic and into complex, fast paced wobbles but recently it’s been getting more minimal and intricate with Neuro Funk on the scene and it’s getting some jungle vibes back in place too.
If you enjoy making music then just keep going and going and don’t let anything put you off. If you manage to make a living from it then it’s a bonus but that shouldn’t be what makes or breaks.
All the people I have met along the way.
To open up a whole new chapter of DNB music.
Naked Objects
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DEF075 – Henry – False Dawn / Night Sky – Out Now
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The people demand media justice
Dror Eydar
This summer we heard those crowned as "protest leaders" speak out about "social justice" and a "welfare state," and call out some anti-Netanyahu slogans as well. The government did not remain silent and established an appropriate committee, whose conclusions were taken seriously and brought before the cabinet for a vote. We are not naive though. From the beginning, we knew that even if Prime Minister Benjamin Netanyahu took us back to the dark days of the Mapai welfare state, the protest would continue. That is because the problem is not the economy, stupid, it is the government! The protest has always been political and all the clever social slogans will not help disguise that fact. The irony is that if the Left won the elections, the protests would end.
This week, they tried to renew the protests. They will remain with us as long as the media fuels them and provides silly press conferences in which Daphni Leef threatens the prime minister, saying, "This is the last time I will address you, Bibi." Take note of the fact that those who address him as "Bibi" are generally not his supporters. "Bibi" is meant to belittle and degrade. It is the same method used by Thomas Friedman of The New York Times, who despises Netanyahu. We do not hear about "Shimon" (Peres) or "Benny" (Gantz).
As our sages said, "There is no school of learning that does not discover something new." The second round of protests is not without its "new discovery" as well - the target this time will be the national media. Suddenly the protest leaders are concerned about the cultural quality of the public broadcasting. As Leef is quoted on the Yedioth Ahronoth web site, "We are living in a reality in which the prime minister has his own newspaper. Does that remind you of anything? Perhaps a different type of regime? He also has a TV station, whose directors he appoints."
I do not know whether to laugh or cry. The Left has always excelled in the use of this method - repeat the lie ad infinitum, and people will begin to believe it. There are three newspapers, two TV stations, and quite a few radio channels - all properly aligned with the Left and hostile to the government and coalition, and all allotting an unprecedented amount of prime time not only for the protests, but also for announcing the agendas of upcoming protest rallies. Israel Hayom also provided a decent podium for the protest organizers. But unlike in other forums, there was room here for opposition to them as well.
Alas, the voices of opposition. Did we hear the real-time voices of those who opposed the Oslo Accords? Those who opposed the horrific uprooting of Gush Katif, the results of which continue to haunt southern residents today? Did we hear the voices of those who opposed a Shalit deal over the past five years? Did we hear criticism of the protests and those leading them? Did someone investigate their sources of finance and political affiliations?
Despite the mountain of microphones that are constantly focused on every word she says, Leef wailed, "We are living in a reality in which our privilege to rely on the media as the watchdog of our nation and democracy is being taken away from us." It is the exact opposite. The media's vision, which Leef and her cohorts desire, existed not so long ago - monolithic, Pravda-like journalism, which advanced only the causes to which the white tribe subscribed; journalism that demeaned any conservative, neoconservative, national, Jewish idea; journalism that is extremely alienated from the government and coalition, despite the fact that a majority of the public supports them.
Israel Radio, Channel 1, and the national radio channels, require serious change. They need to give more air time to journalists with ideas other than those we have gotten used to hearing until now. Media directors know that. It would be simple justice after years of injustice and silencing. Israeli society has had enough of the political and cultural one-sidedness that it encounters every time it turns on the TV or radio.
What we saw last week at the hands of the protest leaders was yet another attempt at "media terrorism" directed at station operators. The idea was to slander them into maintaining the Leftist slant in the voices of those who grace their microphones.
Criticism by protest leaders concerning the national media indicates which political side they are on. They do not really care about social justice. They are more concerned with maintaining minority control over Israeli public opinion. Not any more. The public is demanding media justice.
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WESTERN SCHOOLHOUSE ROT, BRAINWASHING CHILDREN WIT...
Israel: A true ally in the Middle East
Egypt's Massacre of Christians: What the Media Doe...
France: "This Mosque Is a Direct Obstacle to the I...
Setting the Record Straight on the U.S. Troop With...
King Abdallah of Jordan on How No One Trusts Obama...
Veracity, Mendacity – and Islam
Crippling Iran’s Central Bank
COP: America should listen to Paul Ryan
Obamaland: American Mules Must Eat Certified Weed-...
Israel's Surrender to Islam
The Islamic Jihad threat
Journalism, propaganda and moral confusion (part two)
Mahmoud Abbas stays faithful to the Cause
Gingrich: Obama's 'Grotesque Failure' in Mideast P...
MP urges action over Muslim group
Ah, The Good Old Days When Turkey Liked Israel and...
The Materialism of Environmentalism
Defense isn't enough
The West is hijacking Arab revolutions to the bene...
Pro Israel MP Threatened By Muslims At London Mosq...
Rockets continue to fall in South, ceasefire reported
Europe: "You Are Entering a Sharia Controlled Zone"
Reverse Racism Institutionalized by Eric Holder
With friends like these...USA/Obama ,your response...
The Occupation has reduced itself to anti-semitism...
Another lack of Islamic Freedom of speech...the li...
"Response to a Letter"
West in state of denial
COP: Some thoughts to ponder-"Free Stuff"
Hipsters, Hippies, Homeless and Hopeless
Today’s Guide for the Perplexed
Tampa: Use of Islamic law OK in civil case
Israel's Total Failure: Schijveschuurder Family Pl...
Over 100 Colleges and Universities Charge $50K or ...
The scorpion & the frog
NY Times humanizes terrorist killer released by Is...
COP: How Conservatives Must Address 'Income Inequa...
The Palestinian Solidarity Movement of Sweden: Tax...
Arab Spring Optimism Gives Way to Fear of Islamic ...
Arab League 'urgently' tells Assad to end violence
From Indonesia to Israel by Way of L.A.
J Street rejects ‘Unity Pledge’ on Israel, joining...
The Real Racism: Expecting Jews to Die Meekly
At last a voice is raised against the bigotry of '...
The American internal debate over the Iranian nucl...
From an Arab Spring to an Islamist Winter
Out of Tune in Tunisia: What’s Really Going on The...
The Arab Spring Is Becoming an Islamist Takeover
Islamism and Sadism
Hamashole To Israel: “You Guys Value Human Life”
Whither the IDF?
DHS Advisory Council member Mohamed Elibiary alleg...
Senator John McCain (Ignorantly) Backs Islamist-Do...
Freedom of Expression is one-way street
Did the Libyan Leadership Deceive the West?
The truth about Gaza
Willful blindness
US asks Israel for additional settlement freeze
Obama's misplaced Middle East optimism
When in doubt, blame capitalism
Runaway Anti-Semitism Trampling Italy
'We're Living in a State of Siege,' Says Jerusalem...
Hamas TV: Kidnap 6 more Israeli soldiers and free ...
Report: Hizbullah Preparing Military Arsenal to Oc...
Russia Delivers Radar Jammers to Iran
"No Surprises"
'We Want To Break The Leftist Monopoly On Public D...
The White Aborigines of the Post-Racial Left
In Defense of U.S. Aid to Israel
Hutton Hotel exec lies, smears freedom fighters in...
The Insanity of the Middle East: A Handy Guide
Israeli Democracy vs. Arab Apartheid
'Occupy Wall Street' Wins Muslim Support
Government Did the NYPD Police Commissioner Meet W...
Libya-Owned Arab Banking Corp. Drew at Least $5 Bi...
Jihadist Cleric Calls Sabotaging Western Economies...
Rice Memoir Reveals: Olmert Offered Abbas 94%; Abb...
The Serious Risks of the Russian Reset
ABULHAWA'S BLOOD LIBEL
Israel's Energy Discovery: Game-Changer?
Voices of Palestine: Mahmoud al-Zahar
Islamic Law Commands Death for Apostasy
Livni told me not to accept Olmert peace plan, Con...
Tunisia: The "Moderate" Islamists Make a Radical R...
The Insurgent Incumbent
University forum with Israeli scientists 'offends ...
COP: Big Gov’t vs. Big Biz in 2012
What Gilad Shalit tells us about the respect for l...
Islamic Law Conquering the U.S.
Are Young Rabbis Turning on Israel?
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Building peace in the minds of men and women
Introducing UNESCO
About Almaty Office
UNESCO Headquarters
Major documents
Office Strategy
Gender Equality Action Plan
Education transforms lives
Fostering Freedom of Expression
Protecting Our Heritage and Fostering Creativity
Learning to Live Together
Building Knowledge Societies
Science for a Sustainable Future
Preventing Violent Extremism
Silk Roads Heritage Corridors
National Commissions
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Introducing Partnerships
For Journalists: Press room
Documents - UNESDOC
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UNESCO World Trends Report in Freedom of Expression and Media Development now available in Russian
Executive Summary Coverpage © UNESCO
Across the world, journalism is under fire. While more individuals have access to content than ever before, the combiantion of political polarization and technological change have facilitated the rapid spread of hate speech, mysogyny and unverified 'fake news', often leading to disproportionate restrictions on freedom of expression. In an ever-growing number of countries, journalists face physical and verbal attacks that threaten their ability to report news and information to the public.
In a moment marked by a global pandemic, economic downturn, and civil unrest, the media play an ever more important role in keeping the public informed on the issues that affect them most.
Guy Berger, UNESCO’s Director of Strategy and Policies in the Field of Communication and Information
In the face of such challenges, this new volume in the World Trends in Freedom of Expression and Media Development series offers a critical analysis of new trends in media freedom, pluralism, independence and the safety of journalists. With a special focus on gender equality in the media, the report provides a global perspective that serves as an essential resource for UNESCO Member States, international organizations, civil society groups, academia and individuals seeking to understand the changing global media landscape.
Download the Executive Summary in English
Full report in English
Report in Russian
internet governance; freedom of expression
Permanent link: http://en.unesco.kz/world-trends-in-freedom-of-expression-and-media-development-3472
Access to information: a new promise for sustainable development
Publications on Media and Information Literacy
Youth and Violent Extremism - On Social Media
Teaching journalism for sustainable development: new syllabi (Kyrgyz version)
Steering AI and advanced ICTs for knowledge societies: a Rights, Openness, Access, and Multi-stakeholder Perspective
Media and information literacy education in Asia
Media and information literacy in journalism: a handbook for journalists and journalism educators
Journalism Education and Training by Theme
Gender and Media
WWW.UNESCO.ORG/ALMATY
Disclaimer of use
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> News >
"FLATLINERS" Character posters
INFO | REVIEW(S) | PHOTOS (16) | NEWS (1) | DVDS | VIDEOS (7)
By Oh My Gore on August 31, 2017
Sony Pictures has debuted five new "FLATLINERS" character posters !
Opening in North America on September 29, the new "FLATLINERS" movie stars Academy Award nominee Ellen Page ("INCEPTION", "INTO THE FOREST", "X-MEN: DAYS OF FUTURE PAST"), Diego Luna ("ROGUE ONE: A STAR WARS STORY", "ELYSIUM"), Keifer Sutherland ("MELANCHOLIA", "MIRRORS", "FLATLINERS" the original one), Nina Dobrev ("THE VAMPIRE DIARIES", "THE ROOMMATE"), James Norton ("BLACK MIRROR") and Kiersey Clemens ("JUSTICE LEAGUE").
"FLATLINERS" is being helmed by Niels Arden Oplev, (original Swedish version of "THE GIRL WITH THE DRAGON TATTOO"). The film boasts a screenplay from "SOURCE CODE" writer Ben Ripley.
The original "FLATLINERS", released in 1990, was directed by Joel Schumacher. Starring Keifer Sutherland, Julia Roberts, William Baldwin, Oliver Platt, and Kevin Bacon, it grossed $61 million in its original theatrical run.
Synopsis : Five medical students, obsessed by what lies beyond the confines of life, embark on a daring experiment: by stopping their hearts for short periods, each triggers a near-death experience - giving them a firsthand account of the afterlife.
French Release : 2017-11-22 | US Release : 2017-09-29
Source : Comingsoon.net
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Netherlands International Law Review (1)
By Marino Baldi, Yas Banifatemi, Andrea K. Bjorklund, Laurence Boisson de Chazournes, Tomer Broude, Rudolf Dolzer, Roberto Echandi, Michael Ewing-Chow, Mary E. Footer, Susan D. Franck, Rainer Geiger, Stephen Gelb, Gary Clyde Hufbauer, Anna Joubin-Bret, Barton Legum, Tobias A. Lehmann, Céline Lévesque, Inna Manassyan, Sébastien Miroudot, Theodore H. Moran, Peter Muchlinski, Ioana Petculescu, Alexandros Ragoussis, August Reinisch, Pierre Sauvé, Christoph Schreuer, Lauge N. Skovgaard Poulsen, Debra P. Steger, Margrete Stevens, Christian Tietje, Anne Van Aaken, James Zhan
Edited by Roberto Echandi, The World Bank, Pierre Sauvé
Book: Prospects in International Investment Law and Policy
Print publication: 18 April 2013, pp xi-xiv
22 - GATT Article XX and international investment law
from Part V - The quest for an adequate balance between investment protection and liberalisation and other public policy objectives
By Barton Legum, Ioana Petculescu
Print publication: 18 April 2013, pp 340-362
THE REVIEW OF THE UNITED NATIONS SECURITY COUNCIL DECISIONS BY THE INTERNATIONAL COURT OF JUSTICE
Ioana Petculescu
Journal: Netherlands International Law Review / Volume 52 / Issue 2 / August 2005
The present topic has been extensively addressed by several authors during the 1990s. It has provoked harsh polemics and a passionate debate and still represents an issue of interest for the international lawyers, as no formal and complete answer to the question of the international judicial review has been brought to this day. This article tries to put forward an effective and efficient mechanism allowing the International Court of Justice to review the resolutions adopted by the Security Council in the realm of Chapter VII of the UN Charter. The approach of the subject is favourable to an international judicial review, which would render the intervention of the Council more legitimate, hence more easily accepted by states. The proposed method of judicial review must however ensure both the legitimacy and the efficiency of the political organ and strengthen, not weaken the United Nations' role in the maintenance of international peace and security. That is why the international judicial review mechanism should be carefully defined and should confer upon the international judge a limited power of appreciation. At the same time, the other international courts and tribunals should defer to the International Court on matters concerning the legality of the Security Council's coercive measures by means of a preliminary ruling mechanism.
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Thread: A change of scene: CIA officer becomes a cop in Savannah
Patrick Skinner is now a patrol cop in his home town and The New Yorker has a 'long read' entitled 'The Spy Who Came Home'. There is a lot within, such as the debacle @ Khost's CIA station and many of the lessons he has learnt.
He Tweeted:
Easily the most terrifying thing I’ve ever done. But I wanted to highlight local policing done with a great group of colleagues. But yeah, this is terrifying.
Link:https://www.newyorker.com/magazine/2018/05/07/the-spy-who-came-home
Last edited by davidbfpo; 11-08-2018 at 05:07 PM. Reason: 1782v today
A View from the CT Foxhole: Patrick Skinner, Police Officer in Savannah, Georgia
Via CTC's latest edition of 'The Sentinel' a Q&A with Officer Skinner. It opens with:
CTC: Earlier this year, The New Yorker ran a profile of you entitled “The Spy Who Came Home,”1 which outlined how you went from working for the CIA on counterterrorism in the decade after 9/11 to becoming a beat cop in Savannah, Georgia. The article described how you applied lessons learned working in intelligence and counterterrorism to local policing. It would be great if you could speak to that, but we’d also like to focus on the other side of the equation and discuss insights you may have gained from police work at the community level that may be applicable to counterterrorism and counterinsurgency. Skinner: The response to that New Yorker profile, from my fellow beat cops and people in other agencies and departments, continues to be amazing. I perhaps have an odd view point, as a [former CIA] case officer having seen places where the badge means nothing while the gun means everything. Yet, now I still see such places, but instead of a failed state—whatever that means—it’s a few houses in a block or two in an American city.
Link:https://ctc.usma.edu/view-ct-foxhole...ghanistan-iraq
I do rather like this phrase:
It’s frustrating but I keep harping on this: these issues, the persistent challenges of CT and law enforcement, they resist grand gestures. They require the opposite of grand gestures. They require countless small gestures.
Hiding from the Dreaded Burrito Gang
From the New Yorker article -
Espionage hinges on human relationships. “The best assets I ever ran weren’t in it for money,” Skinner said. “They had this urge to be part of something bigger. It wasn’t patriotism—they just wanted to be part of a high-functioning team.” But most assets could be trusted only in a very narrow context, and locals routinely sought American firepower to back them in personal or tribal disputes. “They might tell you it’s to help their country—they know we love to hear that—when it’s actually revenge,” Skinner said.
Hmm. Tangential reading, for anyone who missed it.
http://council.smallwarsjournal.com/...tarted-in-Iran
A scrimmage in a Border Station
A canter down some dark defile
Two thousand pounds of education
Drops to a ten-rupee jezail
http://i.imgur.com/IPT1uLH.jpg
Listen or watch Patrick - after the 2020 protests
A 57 mins podcast via:https://www.lawfareblog.com/lawfare-...rhood-policing
Or watch him for 43 mins:https://www.youtube.com/watch?v=LDQ2w8Er5-I
Last edited by davidbfpo; 06-16-2020 at 06:06 PM. Reason: 14,197v today
Ex-GRU officer 'critical' after UK incident
By davidbfpo in forum Intelligence
The Warrant Officer: Musing of a Chairborne Soldier
By davidbfpo in forum Blog Watch
counter terrorism, intelligence, policing
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Counter Terrorism (merged thread)
Thread: Counter Terrorism (merged thread)
Taking the terror out of terrorism - by a "Digger"
A timely commentary by a British academic on the dangers in linking every violent act by a mentally ill person to being a terrorist attack. A key phrase:
Yet you are twenty times more likely to die by drowning in your bathtub than in a terrorist act, and a thousand times more likely to die in a road accident. So why, given these statistics, is terrorism so effective? The core reason is that its shocking randomness makes us feel that we can’t do much to protect ourselves – in other words, we feel out of control.
(Later) Terrorism is essentially a tool of mass psychological manipulation – less of the terrorists themselves than of us, the population of ordinary people who are to be terrorized.
Link (beware it may be behind a pay wall):http://www.telegraph.co.uk/news/2017...do-isils-work/
There is a separate thread on Mental Health & Terrorism, but the quote is an introduction to a three linked articles by David Wells, a former Australian-UK SIGINT worker, in the Australian Lowy Institute's e-briefing and now on his own website.
He tries to answer a "wicked" problem and I have adapted his words: how can government(s) maintain and increase emotional resilience against the fear of future terrorist activity, regardless of whether this activity occurred.
The context is Australian, but his outlook is global.
Part One:https://counterterrorismmatters.word...rorism-part-1/
Part Two considers communication strategies:https://counterterrorismmatters.word...rorism-part-2/
Part Three:https://counterterrorismmatters.word...rorism-part-2/
Last edited by davidbfpo; 02-07-2017 at 09:58 PM. Reason: 69,017v
An Era of Near Unstoppable Terrorism?
A sombre analysis by a Canadian analyst via ICCT based in Holland, after recent attacks.
A key passage:
Perhaps most importantly, the advent of cars as weapons of destruction may mean we are moving into an era of all-but-unstoppable acts of terrorism. When the commonplace becomes the tool of choice security and law enforcement agencies lose an important advantage: the ability to monitor the acquisition of guns or the manufacture of explosives.
(Later) We may in the end need to accept a certain background level of successful terrorist attacks, much like we do for other serious crimes like murder and violent assault. This is not an admission of failure nor an act of surrender: it is an acknowledgement that our security agencies, which are very professional and capable and which stop the vast majority of planned attacks, are not perfect and should not be subjected to an unreasonable standard.
Link:https://icct.nl/publication/an-era-o...ble-terrorism/
A BBC overview of recent attacks:http://www.bbc.co.uk/news/world-40000952
I do wonder if the public, let alone politicians can resist the calls for "better security" and accept a level of such attacks.
Last edited by davidbfpo; 09-05-2017 at 06:17 PM. Reason: 598v
The beating heart of the online terror threat
The BBC has broadcast a half hour documentary in London, a regional programmme oddly; it is not on YouTube, but will appear on BBC World News see:http://www.bbc.co.uk/programmes/n3ct1kws
The reporter is Raffaello Pantucci, of RUSI and he has written a summary on his website. It ends with, lightly edited, this and IMHO applies beyond the UK:
Clearly radical material disseminated online will fan the flames of ideas, and mean that groups like Isil will be able to maintain their notoriety and draw people to themselves. But it is the online manipulation that is turning these long-distance online relationships into terrorist attacks, and individuals like Junaid are able to manipulate people into launching attacks that are difficult to prevent in western capitals.
And while government can spend more money on staff and surveillance, when the style of attack is so individual, basic and diffuse, it becomes very difficult to maintain complete control.
Link:https://raffaellopantucci.com/2017/0...error-by-text/
Reality: vehicle attacks have not proved to be the most lethal terrorist tactic.
Brain Jenkins @ RAND is always sensible and this short article reviews the current furore, 'Vehicular Terrorism: Weighting the Benefits and Worth, of Prevention.
A "taster":
This latest in a string of such attacks has added urgency to discussions of what can be done to prevent terrorists from using vehicles as weapons. In the lexicon of the security world, these ideas come under the heading of “hostile vehicle mitigation measures,” and they include a broad range of possibilities. Mitigation, not prevention, is the operative word here—cities are filled with pedestrians and vehicles, in some cases, separated by mere inches. Many of the measures would be disruptive and costly and could easily be circumvented, which leads to an uncomfortable question: Do they represent a good investment?
Link:https://www.rand.org/blog/2017/09/ve...and-worth.html
Moderator at work
Four other threads in this arena have been merged in after a review; adding nearly 30k views.
Global Terrorism Index 2017
From an Australian think tank and their explanation:
This is the fifth edition of the Global Terrorism Index (GTI). The report provides a comprehensive summary of the key global trends and patterns in terrorism over the last 17 years in covering the period from the beginning of 2000 to the end of 2016. The GTI is produced by the Institute for Economics & Peace (IEP) and is based on data from the Global Terrorism Database (GTD). Data for the GTD is collected and collated by the National Consortium for the Study of Terrorism and Responses to Terrorism (START); a Department of Homeland Security Centre of Excellence led by the University of Maryland. The GTD is considered to be the most comprehensive global dataset on terrorist activity and has now codified over 170,000 terrorist incidents
It is a large report, so take what you need.
Link:http://visionofhumanity.org/app/uplo...Index-2017.pdf
Last edited by davidbfpo; 11-26-2017 at 04:26 PM. Reason: 134,452v
Preparing commanders to counter marauding terrorist attacks
Spotted by a "lurker" an article in NATO Review by an Irish Defence Forces author and a new abbreviation to learn:
Counter Marauding Terrorist Attack (C-MTA)
Link:https://www.nato.int/docu/review//20...s/EN/index.htm
A lingering, potent threat
Sentinel, CTC @ West Point's journal has several articles, but this one on the Spanish plotters in is a "must read", partly due to its depth and pointer to what is coming.
The Abstract:
In the space of nine hours in August 2017, a terrorist cell armed with vehicles and knives launched two attacks on the city of Barcelona and the town of Cambrils, in Catalonia, Spain, killing 16 in the worst terrorist atrocity in Spain since the 2004 Madrid train bombings. New information obtained by the authors from judicial documents and interviews with investigators make clear the attacks could have been much worse. The 10-man cell, which included four sets of brothers all indoctrinated by an Islamic State-supporting cleric in the Catalonian town of Ripoll, initially planned to carry out ambitious vehicle bomb attacks in Barcelona and possibly Paris using TATP, but changed and accelerated their plans after they accidentally blew up their bomb factory. The Islamic State claimed the attackers were “soldiers of the caliphate,” but while newly disclosed information shows the network behind the Paris attacks targeted Barcelona for an attack in 2015, it is still unclear whether the group had any direct role in the August 2017 attacks.
Link:https://ctc.usma.edu/spaniards-going...lona-cambrils/
Looking for a shorter briefing? Try this:http://thesoufancenter.org/tsc-intel...gering-threat/
How to Beat Salafi-Jihadi Terrorism
A short article by Ali Soufan in a forthcoming debate via the Cato Institute. A few lines:
To defeat the terrorists, I maintain we must first grasp, in detail, their worldview, their motivations, and their ideology....we must focus on degrading the terrorists’ most valuable asset:their extremist ideology...How can we push vulnerable young people off the treadmill of radicalization before it carries them into the jihadi echo chamber?
Link:https://www.cato-unbound.org/2018/02...hadi-terrorism
Terrorism and the new disorder
A short commentary by John Raine, ex-UK diplomat now @ IISS; which is painful in places:
The territorial defeat of the Islamic State, also known as ISIS or ISIL, in Syria and Iraq marks a turning point in the international effort against terrorism. The long war against terrorism enters a new, but probably not its final, phase. The threat is mutating and diversifying. The Caliphate has dispersed but a global network of terrorists remains operational, including in European cities. Apparently isolated Individuals are acting on their own initiative, deriving inspiration and guidance from online. And a new potential threat is emerging from armed Shia groups who are enjoying a strategic momentum in the Middle East that could carry them into direct conflict with Israel, the Gulf states and the West. Terrorism has been and remains a part of their repertoire.
This reshaping of the terrorist threat is happening at a time when the international order is volatile. Collective political and security structures are under stress. The Gulf Cooperation Council, NATO and the European Union are all challenged by internal divisions and external threats. In addition, established powers, especially the United States, are recalibrating their global engagement while new powers (Russia and Turkey) are asserting themselves in counter-terrorism theatres such as the Middle East and Central Asia. Finding the common legal, political and cultural ground necessary for effective international coalitions is getting harder.
In this apparent disorder, how will the new terrorist challenges be met? What are the likely strategies of existing and emerging terrorist groups? What new forms of terrorism might emerge, where and with what targets? What changes will have to be made in national and international responses? And how will the international community deny terrorists influence over cyber domains? What strategies, compromises and coalitions will this require?
Link:https://www.iiss.org/en/events/event...-disorder-c0ee
Link to underlined link, which is a longer explanation:https://www.iiss.org/en/iiss%20voice...-disorder-61cf
Originally Posted by davidbfpo
A short commentary by John Raine, ex-UK diplomat now @ IISS; which is painful in places:Link:https://www.iiss.org/en/events/event...-disorder-c0ee
This is an important think piece in my view, the title "Terrorism and the New Disorder" is appropriate. As noted in numerous SWJ threads and other forums the international order is increasingly under stress by a number of actors and other factors, resulting increasingly in disorder.
The author correctly points out that the next wave of terrorism is brewing
at a time when the international order is volatile, and collective political and security structures are under stress.
Thus finding the necessary
common legal, political and cultural ground necessary for effective international coalitions is getting harder
A couple of other thoughts from the author I found helpful in shedding light on our collective ongoing challenge.
First, it appears state sponsored terrorism is making a come back, and unlike the Iranian proxies in the late 70s/early 80s, this breed of terrorists is battle hardened and very well trained. I doubt Iran will be the only sponsor, as noted by the Russians reportedly providing support to the Taliban as a sign of things to come in a world where state actors increasingly compete with one another.
Second, regarding the foreign fighter who returned home and others who may seek to fight, the author points out that terrorists are less united by structure than my meme. Add the internet to this equation and you a virus of the mind that will continue to spread globally. The West seeks to destroy terrorist organizations, because it comes the closest to their preferred way of war, but rushing to assign a group label to terrorists can be misleading.
New priorities for international counter-terrorism
John Raine, IISS, has a new commentary; which opens with:
Cross-border terrorism shows no signs of abating, and the changing nature of the threat calls for new approaches. But what could hinder international cooperation? A year after the Westminster attack in London, the Islamic State, also known as ISIS or ISIL, has been dislodged from the majority of the territory it controlled. But the threat posed by ISIS and other groups across Africa, the Middle East and Southeast Asia persists. International cooperation has been the key to successes in countering terrorism, both recently and over the last 20 years, but as collective security comes under threat and terrorism morphs yet again, what should the new priorities be?
Link:https://www.iiss.org/blogs/analysis/2018/07/international-counter-terrorism-priorities?
How Does Terrorism Overlap With Criminality?
A commentary with several links on this vexed issue by a UK-based author.
Link:https://www.forbes.com/sites/nikitam.../#393f2c252c4d
How Diaspora Communities Influence Terrorist Groups
A short essay in Lawfare and the Editor's preamble:
Terrorist groups often draw on ethnic or religious brethren in other countries. These communities raise money, provide arms, offer volunteers, lobby host governments and otherwise try to advance the terrorist cause. James Piazza of The Pennsylvania State University goes deep on diasporas. He identifies the ways in which they make a terrorism problem worse and why fighting terrorism requires countering the influence of militant diasporas.
Link:https://www.lawfareblog.com/how-dias...rrorist-groups
Last edited by davidbfpo; 03-14-2019 at 07:48 PM. Reason: 166,918v a week ago and 167,395v today
Despite Territorial Defeat, Islamist Terrorism Will Continue to be a Threat
A short commentary by RUSI's Raffaello Pantucci and Mark Rowley, ex-UK top CT police officer. They open with:
Daesh, Al-Qa’ida and other terrorist organisations may appear to be in current retreat. But rather than being eradicated, they have scattered. The violent extremism they have spawned has not entirely disappeared and understanding how it might evolve is going to be a central preoccupation for security planners.
They end with:
This model of global Islamist terrorism with a cult-like ideology scattering and fostering independent mini-caliphates to grow will need constant effort to be effectively managed. The danger is that, just as some key Western governments are retreating from internationalism, new terrorist footholds will establish themselves, strengthen themselves and shock us. The surprise leaves us prone to overreaction that only exacerbates the problem. To counter terrorist threats, we need to not only fight them on the ground, but appreciate the reason why they have developed in the first place and calibrate our response appropriately. Only then will we be able to manage them effectively and guarantee our security.
Link:https://rusi.org/commentary/despite-...I6pn6o.twitter
Last edited by davidbfpo; 03-16-2019 at 06:21 PM. Reason: 167,527v today
What may come next and hwo to respond
Catching up I found this article by Scott Atran, sub-titled:
The atrocities in Sri Lanka are part of a spiral of violence that poses profound questions for liberal societies
The spread of this transnational terrorism, whether Islamist revivalism or resurgent ethno-nationalism, is fragmenting the social and political consensus globally. That is precisely its aim: to create the void that will usher in a new world, with no room for innocents on the other side, and no “grey zone” in between.
Link:https://www.theguardian.com/commenti...ight-sri-lanka
Then today Jason Burke asks:
Are there lessons we can learn from last week’s atrocities in Sri Lanka?
He has this key passage on being radicalised:
Crucially, someone vulnerable to radicalisation at one moment in their life may be much less so just months later. A key element in the explanations of former terrorists for their own actions – as well as in accounts given by Nazi mass killers and others – is that their acts are necessary to head off a catastrophic outcome for their community, that they are an obligation for any rational individual. Combine this with the total dehumanisation of the victims – another product of groupthink, separation and propaganda – and you are already a long way to mass murder, whether in a death camp, through an artificial famine, by a mob armed with knives and axes, or a multiple suicide bombing.
Link:https://www.theguardian.com/world/20...ombings-terror
Both have a global outlook, so will be copied to the general CT thread.
Quick Navigation Global Issues & Threats Top
France, incl. terrorism & counter-terrorism (catch all)
By AdamG in forum Europe
Terrorism in Russia (merged thread)
By bismark17 in forum Europe
Gaza, Israel & Rockets (merged thread)
By AdamG in forum Middle East
Is one man's terrorist really another man's freedom fighter?
By McArthur in forum Adversary / Threat
After the Bin Laden op, what is the impact? Not on terrorism. Merged thread
By Ray in forum Global Issues & Threats
al-qaida, colombia, counter terrorism, counter-terrorism, counterterrorism, drugs, gwot, history, ideology, information operations, intelligence, iraq, isis, northern ireland, policing, politics, strategy, syria, terrorism, terrorists
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power of moments
The Power of Moments – Book Review
The existentialist philosopher Kierkegaard once wrote that we live forward but understand backward. In their book The Power of Moments, authors Chip Heath (Stanford) and Dan Heath (Duke) help us explore those defining moments in our lives that shape our core identity. The authors identify four main characteristics of defining moments (though some of the most memorable combine two or more of these elements):
Elevation: “defining moments rise above the everyday. They provoke not just transient happiness, like laughing at a friend’s joke, but memorable delight.”
Insight: “defining moments rewire our understanding of ourselves or the world.”
Pride: “defining moments capture us at our best – moments of achievement, moments of courage.”
Connection: “defining moments are social…these moments are strengthened because we share them with others.”
The authors divide these defining moments into three main categories:
Transitions: promotions, the first day of school, the end of projects, etc.
Milestones: retirement, unheralded achievements, etc.
Pits: dealing with negative feedback, loss of loved ones, etc.
In business as in personal life, the authors argue that we benefit from building the habit of “moment-spotting.” This can often be a harder task in business because we get “consumed with goals” and when that happens “time is meaningful only insofar as it clarifies or measures our goals. The goal is the thing.” But the authors seek to push back against this goal-oriented framework: they remind us that “for an individual human being, moments are the thing.” And they point out that even celebrating an achievement is “embedded in a moment.”
As an example of concrete defining moments in the workplace, the authors ask us to think about the first day at a new job. “For new employees, it’s three big transitions at once: intellectual (new work), social (new people), and environmental (new place.)” If we can recognize that this first day provides an opportunity for a defining moment filled with elevation, insight, pride, and connection, then we will realize that “the first day shouldn’t be a set of bureaucratic activities on a checklist. It should be a peak moment.”
In addition to tips on how to recognize defining moments, the book gives helpful advice for how to craft those moments. This advice is often deeply practical and simple, such as boosting sensory pleasures (color, taste, music), but the advice also relies on psychology in suggesting ideas like using games or competition to simulate the feeling that the stakes are raised, or using novelty to challenge expectations and break social scripts.
The authors conclude their book with a series of imaginative what-if questions:
What if every organization in the world offered new employees an unforgettable first-day experience?
What if every student had an academic experience as memorable as prom?
What if every patient was asked, ‘what matters to you?’
What if you called that old friend right now and finally made that road trip happen?
What if we didn’t just remember the defining moments of our lives but made them?
This book reminded me of Pixar’s animated movie Inside Out. In this imaginative movie, we see inside the brain command center of a girl named Riley, and we watch as her personified emotions help her to navigate daily life. Inside the ecosystem that is Riley’s brain, we see islands that represent Core Memories – defining moments from Riley’s life.
In my review of the movie, I suggested to parents that you talk to your own children about their core memories: ask your kids about the memories that define them. Ask questions like, “what is your favorite family memory?”, and “Do you remember what made you feel the saddest?” – Let your children take the lead because the memories that are core to them may not be what you’d expect . . . but don’t be afraid to use prompts as need, i.e., “remember when we first got Rover?” As we enter into this New Year, reflecting as a family on defining moments, both individual and familial, can help contextualize those resolutions and goals we have set for 2019, while helping us avoid being consumed by those goals and instead remain watchful for those extraordinary moments that enrich life.
Filed Under: Book Reviews, Lifelong Learning Tagged With: book review, chip heath, dan heath, power of moments
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“The Emperor’s Soul” by Brandon Sanderson (Reviewe...
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“Untold” by Sarah Rees Brennan (Reviewed by Casey ...
"The Crooked Maid" by Dan Vyleta and 'The Luminari...
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Mini-Interview with Michael J. Sullivan (Interview...
"The Crooked Maid" by Dan Vyleta and 'The Luminaries" by Eleanor Catton (short reviews by Liviu Suciu)
"Vienna, 1948. The war is over, and as the initial phase of de-Nazification winds down, the citizens of Vienna struggle to rebuild their lives amidst the rubble.
Anna Beer returns to the city she fled nine years earlier after discovering her husband's infidelity. She has come back to find him and, perhaps, to forgive him. Traveling on the same train from Switzerland is 18-year-old Robert Seidel, a schoolboy summoned home to his stepfather's sickbed and the secrets of his family's past.
As Anna and Robert navigate an unrecognizable city, they cross paths with a war-widowed American journalist, a hunchbacked young servant girl, and a former POW whose primary purpose is to survive by any means and to forget. Meanwhile, in the shells of burned-out houses and beneath the bombed-out ruins, a ghost of a man, his head wrapped in a red scarf, battles demons from his past and hides from a future deeply uncertain for all."
The Crooked Maid is a loose sequel to The Quiet Twin (FBC Rv) and a suspenseful edge on the seat read that kept me turning the pages till the great ending; superb characters in Anna Beer, Robert Siedel, Annelise - the crooked back girl from The Quiet Twin who is now the title character - and the mysterious and seedy former POW and current "bum and survivor at all costs", German Czech Karel Neumann, though 1948 Vienna is in a way the main character though we take a tour to the tragic past too.
I will just add the author's afterword to get a sense of the book as it reflects superbly what is in; while for now on my highly recommended list of 2013 novels, this could go to my top 25 list too, depending on how it wears in time.
"When I set out to write The Crooked Maid, I had contracted the Balzacian bug: I wanted to write a world, not a book. All the same, a world must be assembled piece by piece. The train ride came to me early, as did the theme of parricide, both in conscious homage to Dostoevsky, whose books I love.
Other, less conscious, Dostoevskianisms have crept in, further proof that books are dangerous things: you read them and they impose on you not just their words but a whole sensibility; not incidents but a mode of seeing reality. Structurally, the book owes much to Dickens.
I read Our Mutual Friend early into its writing, and took note of Dickens’s daring in stacking incident upon incident (and coincidence upon coincidence); of his ability to connect characters high and low through crime, family scandal, and the brittle threads of chance; of his book’s unstable tone that drifts from comedy to tragedy and back and is capable, despite its author’s much-decried sentimentalism, of calling forth real emotion; and of his deft management of the book’s vast cast (Dickens would have made a good film director).
The trial at the centre of The Crooked Maid owes much to Kay Boyle’s wonderful 1950 New Yorker reportage on a Frankfurt war crimes trial. Many of its details are directly inspired by this report, which is a wonderful literary performance in its own right and (along with Boyle’s other essays on postwar Germany) deserves to be rediscovered by a wider readership.The Crooked Maid is set only two years after my first book, Pavel & I (albeit in a different city), but the postwar moment it depicts is quite distinct.
If Pavel & I captures the catastrophe of deprivation at its lowest—and coldest—point, The Crooked Maid is interested in the social and moral flux that accompanied the early years of reconstruction. The year 1948, when the book is set, was a year of change. West Berlin had been cut off by the Soviets and had to be supplied by air; Czechoslovakia had gone Communist; and Vienna was rumoured to be riddled with spies: the Cold War had started in earnest.
At the same time, identities were shifting, and an assertive type of Austrian nationalism that distanced itself from Germany, and was given licence by the Allies to describe Austria as the first victim of an expansionist Reich rather than its willing bride, was gaining ground. POWs were still returning home, displaced persons languished in camps, denazification was slowly being wound down. In Vienna itself—a city that combines aspects of the metropolis and the village—neighbours, work colleagues, and families faced each other across the chasm of their respective war experiences, a drama played out in the shadow of entire strata of society who had been murdered by the Nazi regime.
I did not want to exploit the suffering that took place in this age of uncertainty but simply to understand it: so I started far from it, in a cozy train compartment, over a cup of sweet (yet bitter) tea"
"On a blustery January day, a prostitute is arrested. In the midst of the 1866 gold rush on the coast of New Zealand, this might have gone unnoticed. But three notable events occur on that same day: a luckless drunk dies, a wealthy man vanishes, and a ship's captain of ill repute cancels all of his business and weighs anchor, as if making an escape. Anna Wetherell, the prostitute in question, is connected to all three men.
This sequence of apparently coincidental events provokes a secret council of powerful townsmen to investigate. But they are interrupted by the arrival of a stranger: young Walter Moody, who has a secret of his own...
THE LUMINARIES is an intricately crafted feat of storytelling, a mystery that reveals the ways our interconnected lives reshape our destinies."
Long-listed for the 2103 Man Booker prize, Eleanor Catton's The Luminaries is a long (800+) and very ambitious novel whose subject did not really interest me that much, but where the writing and the structure of the novel kept me reading it till the end.
I alternated between being hooked and being bored and moving along. If you like scripted books where "each phrase" as a fawning review, put it counts toward the complicated plot, this could be a delight for you, but I prefer messier, more life-like novels and this one fails on a few counts (coincidences, boy wonder, way too complicated plot based on the dumbness on some otherwise seeming intelligent characters).
This being said the book is well written, literary speaking, and I see why some people are so enamored by it. Also it is quite ambitious and with a great atmosphere indeed, but a more interesting setting - as the New Zealand gold rush of 1860's leaves me utterly cold - and more believable characters would have made "The Luminaries" a book for the ages, not the "ok, I read it, I can make a note and then forget it" novel it turned out to be.
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I received a letter or call from Frazier School. Is that you?
Possibly, there are two Frazier School's in Chicago. Our building at 4027 W Grenshaw. Frazier International Magnet School (our school) is a CPS school overseen by the Office of Access and Enrollment and the Austin-North Lawndale Network. Frazier Preparatory Academy is a contract school overseen by a private management organization. Demographic and other information on both schools can be found at Illinois Interactive Report Card.
Is Frazier a good school?
Decide for yourself. Frazier is the winner of the 2013 National Blue Ribbon Schools award in the "Exemplary High Performance". Fewer than 1% of Illinois schools received this honor. Frazier has also been honored with the state of Illinois awards for Spotlight School and Academic Excellence. Frazier International ranks in the top 100 schools in Chicago according to the Chicago Suntimes and is the #1 ranked K-8 school in the Austin-North Lawndale neighborhood.
We are authorized to provide the International Baccalaureate Primary Years Programme which utilizes transdisciplinary teaching methods that makes learning meaningful to students. We are a candidate school for the Middle Years Programme.
100% of our 7th graders in 2013 scored at levels high enough to apply to selective enrollment high schools in Chicago. Scores for this group and others have increased noticeably in their time at Frazier.
What special programs or partnerships do you offer?
Students at Frazier are treated to innovative programs and partnerships that are constantly evolving. Elementary students benefit from a partnership with Ravinia that provides artists in residence who visit classrooms regularly to enhance the arts in literacy program.
Middle School students participate in STEM/Technology classes that involve robotics and other design challenges. They have choice in several classes including arts, speech, and research.
All Frazier students also participate in Mindful Practices - a method of helping students stay focused throughout their day. Techniques used in Mindful Practices translate to self discipline in and out of the classroom.
Does Frazier have anything for after school?
Frazier has a robust after school program for 20 weeks each year. The after school program includes an academic component, and two days of enrichment opportunities from visual arts to sports, chess, and debate.
We also work with the YMCA to provide after school care at the school for a reasonable price. Please contact the office for more information!
Does my child have to take a test to get admitted?
No. Elementary magnet schools in Chicago accept students regardless of academic backgrounds. The only requirements are that you live in the city of Chicago and that your child meets the age requirements for a K-8 student in Chicago.
Do I have to live in the neighborhood to get admitted?
No. Students may live anywhere in the city of Chicago (before the first day of school).
I live near the school. Does my child get automatically accepted at Frazier International?
No. Applying kindergarten students who live in the proximity of Frazier International Magnet School (less than 1.5 miles away from the school) may choose to place themselves in the Proximity Lottery in October when an application is submitted. A certain percentage of open spaces are generally reserved for students living within this range. This applies only to kindergarten. Students in all other grades are randomly selected from all of the applications received with special considerations that hope to promote diversity in the school.
I have another child who attends Frazier International Magnet School. Can his sibling get automatically accepted?
Yes and no. For incoming kindergarten students, siblings of existing Frazier International students will be automatically accepted as long as we have space. Siblings receive no preference for grades 1-8 and will be selected randomly from all applications.Check with the office of Access and Enrollment for up-to-date policies on sibling admission.
I applied in October and was placed on the waiting list. Will I get preference for the lottery next year?
No. If you were not selected for a position in one lottery, you must reapply using the appropriate form in the next lottery. Lottery deadlines are generally in December and April.
Frazier International
Magnet School
4027 W. Grenshaw Street
Chicago, Illinois 60624
Fax: 773.534.6616
Chicago Public Schools | Non-Discrimination Statement
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[A] B C D E F G H I J K L M N O P Q R S T U V W X Y Z [Show ALL]
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Austin, M. P.. "Models for the analysis of species' response to environmental gradients." Vegetatio 69 (1987): 35-45.
Aspinall, R., and N. Veitch. "Habitat mapping from satellite imagery and wildlife survey data using a Bayesian modelling procedure in a GIS}." Photogrammetric Engineering & Remote Sensing 59 (1993): 537-543.
ASCE Task Force on Friction Factors. "Friction factors in open channels." Journal of the Hydraulics Division 89 (1963): 97-143.
Arrouays, D., J. Daroussin, J. C. Kicin, and P. Hassika. "Improving topsoil carbon storage prediction using a digital elevation model in temperate forest soils of France." Soil Science Society of America Journal 163 (1998): 103-108.
Arrell, K., I. S. Evans, and D. N. M. D. Donoghue. "A distributed model for mountain climate and glacier mass balance." Journal of Geophysical Research in press (2007).
Arnold, R. W.. "Soil survey: an example of applied research." Soil Survey Horizons (1988): 102-106.
Argialas, D. P., and G. C. Miliaresis. "Landform spatial knowledge acquisition: Identification, comceptualization and representation." In Proceedings 1997 ASPRS/ASCM Annual Convention and Exposition, Technical Papers, Seattle, Washington. April 7-10, 1997, 733-740. Bethesda, Maryland: American Society for Photogrammetry and Remote Sensing. American Congress on Surveying and Mapping, 1997.
Argialas, D. P., and G. C. Miliaresis. "Physiographic knowledge acquisition: Identification, conceptualization and representation." In Proceedings 1996 {ASPRS/ASCM} Annual Convention and Exposition, Technical Papers, 311-320. Bethesda, Maryland: American Society for Photogrammetry and Remote Sensing. American Congress on Surveying and Mapping, 1996.
Arge, L., J. Chase, P. Halpin, L. Toma, D. Urban, J. S. Vitter, and R. Wickremesinghe. "Flow Computation on Massive Grid Terrains." GeoInformatica, International Journal on Advances of Computer Science for Geographic Information Systems 7 (2003): 283-313.
Arge, L., J. S. Chase, P. Halpin, L. Toma, J. S. Vitter, D. Urban, and R. Wickremesinghe. "Efficient Flow Computation on Massive Grid Terrain Datasets." GeoInformatica 7 (2003): 283-313.
Arbic, B. K., S. T. Garner, R. W. Hallberg, and H. L. Simmons. "The accuracy of surface elevations in forward global barotropic and baroclinic tide models." Deep Sea Research Part II: Topical Studies in Oceanography 51 (2004): 3069-3101.
Araújo, Ângelo Moura, Paulo Pereira, Renato Henriques, and Diamantino Pereira. "Water resources assessment using GIS procedures: application in Ceará State (Brazil)." In Geomorphometry for Geosciences, edited by Jaroslaw Jasiewicz, Zbigniew Zwoliński, Helena Mitasova and Tomislav Hengl, 237-240. Poznań, Poland: Bogucki Wydawnictwo Naukowe, Adam Mickiewicz University in Poznań - Institute of Geoecology and Geoinformation, 2015. Abstract
Download: Araujo2015geomorphometry.pdf (176.29 KB)
Antonić, O., N. Pernar, and S. D. Jelaska. "Spatial distribution of main forest soil groups in Croatia as a function of basic pedogenetic factors." Ecological Modelling 170 (2003): 363-371.
Antonić, O., D. Hatić, and R. Pernar. "DEM-based depth in sink as an environmental estimator." Ecological Modelling 138 (2001): 247-254.
Antonić, O., J. Kriżan, A. Marki, and D. Bukovec. "Spatio-temporal interpolation of climatic variables over large region of complex terrain using neural networks." Ecological Modelling 138 (2001): 255-263.
Antonić, O., V. Kušan, T. Bakran-Petricioli, A. Alegro, S. Gottstein-Matočec, H. Peternel, and Z. Tkalčec. "Mapping the habitats of The Republic of Croatia (2000.-2004.) –- The project overview (in Croatian)." Drypis –- Journal for Applied Ecology 1 (2005): 40.
Antonić, O., A. Marki, and J. Kriżan. "A global model for monthly mean hourly direct solar radiation." Ecological Modelling 129 (2000): 113-118.
Antonić, O., and T. Legović. "Estimating the direction of an unknown air pollution source using a digital elevation model and a sample of deposition." Ecological Modelling 124 (1999): 85-95.
Antonić, O.. "Modelling daily topographic solar radiation without site-specific hourly radiation data." Ecological Modelling 113 (1998): 31-40.
Anderson, E. S., J. A. Thompson, D. A. Crouse, and R. E. Austin. "Horizontal resolution and data density effects on remotely sensed LiDAR-based DEM}." Geoderma 132 (2006): 406-415.
Anders, N. S., A. C. Seijmonsbergen, and W. Bouten. "Segmentation optimization and stratified object-based analysis for semi-automated geomorphological mapping." Remote Sensing of Environment 115 (2011): 2976-2985.
Anders, Niels, Rens Masselink, Saskia Keesstra, and Juha Suomalainen. "High-Res Digital Surface Modeling using Fixed-Wing UAV-based Photogrammetry." In Geomorphometry 2013. Nanjing, China, 2013. Abstract
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Anders, N., M. Mike Smith, H. Seijmonsbergen, and W. Bouten. "Optimizing object-based image analysis for semi-automated geomorphological mapping." In Geomorphometry 2011, edited by T. Hengl, I. S. Evans, J. P. Wilson and M. Gould, 117-120. Redlands, CA, 2011. Abstract
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Alvioli, M., I. Marchesini, P. Reichenbach, M. Rossi, F. Ardizzone, F. Fiorucci, and F. Guzzetti. "Automatic delineation of geomorphological slope units with r.slopeunits v1.0 and their optimization for landslide susceptibility modeling." Geoscientific Model Development 9 (2016). Abstract
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ozzmittel September 18, 2014
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America is Building a Clean-Energy Economy with Unprecedented Momentum
by Blog Daily Listings RSS | Mar 3, 2016 | Monitor |
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March 3, 2016 at 5:58 PM ET by John P. Holdren, Dan Utech
The Department of Energy's ARPA-E Summit showcases American clean-energy leadership and transformative energy technologies.
Current Motor’s “Mini-Fleet-in-a-Box†of electric scooters in a shipping container, which doubles as a solar-powered charging station, on display at the ARPA-E Innovation Summit. (Photo by Simon Edelman, U.S.Department of Energy)
Last week, President Obama visited an advanced battery factory in Jacksonville, Florida.As part of the clean-energy revolution that’s creating jobs and making our planet safer and more secure at the same time, this factory makes cutting edge energy-storage technology that will continue to help integrate new power sources into the electric grid.This week, American clean-energy leadership is also on display at the annual summit of the Department of Energy’s (DOE) Advanced Research Projects Agency-Energy (ARPA-E).Over the past seven years, ARPA-E has invested in 475 transformative energy technologies that have secured over $1.25 billion in cumulative follow-on funding from the private sector.
Our progress on clean energy:
Solar power: ↑ more than 30x
Wind power: ↑ threefold
Oil imports: ↓ nearly 60%https://t.co/ESpewxu09F
— The White House (@WhiteHouse) February 26, 2016
These milestones were made possible seven years ago, when President Obama signed the American Recovery and Reinvestment Act (Recovery Act).Not only did the Recovery Act stimulate the economy and raise GDP by an estimated 2-3 percent following the depths of the Great Recession, but it also made the largest single investment in clean energy in history, providing more than $90 billion in strategic clean-energy investments and tax incentives to accelerate job creation and the deployment of low-carbon technologies.
This historic investment toward a 21st century clean-energy economy included the seed funding for ARPA-E, a new agency within DOE with the mission to advance potentially transformational energy technologies that are too early in their development to attract private-sector investment.ARPA-E’s projects, many on display this week at the annual summit, include entirely new ways to generate, store, transform, and use energy – from an airborne wind turbine that transmits electricity from the sky; to liquid-flow batteries that provide grid storage and flexibility; to bio-engineered organisms that can make fuel directly from electricity, hydrogen, and carbon dioxide.
We need to double down on these core investments to maintain American leadership and accelerate the transition to a clean-energy economy.That’s why the President’s FY2017 Budget proposes todouble funding for clean-energy research and development (R&D)over the next five years, from $6.4 billion in Fiscal Year (FY) 2016 to $12.8 billion in FY 2021, to meet the U.S. commitment to the landmark 20-nationMission Innovationinitiative announced at the Paris climate summit.This expansion of clean energy R&D, which is in line with the recommendations of numerous expert studies, would include a tripling of ARPA-E’s budget to approximately $1 billion in 2021.
Beyond these essential government investments in R&D, we need more private-sector investment in new clean-energy technologies on their way from the laboratory to the commercial marketplace.While global private investment in commercial technologies like wind and solar surged last year to an all-time high, global private investment in early-stage clean energy has not kept pace.That’s why at last year’s ARPA-E summit, White House Senior Advisor Brian Deese announced the Clean Energy Investment Initiative, an Administration effort to catalyze and expand private-sector investment in solutions to climate change, including innovative technologies with breakthrough potential to reduce carbon pollution.
One year later, the Clean Energy Investment Initiative has yielded a promising roster of private-sector commitments and complementary executive actions, including:
The Department of Energy’s new Clean Energy Investment Center (CEIC) opened for business and has already made substantial progress in its mission to advance private, mission-oriented investment in clean energy technologies.The CEIC is currently building a Lab Partnering Service that will facilitate direct, single-point access for the public to the rich clean-energy technology expertise of the National Laboratories, and just released a Request for Information as an opportunity for the public to inform its future priorities and objectives.
The Treasury Department published new guidance to clarify that foundations are permitted to make certain mission-related investments (MRIs) in companies that further the foundation’s charitable purposes. Some long-term investments in climate solutions, including clean-energy technologies that can yield market returns after a relatively long period of illiquidity, may be attractive MRIs for foundations seeking to reduce carbon emissions or prevent climate change.A final rule facilitating program-related investments by charitable foundations is coming soon, too.
The Department of Labor published new guidance clarifying that environmental, social, and governance factors may have a direct relationship to the economic and financial value of an investment for certain pension funds, and thus may be proper components of the fund’s analysis of the economic and financial merits of competing investment choices.
Lawrence Berkeley National Laboratory (LBNL) is announcing its second cohort of clean energy research teams at Cyclotron Road, a new home for entrepreneurial researchers to advance energy technologies until they can succeed beyond the research lab.
More than $4 billion has been committed by major foundations, institutional investors, and other long-term investors to scale up clean-energy innovation and climate change solutions, including several new clean energy investment collaborations that aim to significantly reduce the transaction costs of investing in early- and growth-stage technologies.
The full path to market for a new clean energy technology –from an “aha†moment in a scientific laboratory to a complex system installed at scale – can take decades and involve hundreds of individual inventions, improvements, and optimizations.The President’s ambitious actions to cut carbon pollution will ensure that America takes a comprehensive approach to the climate technology challenge, including a balanced mix of basic science, applied research and development, lab-to-market support, and incentives for widespread deployment–including smart pollution standards that reward innovation in cutting emissions.
Thanks to principled American leadership, nearly 200 countries adopted the most ambitious climate change agreement in history, sending a powerful signal to global markets that technology innovation and low-carbon infrastructure investments will continue to reinforce one another in the decades to come.The Paris climate summit also marked the launch of the Breakthrough Energy Coalition, an independent initiative announced alongside Mission Innovation consisting of 28 influential investors from 10 countries pledging to invest extraordinary levels of private capital in early-stage clean-energy innovations.
Now more than ever, the stage is set for rapid progress toward a low-carbon economy, with momentum building all along the innovation pipeline.
Dr. John P. Holdren is Assistant to the President for Science and Technology and Director of the Office of the Science and Technology Policy.
Dan Utech is Deputy Assistant to the President for Energy and Climate Change.
John P. Holdren
Director of the Office of Science and Technology Policy
Follow @WhiteHouseOSTP
Dan Utech
Deputy Assistant to the President for Energy and Climate Change
Follow @Utech44
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Home ⁄ The Wire ⁄ [2017 FANTASIA FILM FESTIVAL] DISPATCH #4
[2017 FANTASIA FILM FESTIVAL] DISPATCH #4
Jul 30, 2017 Featured Tagged Animation, Denmark, Dieter Laser, Estonia, Fantasia Film Festival, japan, Montreal, Oscilloscope, South Korea, The Devil, The Netherlands Comments 0
DISPATCH #1
A DAY (South Korea, dir. Sun-ho Cho)
World-famous surgeon Jun-young (Myung-min Kim) is flying back to South Korea after an extended stint helping treat refugees abroad. The trip has caused him to miss his daughter’s birthday, and he’s anxious to see her, but little things keep getting in the way like an ambush press conference and saving the life of a kid choking on a piece of hard candy. He’s running late to meet his daughter when Jun-young happens upon a car accident. He stops to help, and when he crosses the street he makes a tragic discovery. Suddenly, he finds himself back on the plane 30 minutes before landing, the day having “reset” itself exactly as it was before. He ends up at the traffic accident again, and the day abruptly starts over. When Jun-young figures out what’s happening, he makes it his mission to stop the accident before it happens, but he finds himself confounded every time. The situation becomes even more complicated when he discovers he’s not the only person stuck in this temporal loop. It feels like the GROUNDHOG DAY-inspired “time loop” movie has been really popular lately, with teen fantasy/drama BEFORE I FALL hitting U.S. theaters earlier this year and the imaginatively titled horror film HAPPY DEATH DAY coming to the big screen in time for Halloween. A DAY is completely uninterested in the mechanics of its time loop and entirely focused on the relationships between the characters who find themselves stuck in it. Each one naturally must discover why they are in this situation, and the cast is great at conveying their anger, fear, frustration, and heartbreak. While it does a little of the tonal see-sawing of typical in popular Korean cinema, the film runs a brisk 90 minutes and debut feature director and writer Sun-ho Cho keeps the action moving. The ending is somewhat anticlimactic, but A DAY has enough surprises to merit a watch.
RON GOOSSENS, LOW-BUDGET STUNTMAN (Netherlands, dir. Steffen Haars & Flip Van der Kuil)
The Dutch film industry is in a crisis. Union stuntmen have driven the cost of film production through the roof. When career alcoholic Ron Goossens (Tim Haars) becomes a Youtube sensation for crashing his car while trying to jump a raising bridge and emerging from the water with the year’s hottest catchphrase (“I’m like totally shitfaced!”), a producer approaches him in hopes of hiring him as cheap stunt labor. Ron isn’t interested—he has just enough money to drink himself stupid every day, and that’s all he really wants out of life—but then his wife Angela (Maartje van de Wetering) announces she’s pregnant and gives him an ultimatum. If Ron can get Dutch superstar Bo Maerten (playing herself) into bed, Angela will let him stay. So Ron takes the gig and begins implementing his master plan, which mostly consists of suffering one grievous injury after another while he tries to do stunts completely drunk and occasionally harasses Ms. Maerten. RON GOOSSENS is the latest feature from Steffen Haars and Flip Van der Kuil, creators of the hit NEW KIDS TV series and films. While there is plenty of goofy slapstick humor that transcends cultures, there’s also no doubt a familiarity with popular Dutch cinema would probably be helpful. Several people play themselves including Maerten and musician Dennie Christian, and there are a number of direct references to the NEW KIDS films. Still, there’s a lot of very funny stuff here and a lot that will probably make North American audiences a bit uncomfortable. RON GOOSSENS is probably best enjoyed with a beer or two (or five, or more), but it’s still pretty funny if you’re sober. Just probably not as funny.
JUNK HEAD (Japan, dir. Takahide Hori)
Thousands of years in the future, mankind has built cities reaching far into the skies. Somewhere below live the descendants of a class of cloned workers who rose up against humanity nearly two millennia ago. When a crisis arises among the human population, an explorer is sent down the lower levels on a desperate mission, but before he even lands his ship is destroyed and his head (encased in a robotic helmet) removed from his body. A scientist puts the head on a new body, but the explorer has forgotten who he is, and plunges into a series of misadventures with the bizarre inhabitants of the lower depths. JUNK HEAD is an astonishing technical achievement, a nearly two-hour stop-motion sci-fi epic made by Takahide Hori and a handful of collaborators over the course of several years. Like Nick DiLiberto’s hand-drawn animated feature NOVA SEED (which played Fantasia last year), JUNK HEAD is an undiluted vision that looks to have been beamed directly from Hori’s brain onto the screen. The creature design is imaginative and nightmarish, but for all the scary stuff happening JUNK HEAD is surprisingly funny. Its characters speak in multiple invented languages, so there’s not a single word of decipherable dialogue for the entire film, but the subtitles and expressive character designs ably tell the story. It’s such an impressive feat that the abrupt ending is a massive letdown; the film ends at what feels like the start of the third act. Here’s hoping Hori and the citizens of his crazy little world return with a sequel to finish the story sooner than later!
DAN-DREAM (Denmark, dir. Jesper Rofelt)
Thorkil Bonnesen (Casper Christensen) is stifled at his day job by his superiors’ lack of vision. When they ridicule his insistence that every home will have a computer before the 1980s are over, he leaves the company to start his own and invent something important. When he meets electrical engineer Jens Knagstrup (Frank Hvam) and sees the electric battery Jens has rigged up for his bicycle, Thorkil is struck with inspiration. He recruits a team and moves them to a small town to start research and production, but tensions in the partners’ families and outside their company threaten the project. The people in the town hate Thorkil and his fellow “city people,” automotive expert Vonsil (Magnus Millang) keeps making inappropriate jokes at the expense of Thorkil’s African girlfriend Grace (Louisa Yaa Aisin), and Jens’s wife Kirsten (Stine Schrøder Jensen) is bored and endlessly scornful of both Jens’s ambitions and their daughter Fanny (Jelina Moumou Meyer). DAN-DREAM reunites writers and stars Christensen and Hvam from the KLOWN TV series and films, importing a similar sense of humor to a very different milieu. As in KLOWN, there is no shortage of deeply uncomfortable humor, frequently toeing a very delicate line dealing with some seriously volatile material. Some of this pays off in surprising ways, but there’s no question some viewers are going to find much of the comedy here to be “problematic.” It’s not quite as adventurous or outrageous as the KLOWN films, but DAN-DREAM has a slightly more optimistic tone and is much more interesting visually than those films, which borrowed the semi-verite approach to shooting handheld with digital cameras from the KLOWN television series. Veteran television director and first-time feature director Jesper Rofelt takes advantage of the early 80s setting to great effect, and the cast has fantastic comedic and dramatic chemistry.
NOVEMBER (Estonia, dir. Rainer Sarnet)
In a remote village, the beautiful young woman Liina (Rea Lest) pines for handsome Hans (Jörgen Liik). But his heart has been stolen away by the lovely Baroness (Jette Loona Hermanis) come from Germany to visit the Baron (Dieter Laser) in his vast estate that towers on a hill near the village. As any self-respecting woman would, Liina seeks the counsel of the local Witch (Klara Eighorn) to change the mind and heart of her beloved. This is no ordinary village: villagers make deals with the Devil (Jaan Tooming) at a crossroads deep in the forest to acquire souls for kraat (shambling golems built out of whatever happens to be laying around) to help them around the house, the plague occasionally wanders into town in the guise of different creatures or objects in hopes of tricking the people into contracting it, and spirits of the dead regularly return on a pilgrimage to get a hearty meal before returning to the other side. NOVEMBER is a stunning, strange portrait of life in a surreal world where magic is commonplace and Christianity inspires more superstitious rumor than comfort or goodwill. While no doubt some audiences will be reminded of THE WITCH—another “folk tale” set among simple folk in an isolated location—this calls to mind more the obsessively detailed medieval world of HARD TO BE A GOD and the grim depiction of daily life in difficult conditions of Béla Tarr’s THE TURIN HORSE. The gorgeous black and white photography (with some footage shot with infrared cameras) by Mart Taniel and excellent score by Jacaszek give NOVEMBER a unique tone, but even at its bleakest the film never takes itself too seriously. This is one of the best films of the year, and when it hits the big screen later this year in North America via Oscilloscope, any cinephile who has the chance catch it during its theatrical run should make it a priority.
Jason Coffman
Unrepentant cinephile. Contributor to Daily Grindhouse and Film Monthly. Member of the Chicago Independent Film Critics Circle. Co-director, Chicago Cinema Society. Attempted filmmaker. Proud owner of 35mm prints of Andy Milligan's GURU, THE MAD MONK and Zalman King's TWO MOON JUNCTION.
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Tags: Animation, Denmark, Dieter Laser, Estonia, Fantasia Film Festival, japan, Montreal, Oscilloscope, South Korea, The Devil, The Netherlands
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RT @SecretHandPod: Excited for our boy @PrestonFassel to be dropping an essential work of film writing on the cult cinema community. L… https://t.co/OKQEPE4hCI
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Previous story Previous story: Are the times changing?
Next story Next story: afterlife of a grand victorian institution
Credit - Bristol Archives BRO-39842-P-1(a)-[a]
Getting an education
Learning and earning a living as a disabled person since the Industrial revolution
Scroll to begin the story
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Deaf and disabled people without a private income often had very tough lives in the late 18th century – education and work were often out of reach and destitution was common. A number of pioneers worked to change the culture so that disabled people were not shut out of all opportunities.
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However, as we will see, often education and employment designed to improve disabled people’s lives could itself become stigmatised or leave people with a very narrow set of options. Getting a voice in how work and education are structured remains a live social issue.
Laundry basket with ‘School for the Blind’ stencilled on the front. Basket making was a common occupation for blind people. Image taken by Anna Fairley Nielsson. Credit: In the collection of the Museum of Liverpool MMM.1994.108.1, image taken by Anna Fairley Nielsson.
In the late 18th century there was no provision for teaching deaf children, except in the families of the very rich. One woman spent £1,500 on educating her deaf son, the equivalent of around £100,000 today. Reverend Townsend believed that education could be made available to deaf children regardless of income.
Some had doubted the demand for a charitable institution for deaf children when the evangelical minister Reverend Townsend of Bermondsey first began raising funds in June 1792. Until that point, education for deaf children had been limited to private schools where wealthy families were charged extortionate fees, teaching methods were a closely guarded secret and unpromising students were quietly dropped.
Research by Maxine Clarke
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By 1815 the school was hugely oversubscribed with 73 applicants for 17 places, so access to education was still a matter of luck. The school grew, first in London, then moving to an imposing building in Margate, to get away from the polluted capital and benefit from the good sea air. By 1938, there were 418 pupils and 150 staff.
Painting of the imposing red brick original Royal School for the Deaf
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However a conference in Milan in the 1880s changed the course of education for deaf children, favouring lip reading over sign language. In a report 90 years later, the British Deaf and Dumb Association concluded the method had been unsuccessful and made it far more difficult for deaf children to learn.
Wanted, two male and two female teachers for deaf and dumb Asylum. Required to teach orally, must not have previously engaged in teaching signing. No deaf experience necessary.
Minute book, of the Margate Branch of London Asylum (later known as the Royal School for the Deaf, Margate)
Meanwhile, also in the late 18th century, campaigning by Edward Rushton and others led to the founding of the Liverpool School for the Blind. Again it offered a way out for poor blind people who previously had few opportunities and could face bullying in the streets of Liverpool. Making baskets and brushes was so central to the trades learned at the school that these were turned into reliefs on one of the School’s later buildings.
Relief from the Royal School for the Blind in Liverpool showing a woven basket. Credit: Courtesy of Anna Fairley Nielsson
Relief showing hands reading braille on the side of the School's extension. Credit: Anna Fairley Nielsson
The School also taught Braille.
Basket weavers pose with their wares Credit: Bristol Archives BRO-39842-P-1(b)-[l]
Around the time of the First World War making baskets also frequently appears in the photograph albums of Guild of the Brave, a community of disabled people in Bristol. Guild members often struggled to get considered for work, and a century after the founding of the School for the Blind basket-making was still a ‘staple’ for disabled people.
Black and white photograph showing products for sale made by students from the Hardman Street School for the Blind. Credit: Copyright John Breen, in the collection of the Museum of Liverpool MMM.2003.115
On the one hand, these were very desirable craft items, which took skill to make and which not everyone could afford. At the same time, there are signs that the work cut disabled people off from a broader education and was sometimes stigmatised. Blind trade union leader Robert ‘Dixie’ Smith was among those keen to offer blind people options that did not involve baskets.
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One of our researchers said her mum had shared a memory with her, that the objects made at the adult branch of the school went on display in the ‘shop’ which could be seen from the road. Her mum used to walk past dreaming of owning something; they were sought after objects and out of her price range.
Kerry Massheder-Rigby
I wish to suggest that Mr Fisher should embody in his bill a special clause which will revolutionise the conditions of the blind. Let him set up a system of technical education which will teach blind children bedding manufacture. It is an easy trade, which they can easily learn. It will give them a living wage. Then let the government earmark that trade for blind people for its own and municipal contracts. What with the needs of the Army, the Navy, and public institutions, it will employ all the blind, and even take them away from such industries as basket and brush making.
Robert 'Dixie' Smith quoted in the Liverpool Echo, 21st April 1917
An early campaigning banner for the rights of blind people from around the turn of the 20th century. Credit: Jimmy O'Rourke
John Langdon Down, who founded a home for learning disabled people at Normansfield Hospital and gave his name to Down Syndrome was exemplary for his time in extending the idea of what residents could do in as many directions as possible. Normansfield included workshops to learn trades, and an emphasis on the arts. The grounds included an ice skating rink and a theatre.
Skaters outside Langdon Down's boathouse, which was designed by Rowland Plumbe, who also designed its theatre. Credit: Langdon Down Centre
Henry Pullen was a long term resident at Earlswood Asylum where John Langdon Down was at one time the medical superintendant. Pullen made complex models including this ship and a giant carnival soldier made to amuse children in the 1870s.
A model made by Henry Pullen on display at the Langdon Down Centre Museum
Today, getting access to work and education without being limited by uninformed assumptions about ambition and capacity are still vital issues for disabled people. Institutions such as the Schools for the Blind and Deaf helped hugely develop the opportunities for a dignified life, although with not always perfect outcomes. In imagining a future, its often useful to look to what worked and what did not in the past.
Young people sitting in the Guild building Credit: Bristol Archives BRO-39842-P-1(b)-[j]
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The Intersection of faith, culture, and politics
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Pause for a moment and recall all of the articles you\'ve read this year that left you impressed. And all of those you\'ve forwarded to others. Or shared on social media.Remember that sense of gratification � especially when you were able to effectively dismantle those who mock our shared values?
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Not since George and Martha in the play "Whose Afraid of Virginia Woolf?" or for older readers Don Ameche and Frances Langford in the radio comedy "The Bickersons," have we seen the kind of verbal pugilism practiced in Sunday night's presidential debate between Donald Trump and Hillary Clinton.
If the business of Trump's lewd language about women caught on tape 11 years ago and Bill Clinton's sexual history with Hillary enabling him in the trashing of his conquests could be set aside, only the issues would remain, and wouldn't that be good?
Sunday night, Clinton recycled the familiar Democrat playbook that the wealthy aren't paying their "fair share" in taxes, when the real issue is that government already receives record amounts in tax money, but misspends much of it and never seems to have enough.
Americans for Tax Reform (ATR) has closely followed Clinton's shifting tax positions.
In the debate, Clinton said she "only" wants to raise taxes on the wealthiest Americans, not the middle class. ATR notes she has said just the opposite on many occasions. It calculates that if all of her tax proposals are enacted, it would cost taxpayers $1 trillion over 10 years and gives the following examples:
She has said she would not veto a payroll tax hike on all Americans should such a bill reach her desk and would set aside her pledge not to boost taxes on middle-income earners.
She wants a tax on sodas that ATR estimates would add $2.16 per 12-pack. Sen. Bernie Sanders (I-VT) charged this would violate her pledge to protect the middle class from tax hikes: "Frankly, I am very surprised that Secretary Clinton would support this regressive tax after pledging not to raise taxes on anyone making less than $250,000. This proposal violates her pledge."
Other tax increases include a national gun tax of 25 percent, a 65 percent "death tax," which ATR notes she wouldn't have to pay because of the way she has arranged her finances. She wants to raise the current capital gains tax from 23.8 percent to 43.4 percent, which would harm investments and stifle capital creation. She would not lower the corporate tax rate, which Trump has pledged to do, even though the U.S. has one of the highest corporate tax rates in the world, which has driven many businesses overseas. And, like President Obama, she is an enemy of the coal industry, despite her claims to be friendly toward it in Sunday's debate. Her campaign chief, John Podesta, has left the door open to a carbon tax, saying if Congress passes such a measure "we'll take a look at it."
Trump purports to favor school choice, which is an essential tool for escaping poverty and would do more than any federal anti-poverty program to help poor children obtain a good education. Hillary Clinton claims to favor school choice, but only as far as publicly funded charter schools. Since she and many Democrats receive political contributions from teachers unions, it's unlikely she'll let poor children escape failing schools. In the latest debate she tried to claim credit for all she has done for children, but what she has not done by refusing to support school vouchers, which allow parents to use public funds to pay for some or all of their child's private school tuition, overcomes whatever good she may have accomplished.
Rumors are swirling about opposition researchers offering to pay employees of Trump's NBC program "The Apprentice" for recordings of other lewd things he might have said to further distract from the issues.
The hypocrisy meter is in hyper drive when you consider that some of the same Democrats condemning Trump said of Bill Clinton's numerous affairs "it’s just about sex" and had nothing to do with his performance as president. These are people who still hold John F. Kennedy in high regard, despite his long list of women with whom he had sex, including secreting some into the White House.
This won't be the end of the revelations about Trump, anything to divert attention from Hillary's real positions on the real issues that matter most to Americans. If we must have bickering, how about bickering over something important?
Comment by clicking here.
Cal Thomas, America's most-syndicated columnist, is the author of 10 books.
© 2021 Tribune Content Agency, LLC.
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Composer Series
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The Criterion Files: Homicide
Homicide: Directed by: David Mamet Written by: David Mamet Starring: Joe Mantegna, William H. Macy, Ving Rhames Cinematography: Roger Deakins Music by: Alaric Jans Released: October 9, 1991 David Mamet might today have greater notoriety as a font of controversy and ideological invective than as a filmmaker (and perhaps even as a playwright). Maybe one could argue that that’s merely a symptom of being a conservative convert in an industry dominated by adherents of liberalism, but the more likely cause for his infamy is his own mouth; Mamet’s anti-left wing diatribes could turn even Ann Coulter a bright shade of red. But common wisdom dictates that we can separate the art…
Andrew Crump
Memphis-based composer SCOTT BOMAR gives us the funky backstory on the positively groovy score to DOLEMITE IS MY NAME.
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HOLLYWOOD HITS: THE MUSIC OF JOHN WILLIAMS - Excerpts from the essay we contributed to The Dallas Symphony's playbill highlighting Tinseltown's greatest composers.
Oscar-winning composer MICHAEL GIACCHINO is one of the most talented and prolific musicians working in Hollywood. We spent 30 minutes with him to get a whirlwind retrospective of his impressive career.
We sat with JAMES NEWTON HOWARD prior to his performance at the Dallas Symphony. To this day, it's one of the most insightful interviews we've ever conducted.
Matt Schrader talks at length about his one-of-a-kind project, SCORE: A FILM MUSIC DOCUMENTARY – this definitive doc gets inside the mind of Henry Jackman, Steve Jablonsky, Harry Gregson-Williams, Brian Tyler, and dozens of influential composers.
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GoSeeTalk and other filmcentric websites put together a little BACK TO THE FUTURE post to celebrate 3 decades of jigawatt joy the film (and series) has given us and the world.
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Rally Legend Takes on DiRT Rally!
Boosted 2JZ Twin Turbo '65 Mustang!
Dan Gurney’s newest creation is an amazing engine. - GT Speed
Engine of the Week: Bandini Bialbero 1000.
By Omar C.
This time, we bring you one of the most obscure Italian automotive jewels, The Bandini Bialbero 1000 engine.
Somewhat of a forgotten legend, Ilario Bandini is the man behind Bandini Cars, and of course, the creator of our Engine of the Week.
Ilario Bandini, standing next to a Bialbero engine.
Let’s journey back to the Italy in the sixties, a motorsports paradise, where manufacturers’ passion for racing brings on a monumental wave of innovation and technical improvements.
Among these seekers of automotive performance was Bandini Cars, championing lightness and nimble handling. For the 1966 season, a new Racing Car had been developed, the Bandini 1000.
This racing machine was given the newly revised and updated Bandini Bialbero engine, which displaced only 987 cubic centimeters (around 60.2 cubic inches), and yet delivered 105 horsepower at a ludicrously high 8500 RPM. Even by modern standards, such specific power output from a naturally aspirated inline four cylinder is quite impressive.
For its era, the Bandini Bialbero was astounding, as it was one of the first engines of its time to feature gear-train driven Dual Overhead Camshafts. It also sported dual twin barrel Weber carburetors and hemispherical aluminum cylinder heads. Another notable characteristic of it was the 9.5:1 compression ratio, and the 2.7 inch bore and stroke.
As an interesting fact: “Bialbero” refers to the two camshafts in the engine, albero means tree in Italian, it’s translated as DOHC or Twin Cam, since in Italian, Camshafts are known as “Trees of Cams” (albero a camme).
Thus this Bandini Twin Cam engine was used for the 1000 Racecar and the 1000 GT, which was the road going version. The Bandini Saloncino also was given the Bialbero engine.
Weighing only 400 kilograms (882 lbs), the Bandini 1000 was a rear engine, five speed manual, open top racing machine, with an elliptical section tubular frame, and an aluminum body. Having all round independent suspension, as well as adjustable camber, toe, and caster, made the Bandini 1000 into a fully fledged racer.
The Bandini 1000, built in 1966.
The 1000 GT road going version was slightly heavier, weighing at 475 kg (1047 lbs), it was also Front engine, rear wheel drive, and had a coupe body style. Sporting a detuned version of the Bandini Bialbero engine, it had 94 horsepower at 8000 RPM, reaching a top speed of 124 Mph.
Bandini 1000 GT, the road going version.
Perhaps the most iconic car to ever carry this engine was the Bandini Saloncino, formally named the Sports Coupe 1000, the Saloncino moniker was given to the car by Ilario Bandini himself, and it meant tiny saloon or sedan. This hardtop racecar was notable for having a convex back window exposing the engine and mechanical components to view. It had the race-spec 105 hp Bialbero engine.
ALSO DON’T MISS: Chrysler Turbo Encabulator: The ultimate gearbox
Top view of the Saloncino.
Here we get to appreciate the lines of this Bandini.
The minimalist yet beautiful interior of the Saloncino
Without a doubt, the Bandini Bialbero remains a testament of the marvels that occur when innovation is driven by passion. With many features that would later be the standard characteristics in modern engines, such as DOHC, or Hemispherical heads, this prime example of automotive excellence deserves a rightful place in the history of engines, as it not only carried innovations, but also powered three exceptionally rare classics.
And before you go, take a moment to listen to the glorious roar of the Bandini Bialbero in this Saloncino.
bandinibandini bialberoClassicDOHCEngineHemisphericalitalianItalyracecarracing
Jaguar Project 7: Because the F Type isn’t good enough.
You have to see this amazing Renault Collection.
A few more details about the Nurburgring’s new speed limits!
Watch some Mustang’s, Camaro’s and Pontiac’s abandoned in Japan!
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Kate Trinity
Horror & Western Horror
Reviews & Services
The Noctisbellum Inc. Series
Western Horror
Terror on the Big Screen
Reviews & Services Offered
Posted on December 10, 2019 December 10, 2019 by Kate Trinity
The Chilling Adventures of Sabrina Returns | KT News
If you were hoping for another Christmas release of The Chilling Adventures of Sabrina you will be disappointed. But you hopefully won’t have long to wait for the third season’s arrival as they are already working on parts three and four. In fact, season three is already filmed and the cast and crew have gone straight into part four.
Who’s Back & What’s Coming
Returning characters include Sabrina, obviously, played by Kiernan Shipka, The aunts Zelda and Hilda played by Miranda Otto and Lucy Davis. Ambrose, of course, played by Chance Perdomo, and the all-important Harvey played by Ross Lynch. Plus other favourites Prudence (Tati Gabrielle) who sets out with Ambrose to hunt Father Blackwood down, Roz (Jazz Sinclair), Theo (Lachlan Watson), Agatha (Adeline Rudolph) and Dorcas (Abigail Cowen).
And there could be a journey to hell for Sabrina as she attempts to bring her boyfriend, Nick, back. She won’t be going alone, of course, as her friends join her on her quest. And that whole Nick, Harvey, Nick, Harvey thing is likely to come up again.
Encounters with Michelle Gomez who will be playing both Madam Satan on the throne of hell and Ms Wardell who has no idea what’s happened to her over the last three months should be expected.
Writing all this and I’m going to have to rewatch from the beginning before the new series begins, in fact, I think it might be necessary just to remind myself of everything that’s happened so far.
Others who might appear in one or both of the series could include Sabrina’s parents and Father Blackwood as Ambrose and Prudence chase him down. And of course we’d expect a few supernatural beings too, monsters that have appeared in history and mythology but with the expected The Chilling Adventures of Sabrina twists we’ve come to expect.
And there is, apparently, going to be a very spooky carnival coming to Greendale. With new characters, new storylines, and a cauldron full of witchy fun the next to seasons are something to look forward to.
The Chilling Adventures of Sabrina Release & Trailer
Tons of exciting things coming for Parts 3 & 4 but no release date or trailer yet, so watch this space and I’ll update as soon as I find out more. But the last season came much earlier than expected so with a bit of luck we won’t have to wait too long to find out what happens next. Who else is excited to see where this series goes?
And if you haven’t seen any of them yet, grab a Netflix pass and catch up with a free trial.
Horror and Fantasy Author – Also writing as K.T. McQueen. Love Western Horror, cowboy boots, my cactus Collin, & my Demon Cat.
Moths – I hate moths, the way they flutter at your face!
CategoriesNews Tagsnetflix, netflix shows, Sabrina, witches
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Not sure I should let you have this one…
When her abuser puts her life on the line she has to do what is necessary to survive, but if she doesn't leave will she be able to take drastic measures when it happens again? Click image to Download
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knight rider online
the oldest and most popular knight rider site
Board index Reruns General Archive 2007
How is does Glen Larson feel about David?
Archive for discussions from 2007. Please post new discussions in the appropriate forum.
Moderators: Matthew, neps, Michael Pajaro
FLAG Special Ops
What year did the original Knight Rider start: 0
Contact Knight Racer
Post by Knight Racer » Wed Oct 24, 2007 11:17 pm
I know in the season 1 commentary they had their little quarels but does Glen really dislike David enough not to include him in the new movie?I just won't like the movie or the series the same if David isn't involved in them at all.I means theirs still hope that kitt will have some resemlance or personality that he always had but I for one want to see the dynamic duo reunited 17 years since they last spoke in the same movie/series.
Michael Pajaro
Contact Michael Pajaro
Post by Michael Pajaro » Wed Oct 24, 2007 11:41 pm
I would say that Glen's feelings towards David are somewhat independent of whether or not Hasselhoff appears in the film.
Keep in mind, with the production costs, promotional tie-ins, etc. this could easily be $75-$100 million project. Larson may be a creative writer, but he's also a smart businessman. He doesn't have the luxury of holding petty grudges. The most important question for him would be "how would Hasselhoff's appearance in the film enhance the story we're trying to tell?"
If the franchise is going to be rebooted, then Hasselhoff potentially becomes a distraction. Because the viewers won't see him as a character, they'll see him as a the actor. And that will bring us out of the story. Now, it may be worth it. Stan Lee appears in all of his movies without any problem, of course he's a much smaller star than the Hoff.
It may be worth it, as a shout out to the fans, to have David appear. But I have to believe that Hasselhoff's participation or lack therof will be a creative decision and not a personal one.
Victor Kros
FLAG Operative
antispam: No
What year did the original Knight Rider start: 1982
Location: Knight Manor
Post by Victor Kros » Thu Oct 25, 2007 5:18 am
I agree with most of what you've said about the story. What you do not realize is that David offered Glen a million dollars to sell him the film rights to Knight Rider and he turned him down. It's a pretty intense grudge that goes back years and he's a stubborn man.
David's insistance to force/convince Glen to make a Knight Rider movie, going out and hiring a guy to write a script, and asking Orlando Bloom to play his son in it have only antagonized things further.
David tried to go around Glen instead of being patient enough to get involved with him and that hurt his chances greatly. The problem is you simply cannot legally make a Knight Rider movie without Glen's consent and if you can't attain that, you have no power to act. It doesn't matter how many scripts you have or what your dream cast will be, none of it can happen unless Glen agrees to it.
While I agree with you that its a smart business decision to try and give the fans what they want, in this case the best you're going to get is a cameo. Again, NBC/Universal could use David in a cameo or even bring him back as Michael on their series but never in a feature film capacity.
=VK=
Nelson B
Location: Vancouver BC Canada
Post by Nelson B » Mon Oct 29, 2007 2:43 pm
Victor hopefully you can answer this. I'am sure that I heard a few years ago that David had bought the movie rights of knight rider from Universal Studios. When did he sell them to Glen?
Post by Knight Racer » Mon Oct 29, 2007 7:28 pm
That's something that deserves its own thread.I too had the same question come to mind.I mean how many different sets of rights are there?Glen has some,Universal has some,David has some as well.
Knight Racer go ahead and make a new thread asking that question. Theres a better chance of someone seeing it and having the answer we are looking for.
Post by Victor Kros » Mon Oct 29, 2007 9:01 pm
David has no rights to Knight Rider whatsoever. Glen has the motion picture rights, Universal has the tv and made for TV rights. All David receives from Knight Rider are residuals when episodes are aired in syndication or dvd sales which are pretty small. They're like 1/20 of 1%
David can also make money off personal appearences and conventions as well but he has no rights to control what happens to Knight Rider in any way, shape or form.
This seperate between film rights and tv rights exists only because of an older contract deal signed in the 80s with different terms and circumstances. Today these seperation of properties no longer exist, it's usually a package deal unless it's being based off a novel which falls under copyright law not so much guild registrations like WGA.
Comic books however do have a distinction between likeness rights like say Marvel's version of Spider-man in the comics compared to Sony's version of Spider-man in the movies.
Then a year ago or so David took the idea to Revolution Studios to get them to create the movie but they had the stupidest idea of making the car not talk to entertain a hip and younger generation.If they would have let that happen I personally would have run the execs down with their version of kitt.
I guess David just took the idea and really didn't purchase the rights just aaked Revolution Studios what they thought of the idea of bringing knight rider to the silver screen.He probably would have contacted Glen if he felt they would have done it right.
Somthing is not right here. I'am pretty darn sure that at one time David had the movie rights to knight rider. He must of sold them to Glen. I think David bought the rights after he was finished with Baywatch. But since I now own a computer it looks like I have to do some digging.
Post by Victor Kros » Tue Oct 30, 2007 2:08 am
Incorrect,
Glen and David decided to put aside their differences at the time and both approached Revolution Studios with their movie ideas in which Revolution Studios decided they didn't want the car to talk.
After their option ran out, things again declined and David chose to try to revive the interest in making a Knight Rider movie but this time he did so without Glen's involvement.
Quite a grave mistake as you can see now.
David never owned the rights to Knight Rider in any way, shape, or form. He has however tried to do certain things like have scripts written, select cast lists, and the like in order to spark interest back up in creating a Knight Rider movie prior to Glen's decision to create the film as a reboot/re-imagining of the original pilot.
Post by Nelson B » Tue Oct 30, 2007 2:19 am
I couldn't find anything offical in my search. Only other people saying he did. But you really can't go by that. I'am now beginning to wonder if David made that up to stir up interest?
David has done a lot of things that are unofficial to stir up interest in Knight Rider be it movies or a tv series relaunch. Maybe NBC/Universal has plans for him in the future, who knows we'll just have to wait and see what happens.
cloudkitt
Contact cloudkitt
Post by cloudkitt » Tue Oct 30, 2007 12:22 pm
And what was it originally that Hasselhoff did that pissed off Larsen? Does it all stem from Knight Rider 2000?
Michael: "KITT! Where are ya?!"
K.I.T.T.: "I'm in your parking space, Michael, where else would I be?"
Post by Nelson B » Tue Oct 30, 2007 10:12 pm
David did some things behind Glen Larson's back including knight 2000 tv movie.
Contact Lyn
Post by Lyn » Wed Oct 31, 2007 1:36 pm
I don't have much to say about this issue except that hopefully D. Hasselhoff and Glen Larson will eventually be able to effectively and somewhat amicably work out their differences with each other.
Post by Nelson B » Wed Oct 31, 2007 2:08 pm
If David is in the new tv series I doubt it very much that is going to happen.
Contact Amir
Post by Amir » Thu Nov 01, 2007 7:06 am
Thinking about it, I really don't think David Hasselhoff should be in the movie at all. Since it's a reboot I suppose the main role will still be Michael Knight and he's obviously not going to play that, and he shouldn't be playing any other Knight Rider role.
With the TV series being a continuation though, it could happen, as he could still be Michael Knight, just not have the main role.
Post by Knight Racer » Thu Nov 01, 2007 7:19 am
If he couldn't play as Michael Knight in the movie I would at least cast him as Wilton Knight or Devon Miles.
Crumbling Down
FLAG Recruit
Location: Dover, Pennsylvania
Post by Crumbling Down » Thu Nov 01, 2007 1:34 pm
I agree that glen seems to be bashing david in the commentaries. I don't recall exactly what he said and I know some of it was just joking around be glen seemed to insult david a lot with which david never responded
Booonnnnnzzzzaaaaaiii!!!!!!!! As michael turbo boosts to score the extra point. His face is so funny when he yells this and when he hits turbo boost his eyes get huge and he flies back into the seat
Post by Amir » Thu Nov 01, 2007 8:15 pm
Knight Racer wrote: If he couldn't play as Michael Knight in the movie I would at least cast him as Wilton Knight or Devon Miles.
That's the thing, really. Hasselhoff should only play one role on Knight Rider. It would be silly to cast him as a Devon or a Wilton.
Lost Knight
Post by Lost Knight » Thu Nov 01, 2007 9:16 pm
Amir wrote: Thinking about it, I really don't think David Hasselhoff should be in the movie at all. Since it's a reboot I suppose the main role will still be Michael Knight and he's obviously not going to play that, and he shouldn't be playing any other Knight Rider role.
Agreed. I think a cameo appearance by David Hasselhoff would be cheesy IF it's not as Michael Knight. I can see him being some random guy sitting in his car and watching K.I.T.T. turbo boost over him with his jaw dropped, or saying some kind of silly reference to the original series as a nod to the fans.
On the other hand, if he makes a cameo in the TV series as Michael, it would be great, and I think would be a completely different matter. Perhaps even hold off his appearance for a few episodes (or even an entire season) as sort of an incentive to keep watching. But I'm sure it would be extremely difficult to keep a guest appearance like that secret, like the series 24 has to constantly do.
“Gimme maximum turbo thrust and blast me outta here, will ya!?”
Post by cloudkitt » Fri Nov 02, 2007 9:57 am
Yeah, he has to play Michael Knight if it's the NBC series we're talking about. He can be in the Wilton Knight or Devon ROLE, but he shouldn't actually play those characters.
rhdaussiekitt
Contact rhdaussiekitt
Post by rhdaussiekitt » Sat Nov 03, 2007 12:36 am
Its getting to the stage now theres so much talk of it that I wonder if it will ever get made...
--knightman--
Post by Nelson B » Sat Nov 03, 2007 1:16 am
Which movie are you reffering to? Movie screen or tv movie?
Return to “General Archive 2007”
Knightlines
↳ Knight Rider: Original Series
↳ Team Knight Rider
↳ Knight Rider: 2008
↳ General Archive 2010
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Wealth management start-up Fisdom seeks to add more investment options on app
Bengaluru, Feb. 28 -- Robo-advisory start-up Fisdom, which helps individuals invest in mutual funds, is looking to partner banks and adding an insurance option on its app to sign up more users. "Insurance is something that should be live in three-four weeks. We are also working on adding bonds. Over a period of time, Fisdom will have lot more investment products like corporate bonds, tax filing. We'll be a full-fledged personal finance manager," said Subramanya S.V, chief executive officer. Finwizard Technology Pvt. Ltd, which runs Fisdom, raised $1 million in funding from Saama Capital in October, and $500,000 in seed funding from angel investors including Silicon Valley-based venture capitalist Rob Chandra, CommonFloor co-founder Sumit Jain, TaxiForSure co-founders Aprameya Radhakrishna and Raghunandan G, and others. It was founded in 2015 by Subramanya, a former managing director of venture capital firm Bessemer Venture Partners; Ramganesh Iyer, who was an investment manager with Peepul Capital Advisors, and Anand Dalmia, who was with Macquarie Capital India. Fisdom lets individuals who sign up for its service choose their savings goal-short term, retirement and so on-and the amount that they want to invest. An algorithm suggests the funds that they should invest in. "Our research philosophy is not to be very aggressive. It is to generate consistent, relatively safer returns. Our promise to customers is not that every year we will generate highest returns-it is that over a period of time, can we beat your alternative, which is a fixed deposit, consistently," said Subramanya. Fisdom makes money through commissions from the funds it sells through its platform. Robo-advisory firms have a significant market to capture by catering to new and inexperienced investors, as well as existing investors who want to switch to smartphone-ready, lower-cost solutions. Yet, they face a challenge in establishing trust with consumers. "Gaining widespread acceptance in the Indian context could become another challenge as the solution should inculcate a sense of dependability. Furthermore, acceptance by technologically-averse individuals needs to be gained over a period of time for sustainable success,"said Kalpana B., partner and head, robotics and cognitive automation, KPMG in India. "From an ethical dimension, robo-advisory services need to provide unbiased recommendations without sole objective of increasing sales. Robo-advisors should make an honest disclosure of the risk involved in the advice and try to maintain investor security by being a true fiduciary. Another question that needs to be answered is the ownership and liability in case of unforeseen consequences, whether a robot will be liable or a person or an organisation," she added.
Next Article Caste to play a big role in new Karnataka Congress chief selectionFriday, May 05, 2017
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Last post for 2005
Monday December 26th 2005, 9:19 pm
It doesn’t much matter if you wrap your bricks in pages of the Bible, Torah or Quran; when you hit someone in the head with it, it’s still a brick.
A bad day to be a nazi in Sydney
Tuesday December 20th 2005, 10:24 pm
FightDemBack has discovered that Andrew Sanders, one of the five young European men arrested at Brighton-le-Sands with a police scanner and two-way CB radios, 25 litres of petrol and equipment to make molotov cocktails, is directly connected with the www.fightback.org.au website from the preceding entry.
The 25-year-old is the son of the late Steve Sanders, a popular local who organised the Blacktown “Britfest,” which was intended to promote goodwill between Sydney’s British community and other ethnic groups.
The registrant details for the fightback.org.au website are as follows:
Domain Name: fightback.org.au
Last Modified: Never Updated
Registrar ID: R00010-AR
Registrar Name: Melbourne IT
Registrant: BRITFEST INCORPORATED
Registrant ID: OTHER Y3041402
Registrant ROID: C3524115-AR
Registrant Contact Name: BRITFEST INCORPORATED
Registrant Email: fightback.org.au@hotmail.com
Tech ID: C3524116-AR
Tech Name: Brian Sutherland
Tech Email: fightback.org.au@hotmail.com
It is necessary to provide an ABN/ACN and non-profit organisation name when reserving a .org.au website- and it is clear that is exactly what Sanders did.
Despite facing a further 7 charges related to weapons found on a search of his Willmot home on the day following his apprehension at Brighton, Sanders has been released on bail. Sanders told police that he had viewed the fightback.org.au website but did not claim authorship. However, there is an astonishing correlation between the items seized by police from Sanders and his mates and the items the website suggested that ‘protesters’ bring to the beaches (courtesy of the omnipresent Google cache).
After seeing video clips of violence and racist chants at the 11 December Cronulla riots, which white supremacists had posted on a website, as well as the arrest of the “Brighton 5,” NSW Premier Morris Iemma is talking tough about smashing fascism. Arrests have taken place all across Sydney today, targeting a number of online nazis.
Channel Nine’s reporter on the story in the 6:00pm news relied heavily on the story as told by Sanders’ attorney, calling the case ‘weak’ and all but declaring Sanders innocent. I do wonder if 5 brown boys had been caught with the same articles as Sanders and his mob are alleged to have had, whether they would have been bailed.
An AC Nielsen survey released today indicated that 75% of Australians think that there is covert racism in Australia and 81% of those surveyed support multiculturalism. You wouldn’t know it from John Howard and Channel Nine.
Major kudos to BANA for the sharp eye on the fightback.org.au rego data.
UPDATE: It’s no better a day to be a nazi in Perth. One of the vandals who attacked a Perth synagogue in July last year has been sentenced to 12 months in prison. You’ll recall that evil evil nazi guy Ben Weerheym was the getaway driver on that trip. Oh, and by the way, Ben, you still owe me for the unauthorised use of my copyrighted material.
Racist website chickens out
Sunday December 18th 2005, 9:53 pm
A violent racist set up a website at www.fightback.org.au earlier in the week. One of the pages on the site was titled conduct.html, which on 16 December 2005 contained the following text:
DISTRIBUTE TO ALL THOSE WHO WERE AT THE NULLA OR WILL BE COMING THIS SUNDAY
IMPORTANT: If you foward this on, REMOVE ALL OTHER EMAILS FROM THE HEADER IN THE EMAIL, we do not want this document to provide a list of names for victimisation or hate, anywhere, anytime. This is not race hate speech, if you are looking for that, look elsewhere, this is not encouraging violence, this is simply ensuring our protest on Sunday will be heard, understood and be a safe event. Read this entire document before forwarding it on, it contains useful information which will be of great assistance to you on Sunday.
Sydney says NO to racism
Around 3000 people showed up on rather short notice in Belmore Park this afternoon to send a message to nazis and racists:
"Not in our Australia, mate."
Protesters marching from Town Hall to Belmore Park
identify Racist Number One. (image: abc.net.au)
At Town Hall: Ashamed to be Australian (image: abc.net.au)
Belmore Park, wall to wall with 3000 peaceful people.
The message was quite clear.
Aboriginal singer & rights activist Jimmy Little spoke about the common ancestry of all peoples.
2GB shock-jock apologises for racial slurs, pulled off air
Saturday December 17th 2005, 10:16 am
Brian Wilshire, one of the many shock jocks on infamous Sydney radio station 2GB has been forced to apologise for racist remarks he made last week.
On his show last Thursday night, with regard to Lebanese-Australians, Wilshire said, “Many of them have parents who are first cousins whose parents were first cousins.” Wilshire then dug himself in a whole lot deeper, making the completely outrageous claims, “The result of this is inbreeding � the result of which is uneducationable (sic) people…and very low IQ.”
Despite being a 25 year veteran of the station, Wilshire has now been pulled off the air by 2GB, whether with or without pay is yet unknown. However, Wilshire has not yet been charged either under sedition or racial vilification laws.
This begs the question- is an apology enough? Well, if I go out and rob a bank but later apologise, should I escape prison?
Uh… no.
Where’s the DPP? The ACMA?
And why is Alan Jones still on the air at 2GB after his full-on, baldfaced incitement to riot? Could that be due to the fact that Jonesy is a part-owner of 2GB?
You can complain to ACMA about Jones, but you first have to complain to 2GB. If (or rather when) 2GB fails to respond to your complaint, you can then lodge with ACMA.
How to be a young Muslim in a climate of fear
Wednesday December 14th 2005, 11:20 am
I really do love my ABC Radio National.
The best RN program of the week is a Background Briefing story about how young Muslims are integrating their faith into growing up in Australia. (audio: Real Win MP3)
Australians are living in a climate of fear, uncertainty and doubt about young Muslims. This has been fuelled not only by cheap opportunists like Alan Jones, but by official Australian Government policy. When the government treats asylum seekers like radioactive waste, to be kept away from the rest of Australia at all costs, the value of all Australians is diminished.
There is strength in diversity. The fire of fear of the unknown, being stoked by Howard for short term political benefit, is nothing but destructive, as if the weekend’s beach riots weren’t a big enough heads-up for Australia at large.
Don’t miss this particularly insightful edition of Background Briefing.
Unite Against Racism Rally: 18 Dec – Town Hall
Wednesday December 14th 2005, 2:43 am
Unite Against Racism Rally
WHEN: Sunday 18th December 2005
WHERE: Town Hall Square
Don’t let John Howard and Alan Jones tell you who you should fear.
Stand up and be counted.
Neo-Nazis steal Holocaust survivor’s artwork – again
Tuesday December 13th 2005, 1:21 pm
And while we’re on the topic of people about to go to jail for enciting to riot, Luke Connors and the ‘Patriotic Youth League‘ are back in the media.
When we last saw the PYL about a year ago, they were using artwork of "Blinky Bill" the koala to promote their racist tirades.
Curiously, the "Blinky Bill" art belongs to Yoram Gross, a Jewish survivor of the Holocaust in WWII Nazi Germany. Yoram Gross Entertainment Television was explicably nonplussed last January by this little adventure into copyright violation.
You’d have thought the PYL would have learned the lesson about unauthorised use of copyrighted material back last January- but noooooooooo….
… the PYL literature passed out by Connors in Cronulla last weekend featured Blinky Bill– again.
Wonder how much this new intellectual property theft is going to cost Luke Connor & Stu McBeth? My guess is that Yoram Gross TV won’t be quite so forgiving the second time around…
There is a lighter side to the PYL. Kudos to Dr Cam Sexenheimer for the Patriotik Yoof Leauge– a hilarious and once again timely spoof.
Alan Jones – ratings by race-baiting
2GB’s master baiter, Alan Jones
David Marr writes that 2GB radio host Alan Jones has taken credit for inciting the weekend race riots in Cronulla:
Alan Jones: I’m the person that’s led this charge
By David Marr, Sydney
BY THURSDAY last week Alan Jones was screaming like a race caller whose horse was coming home. “I’m the person that’s led this charge here. Nobody wanted to know about North Cronulla, now it’s gathered to this.”
The riot was still three days away and Sydney’s highest-rating breakfast radio host had a heap of anonymous emails to whip his 2GB listeners along. “Alan, it’s not just a few Middle Eastern bastards at the weekend, it’s thousands. Cronulla is a very long beach and it’s been taken over by this scum. It’s not a few causing trouble. It’s all of them.”
Will Alan Jones go to jail for inciting to riot? Probably as likely as John Howard finally coming to the astounding realisation that some Australians are patently racist.
Zoroastrians shaved my dog!
Tuesday December 13th 2005, 10:20 am
The racists baying at the moon all sing the same song. ‘Those bloody Lebs are all rapists,’ etc.
Unfortunately, this war-cry isn’t borne out by the statistics. A pre-sentencing report in a NSW rape case in 2001 exposed facts compiled by the Australian Bureau of Crime Statistics indicating sexual assault was almost twice as prevalent in rural northern NSW, where there is a much lower proportion of ethnicities represented in the population, than it was in Bankstown:
In sentencing the youth, however, Justice Megan Latham specifically told the court that the crime had nothing to do with race or ethnicity. Moreover, official statistics from the Bureau of Crime Statistics and Research (BCSR) clearly establish that media claims of increasing ethnic-based sexual assaults in the Auburn and Bankstown areas are completely bogus.
A press release issued by BCSR chief Dr Don Weatherburn, aimed at countering media distortions, explained that there was “no factual evidence whatsoever” that sexual violence was more prevalent in Bankstown or that the incidence of sexual assault was increasing in the area.
BCSR statistics show that the highest rate of sexual assaults occurs in rural NSW, where the proportion of immigrants is the smallest in the state. The sexual assault rate was almost twice as high in northern NSW than in Bankstown and only one Sydney region was listed in the highest 25 districts.
Just because someone in the pub last night said a Zoroastrian shaved his dog doesn’t mean it happened, nor does it mean you should start a witch-hunt against Zoroastrian dog shavers.
Conventional wisdom usually isn’t.
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February 26, 2014 · Maco L. Faniel
What happens to a dream that never gets a chance to live? R.I.P. Trayvon Martin
What happens to a dream that never gets the opportunity to live, that is murdered because it is dreamed in a body that supposedly has no capacity to dream? What happens to a dream that fights for its opportunity to manifest, but the fighting is read as aggression? What happens to a dream dreamed in a body that is condemned before it has the opportunity develop character? What happens to those dreams that are dreamed because of the American Dream but are clouded by nightmares of creepy ass white men following you because they want to protect something they believe is their right? What happens to a dream that is not protected by the justice system? What happens to a dream that can’t stand its ground because the ground that it stands on was not meant for it? What happens to a dream that is not put off, but killed? What happens to a dream that never gets a chance to live?
R.I.P. Trayvon Martin
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« What happens to a dream that never gets a chance to live? R.I.P. Trayvon Martin
You Don’t See Us, But We See You »
Extended Timeline for THE HIP-HOP HISTORY OF HOUSTON with Travis Scott
His Mama Called Him Clay
I’m glad it was televised, but I’m still mad
A Poem for Tamir Rice
Poem inspired by Kendrick Lamar’s “Never Catch Me”)
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Trauma Team
Short Take
Put This on Your Box: House meets ER meets CSI meets Ghost Whisperer!
Most Intriguing Idea: Fusing multiple styles of medical drama into a single coherent story.
Best Design Decision: The diagnostics segments.
Worst Design Decision: The mechanics for endoscopy.
Summary: I hadn’t played even a single game from the Trauma series before picking up Trauma Team, but after reading Brad Gallaway’s review I decided to grab it. I’m glad I did, and I’ll definitely be picking these up in the future. In Trauma Team you take on the role of a series of specialists working on related cases. Early on these seem to be relatively self-contained: the diagnostician finds the heart disease that the surgeon operates on, the CSI corners the bomber and the paramedic treats the victims, etc. Later, the plot starts to clearly revolve around a single disease outbreak, covering angles from emergency medicine to forensics. In general, the various specializations are fun and the operations that must be performed are well designed. There’s one notable exception: endoscopy.
Endoscopy itself wasn’t a bad idea, but the motion control for moving the probe was thoroughly unpleasant, using an awkward “push towards screen” move that was unwieldy, uncomfortable, and imprecise. The method for switching tools differed awkwardly from the approach used in every other part of the game, using a button-stick system rather than the stick alone. The missions also suffered from the fact that the design team hadn’t really conceptualized the endoscope as a cable and probe, so the challenges of each level and the maneuvering involved felt quite unnatural. This chain of missions hit rock bottom on a level where the player had to seek out people in rubble using the endoscope. The scenario felt implausible (as it required Tomoe to have brought her endoscope with her to the mall), the level itself was a bland and repetitive maze that heavily relied on sound cues with no visual counterpart, and the only activity involved was moving the probe, which was the least fun of anything that could be done in the whole game.
Fortunately, endoscopy is a relatively small part of the game and most of the other segments are a lot of fun (forensics being the other downer for me). The overall plot and the individual character arcs mostly work quite well, although the story basically turns into a farce every time anyone tries to talk science. The central disease, Rosalia, besides being somewhat ill-suited to a surgery-focused game, reveals some confusion between viruses and bacteria on the part of the creators. The game has admirable gender balance and ethnic diversity. There was some stereotyping, particularly concerning Hank, and also some fanservice with Maria, but I felt like the positives overall outweighed the negatives. Unfortunately, most of the character arcs come to a dead end rather than a real conclusion: Gabriel’s story was particularly unsatisfying in the way it petered out. But, it’s telling that I found these arcs interesting enough to want a solid conclusion. Trauma Team isn’t perfect, but it’s fairly close. With only a little refinement this could be a classic, so I hope the Trauma series continues down this road in the future.
Posted by Sparky at 00:13 Tagged with: Trauma Series
3 Responses to “Trauma Team”
David Carlton says:
This game hadn't been on my radar at all – I liked the original Trauma Center well enough, but it got hard enough at the end for me to give up, and nothing I'd heard about later installments made me think I'd get anything new from playing it. But then Stephen Totilo said some things about this game that made me take notice, and now here you are; I guess I'll have to give it a try one of these months?
(On which note, how long will it take me to play through it?)
Sparky says:
I got through the game in one weekend without being super hardcore about it. On Easy I bet you could get through in about 16-20 h or so. It's also chunked up quite nicely so you can sneak in an operation or two any time you have 30 minutes free.
Singularity Prince of Persia: The Forgotten Sands
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About LILA
Bomontiada
www.isikpeyzaj.com
Bomontiada is an entertainment complex located in the courtyard of the historical Bomonti Beer Factory which was established in 1890. Between 1930-1950 the factory’s courtyard was transformed into “Bomonti Beer Garden.” The concept originated from the German “Biergarten” culture, and it became a place where people could dine, drink the freshly brewed beer, and entertain. The renovations started long after the factory and the garden were closed.
In early republican period, beside food/drink manufacturers, textile production also located in this area as well. During 50s-60s; with the industrial plan, migration has started and Bomonti became one of the industrial districts of Istanbul and with the 1 st Bosphorus Bridge, city expanded, and this neighborhood appeared in the city center of Istanbul. In 80’s Bomonti transformed in to a residential zone and with the decentralization of industry areas, factories became ware houses which were left abandoned afterwards. Bomonti Beer Factory was one of those orphan buildings where production rarely continued until 1990. Surrounding area was mostly consisted of attached apartment buildings without any green areas. Population consisted of minorities and age average was too high. In early 2000’s this neighborhood started to evolve to a tourism area and some 5star hotels and residences has been erected, thus upper-class business people preferred to live here, the need of urban spaces to socialize and relax showed itself as the community grew. In 2013, when we were called by the main contractor company İçtaş for to implement hardscape constructions in the courtyard of the Bomonti Brewery. When we entered to the site we found ourselves in the middle of a historical and cultural heritage. We completed the production of the hardscapes and made the courtyard ready for the guests of Bomonti Hilton Hotel. However, the enterprises to be built at that time were not yet certain and the courtyard stayed quiet for about two years with no use.
2 years later in 2015, we were invited to the area again for the construction of the landscape areas all over the open spaces; but now with another employer for enterprising and improving this area under the name “culture and entertainment center” in the name of Bomontiada. Now we had the responsibility of implementing all hard and soft landscape materials and garden illumination systems. This area was composed of 1200 sqm and we had to finish all the works within 45 days as there was an opening concert planned to be performed in the courtyard. Since this area was a historical heritage site, it was very difficult to get the permissions from official and local authorities to dig or built any kind of implementation. Logistics of trees and hardscape materials, carrying them inside of the courtyard were nearly impossible because any kind of crane was not able to enter the area. Within all difficulties and bureaucratic obstacles, we were supposed to finish the work within the limited time, as it was not possible to postpone concerts, events and openings; so, whatever it took, we had to prepare the implementations on time and without a hitch. As a result, despite all these challenging factors and with the support of the architectural group and our employer, we were able to create quick and practical solutions to all the problems we faced. We completed the project to spec and today we are happy and proud to have contributed to the revival of the renowned Bomonti Beer Garden, which hosts hundreds of people every day.
Hardscape materials were chosen from natural stones and massive woods and especially endemic plants were selected from Istanbul streets. Even it is not at the central district and in a security gated area in Bomonti neighborhood, hundreds (on weekends and event days – thousands) of people visit Bomontiada as a public realm and spend hours and enjoy the ambiance of good food, good music and the nature which is rarely found in Istanbul city center. Furthermore, the facility became an important tourist attraction point of the city.
The aim was to gather people and make Bomonti district alive again under the concept of a Beer Garden and a performance courtyard. Since the pre-opening in 2015 both the district has been enriched socially and environmentally and many cafes, restaurants, shops have been opened around and Bomonti became an entertainment and recreation hub of the city.
Entrant office name: IŞIK PEYZAJ
Role of the entrant in the project: Landscape Contractor, Landscape Project Management
Practices: Hardscape Works, Softscape Works, Automatic Irrigation System, Outdoor Furnitures, Metal Works, Outdoor Lighting Works, Maintenance Service.
Website: www.isikpeyzaj.com
Other designers involved in the design of landscape: Sanal Arc , Arzu Nuhoglu
Project location (Street, City, Country): Şişli, İstanbul, TURKEY
Design year: 2014
Entrant name: IŞIK PEYZAJ
Award category: Project
Location: Turkey
friends, sponsors, media partners
LILA - Landezine International Landscape Award is organized by Landezine Media LLC
Legal address: Malgajeva 5, 1000 Ljubljana, Slovenia
lila (at) landezine.com
© Landezine 2009-2016. All rights reserved. All photos, plans and renders of projects on Landezine are property of a photographer or landscape architects mentioned within a specific project presentation.
Developer: proxima.si
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Laura J Schwartz
Write Write Write Write Write Write Write Write
Very excited to announce my short story Terra Incognita received Honorable Mention in the 2018 William Van Dyke Short Story Prize and has been published in the Fall 2018 issue of Ruminate Magazine! The theme of this issue was “exposure” and my story is about the impact of a new map arriving in a small town in Flanders in the 15th century.
Yyyyeah, this is one of my weirder ones.
The old map had congealed to the wall, taken on its texture. There was no removing it completely, so they didn’t remove it at all, just pinned the new map on top of it, bottom corners loose and still curled from the roll it had slept in. Word ambled down the street and the neighbors came to see the new face of their country. Big-cheeked Hanna, spackled with flour. Blonde Ria with her skinny husband. The young, curly-haired brothers Isidoor and Thomas. Erik, old and bearded. The very pregnant Juytken. Pretty Jo, the town’s white flower. Philip and his two flunkies – a gang formed in boyhood and cemented by adolescence. A few others. The tavern seemed embarrassed to be so full in midday, caught in the light. Perhaps it was this unusual combination of time and place that dampened their spirits and lent the rosy new map a poisonous sheen.
The town wasn’t invested in books. With no library or school, with the sea far to the northwest, the old map had been a rare window into the country beyond their fields. For some, it had been the only window. Ivo the innkeeper had won it over a decade ago, in a card game with a sailor in Antwerpen in 1504. Ivo hadn’t felt old yet then. Hanna hadn’t been married. Ria’s youngest was still alive. Erik had yet to be widowed. The map had hung above the bar since. It softened with them. The colors lightened. The words gently bled. The tiny ships on the painted waves of the Germanicus Oceanus contracted into strange ink creatures. Over the years, the map ceased to be, or perhaps never was, a representation of their country; in the townspeople’s minds, it was their country.
And in the span of a short morning, the world they believed was aging with them had been replaced with a crisper, more vibrant version. Borders they had come to think of as blurred and gauzy became impenetrable again. A black line squiggled down and around the land, marking the edges, trapping them inside. Even the eternal northwest waters had a new name: Maris Germanici. Hanna and Ria joked and scoffed. As though you could change the name of the sea! More startling, their familiar country was crammed with at least twice as many cities and towns as before, nests of calligraphy punctuated by circles and corralled by weaving roads. The old yellowed map had been spotted with its share of settlements, but the names had long been demoted to decorative details, a pattern for one’s eyes to roost in while a tankard was drained.
Thomas buzzed about, investigating the musty adulthood of the tavern, new territory for the 12-year-old. He tilted his head back to take in the map.
“Have all those towns existed all this time? Or are they new?”
The innocent question was a stab in the ribs of the gathered adults. They didn’t know. As before, Ivo had dabbed a spot of red paint on their town. But the comfort of knowing precisely where they were on the Lord’s green earth had vanished. How could anybody feel found in a crowd like that?
“The old map was better,” Ria declared, blonde eyebrows pinched together. “This one has errors.”
Ivo had left his duties to his overburdened wife in order to preen amongst his neighbors. Though a regular traveler out of town, he hadn’t acquired the map for geographical guidance; for that, he preferred the compass of his own memory. The map drew him for another reason. The warm palette and dark lines, the chocolatey curls and perked ends of the letters, the mellifluousness of the incomprehensible Latin maxim that crowned the frame – the entire composition was pleasing. When his gaze sank into it, a panting horse into a cool river, he felt that his heart and his mind were connected. Closer than connected. That they were the same. Just as black dots on rich paper could also be a sea. Both the sailor’s map and this newer one climbed inside him and stayed there. Art, however, was not a well-trod topic in their town and, if asked, Ivo would have said that he couldn’t say a single word on the subject.
He rounded on Ria.
“This map does not have errors. It’s just more recent.”
“No,” Ria insisted. “There aren’t that many towns.”
“It’s common sense. Look at how crushed together all the names are. Are we really supposed to believe there is no countryside in our country? Look outside!”
“I bet the mapmaker invented some towns so he could f-feel important,” Philip asserted, juvenile ego tripped by jitters.
Ivo set his jaw and folded his great arms. Had he known the phrases artist’s interpretation and not true to scale, he would have used them. As it was, he could only sense their unarticulated truth.
“Perhaps you could put both maps up?” Hanna submitted, picking at the dough drying on her knuckles.
“No, I won’t have an out-of-date map on my wall.”
“It was fine for the last ten years and suddenly it’s out of date?” Philip asked with a huff, glancing over at his lackeys.
“We didn’t need a new map,” one said.
“We didn’t want one,” the other added.
“This is my tavern and it’s staying.”
“It’s a disgrace!” Ria snapped in a tight voice. “It’s— What proof do you have that these towns are real? You have no right to spread errors, maybe even lies, about our country.”
She had been like this in childhood too, Ivo remembered. Her temper and tears erupted if you changed the rules midgame, if you told a story differently than before, if you abandoned the plan. Her heels were forever dug into the earth. Ivo pitied her husband, a man who was clipped around the edges and crumpled in.
The argument continued, heating the pub to a stuffiness only enjoyed by the passionately angry or by drinkers on a winter evening. Hanna attempted to placate Ria, but Philip’s gang was teething, hoping for a real fight to chew on. They followed up on Ria’s flares with handfuls of fuel. Younger and slimmer than the other men, curly-haired Isidoor kept both his tongue and his little brother in check. Beautiful Jo was still entranced by the new map and paid attention to none of them. Erik stroked his greying beard and held the door for the waddling Juytken. Age serving youth. Near-death serving near-life.
Blue skies on a market day meant a busy street. Children in filthy smocks brandished sticks and screamed their games. Straw baskets filled, townspeople who had heard the gossip gravitated towards the inn. Erik helped Juytken out of their path.
“You ought to return home. Walking around in your condition is dangerous,” Erik said.
Juytken nodded. The fingers not curled under her pregnant belly were fiddling with the sleeve of her linen undershirt. She studied the knobbed hand Erik rested on his walking stick.
“What do you think of the map?” she asked.
“I’m too old for it to make any difference to me.”
“The world around us changes so quickly. Ten years and the country has been completely redrawn,” Juytken mused, eyes lowered. “How can I know what sort of place my son will grow up in?”
“Take it from me. Some things don’t change.”
Juytken gave him a smile and made her way down the street, layered skirts skimming the earth. Erik monitored her until she turned the corner. Youth cannot believe what Age tells them to be true. It won’t be real until they have aged themselves. But he was correct. Some things didn’t change. A pint of ale will always improve a meal. A new map will always cause an upset. A young wife filled to the brim with life will always be a blessing. It was the natural flow of time. Juytken’s son would be his third grandchild. She was downriver from her mother’s pregnancies and from Erik’s own wife’s, the last of which took her from this realm.
The road east shrank, became a path that bordered the farms. Escorted by his wooden cane, Erik’s steps were unhurried. Sheep bleated and moved as one away from the fencing. Clouds dragged a net of shade across the green fields. And he was an old man wandering after his thoughts, recalling how his wife’s right leg had a slight limp that made her shy. When she died, the priest assured Erik that such a good woman was unquestionably with our Lord in his Kingdom. It was a comfort to hear and it was what Erik repeated to his children, but he was embarrassed to discover that he was unable to imagine his wife in heaven. Erik was never a man for daydreams or fantasies, and he simply couldn’t place the image of her anywhere but home. Since birth, she had fit her years comfortably into their town, a small circle of which her and Erik’s house became the center. Even attending church or walking to the market spurred a frenzy of preparation. Her impatience to return to the cauldron, the cradle, the clutter of half-woven garments, often snipped conversations with neighbors short. A frequent and amicable patron of Ivo’s, Erik had found this tiresome. After her death, it troubled him. How could a woman who had burrowed, body and soul, into this patch of earth, a woman who had never followed the road east beyond the farms, traverse the long journey to heaven?
A chilly breeze slinked through the expanse of sunshine. Erik held his wool cap to his head and listened to the rustling trees. The new map spread itself out in his mind, the precise lines, the four tiny trees, and he was delighted to see a figure on the butter-colored paper, barely more than a dot, traveling through the copse, away from the red heart of their town. The roads were so neatly marked. The rivers. Finally, they both had a guide. The path towards the borders – of the country, of the sea, of the entire map – was distinct yet crossable, even with her uneven gait. After a pause on the edge, she stepped off into an ungraspable realm, a kingdom of faith hidden in the thin air. The thought lightened Erik’s bones and his feet. Sunlight swept across the grass, like satisfaction. Joy, even.
The quarrel at the tavern swelled and receded and swelled again. After failing to douse Ria’s blistering hisses, big-cheeked Hanna – whose heart pounded whenever voices were raised – retreated to the bakery. Young Thomas’s question stalked after her, clinging to the hem of her kirtle.
“Well?” Her husband asked, sweating.
She circled the loaves of bread, retied her apron, shrugged.
“Ria thinks it’s fake, that there are too many towns for it to be a true map.”
“No reason to change what works,” he said, shrugging back.
Grunting, he opened the oven grate and withdrew a pan of hot and fluffy koekjes. The aroma of butter mingled with the brusque smell of charcoal and the autumnal scent of chopped apples resting in a bath of spices. Hanna hunched over the table to pull and knead the dough for appelflappen, massaging it thin with her chubby fingers, loving strokes she had learned years ago, when she married both a man and his trade. No reason to change what works. A recipe can be played with a little – raisins added, perhaps – but the ratio of flour to sugar to fats had long been determined. Like the name of the sea.
“Hanna. Why are you crying?”
“I’m sorry. It’s frightening.”
“The map?”
“It’s a painted picture. That’s all.”
“I feel small, as though I was a mouse all along.”
“You’re certainly not the size of a mouse,” he chuckled, belly jiggling.
But she didn’t smile. In front of her gaze hung the circle of their village, a droplet once buffered by empty space, now swept up in a swarm. All those towns filled with strangers. All those roots unearthed and bared to the sun. Names for things that didn’t need names. The more men stuck pins into the land, speared it with titles and dimensions, the more it would bleed. A pile of cake ingredients was not appetizing, couldn’t they see that? It was only the whole, the elements combined, that made something sweet and wonderful. Beyond all question, the mystery from which true godliness springs is great. To fear a gnawing appetite for knowledge was humanity’s earliest lesson and still there was this vulgar reaching for higher and higher branches of the tree. One did not inherit the Kingdom of God by dismantling and renaming His creations. Nor by following any ink-sodden map.
If their dear country could erupt in a sudden wealth of new details, like the distant hills sharpening after a storm, then what other unknowns lay hidden, ready to pounce? Insignificance wormed into Hanna for the first time since girlhood and her hands trembled. She could be crushed by so much, all that she couldn’t see and didn’t know. It was one thing to feel small and humble next to the unfathomable glory of one’s Savior, but to be trampled underfoot by unknown armies from unknown cities, the human unknown… Her shoulders rose in a fear that set the Lord’s Prayer rumbling over her tongue.
Its familiar rhythm lulled her back into her work. Dough, apples, sugar. The formulas and measurements, the simple causes and effects, formed a landscape she knew intimately, one she could find shelter in. She would hold to the mystery of faith, the recitations of recipes. Give us this day our daily bread. Warm water and warm milk so the rolls rise properly. Add the flour a tablespoon at a time. And deliver us from evil. Amen.
Hanna wasn’t the only one ruffled by Thomas’s question. It roosted in his elder brother Isidoor’s mind, noisy, feathers and droppings coating his contemplation. Which did he prefer? That other towns had lain cloaked in mist all this time? Or that they had sprung up out of the earth like weeds in a neglected kitchen garden? Ignorance or rapid change? Hoping to avoid the notice of Philip and his drudges, he gave the map his full attention, fluttered from town to town, forwent space and time to touch on all the borders, run down the canals, and pause in places that resembled the names of people he knew. Canegem. Tempelmare. Dadisele. Trechyn. Gendt, of course. Antwerpen. He’d like to see Antwerpen. Just once. Just to peek at the crashing flow of life in an international city, the Italian sugar and Portuguese pepper, the Spanish gold and American silver, the scholars and the sailors in combat with uncertainty. Just to walk alongside men who saw the coast as a starting point instead of an end, who entered into long affairs with the unknown.
And after seeing the worn and weathered faces of these men, Isidoor would be glad to come home. He was sure of it. How little the void attracted him, the opaque waters, the days flung wide open and blinding, especially in comparison to his work, his mother, his brother, the pleasant possibilities and manageable problems he would have here. Thomas, though, would become the type of man that the bottomless sea, with its promise of sugar and silver, would seduce away. Isidoor could only hope that she wouldn’t take his brother’s life as payment for his curiosity.
Isidoor’s eyes descended from the heights of the map to Jo’s pale and freckled face, which glowed in the half-light, framed by a wheat-colored linen hood. They had only spoken two or three times, nodded to each other at the market – her hands separating gourds and cabbages, his full of upside-down and baffled chickens – but for Isidoor she was a clearer map to his future than any. He could see, though, that Ivo’s new atlas held her fast. She seemed deaf to the clamoring newcomers, to Philip’s exaggerated posturing, to the squabble that ended with Ria yanking her husband out the door. Was Jo dreaming of travel, too? Of Gendt or Antwerpen? Of an adventure they could hold up years from now and see their reflections in? It was as though she was having a conversation with the map, a dialogue he didn’t understand and so could not interrupt. He resolved to wait for the right moment.
Philip shouldered past Isidoor, his flunkies trailing him out into the ripening midday. Sounds from the market rushed through the opened door. Isidoor ought to return to the poultry stall; Thomas would need help hauling the sacks of feed. They couldn’t linger any longer. But tomorrow would come, no matter what was drawn on any map, and Isidoor would wash his face, tamp down his curly hair, and ask Jo’s father if he could marry her. His heart quickened at his resolve, but Jo still didn’t look his way.
Before his wife reeled him back to his obligations, Ivo too observed Jo, puzzling over her fixation on the map. She had never granted the old one more than a glance. Her parents and siblings weren’t the sort to chew over these things. He left her in peace. Girls’ fancies were marshes too murky to ford.
At the altar formed by the map and the bar, Jo paled and blushed, hid her flooded eyes and sudden smiles, embraced the storm and then the calm. So. There was no definitive version of their country, of the world. There never would be. If the old map was fallible, a temporary reflection, then the reign of this newer one must be equally precarious. The truth, so fixed, so obvious, could change. It all depended on who drew the map. And really, anyone could draw a map, could sketch the world as it was true for them. A local shepherd’s survey of the land would differ from a foreign merchant’s, but neither would be false. They would simply see with different eyes, sculpted by different lives. Could the truth ever be reached then? Certain atlases might approach it, breathe down its neck. But even if the truth were somehow captured, fully contained in inked borders, one felled tree would change the face of their country into a different creature. And what of other maps, other guides, other truths? All those laws and facts, decreed by God and nature and men and mothers? What makes a lady, what makes a cake, what makes a life… Were they transient too?
“Jo, oughtn’t you get back to the market and help your mother?” Ivo’s wife called over an armful of cleaned linens.
One foot on the stairs, she cracked her neck and waited in vain for a reply. She was unsettled by the… lust, she’d have to call it, in Jo’s eyes. If her parents had any sense, they would get that girl a husband soon. Everyone knew pretty things were a danger to keep around too long. White flowers could be poisonous.
Soul still full of the map, Jo left the tavern and turned down the familiar street, its dips and curves long memorized by her feet. This road and this market, seemingly permanent fixtures in the landscape of her life, were really just one of many roads, one of many markets. In the burn of the late afternoon, the shops and stalls and houses took on the hollow echo and weightlessness of a traveling troupe’s set for a play. It was all manmade, wasn’t it? What was right. What was wrong. What was possible and impossible. The corset of certainties Jo wore – marriage was her next step, children were a woman’s greatest love, churchgoers went to heaven, cities were sinful, the sea was monstrous – loosened. She couldn’t think of what had prevented her from wriggling her fingers into the knots and undoing them before. Fear of not adhering to the world as mapped by someone else? Jo smiled. Maps could be redrawn.
At dawn, Jo’s mother would notice her absence but think little of it until a canvas bag and supplies were discovered to be missing from the pantry. Under a field of clouds yet to be ploughed by the sun, Ivo would be woken by caterwauling and bangs on the inn door. Jo’s red-faced father and inconsolable mother would thrust their distress onto Ivo’s broad chest, hoarsely damn his new map for bewitching and spiriting away their white flower, who had spent the night talking nonsense about walls not being walls and truths not being truths. They would push past Ivo, hearts like torches aimed at the map, but be brought up short at the bar, their bonfire of anger left flickering in the wind.
The new map would already be lying in a froth of paper on the floor. Ivo would feel the bright shreds as keenly as though it were his own flesh in pieces, and he would groan upon noticing a long peel of the old map, thought to be permanently wedded to the wall, uncoiling to the floor in a limp arc, a casualty in the attack on its successor.
Posted in: Fiction & Poetry, Published, Ruminate Magazine | Tagged: exposure, fiction, laura schwartz, magazine, maps, ruminate, short story, terra incognita
Summer Round-Up: Weaving, Sugar and Libraries
BONUS: Exposure
I'd love to send you occasional updates on events, published pieces, book releases, and the like. No spam, I promise.
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alchemy magic definition
"He wondered by what alchemy it was changed, so that what sickened him one hour, maddened him with hunger the next". Alchemy is the creation of thoughts through our mind that executes into Reality. alchemy. —. Turning lead into gold, coals into diamonds, Magic is something that is already in sync with the Universe. Alchemy definition: Alchemy was a form of chemistry studied in the Middle Ages , which was concerned with... | Meaning, pronunciation, translations and examples Dictionary, Encyclopedia and Thesaurus - The Free Dictionary, the webmaster's page for free fun content. Apr 16, 2019 - Explore jeffrey thomas's board "Alchemy definition" on Pinterest. Español: Más de 55 libros de Eliphas Lévi en español, en formato pdf: libroesoterico.com. All content on this website, including dictionary, thesaurus, literature, geography, and other reference data is for informational purposes only. Define Alchemy magic. In general terms, alchemy refers to any process that might add value or usefulness to unrefined materials, although it is often thought of as a medieval philosophy and an early form of chemistry, and it usually conjures up images of a medieval “scholar” in his laboratory, surrounded by piles of rare books and manuscripts, test-tubes, retorts, alembics and other paraphernalia generally associated with … alchemy definition: 1. a type of chemistry, especially in the Middle Ages, that dealt with trying to find a way to…. From Celts to African tribes, from the legendary inhabitants of Atlantis to the ancient Egyptians, from the witches of Europe to the Yin-Yang masters of China and Japan, from alchemists preoccupied with transforming common metal into pure gold to Voodoo priests, from necromancers to the Mayan and Aztec high priests; They all used magic rituals in their desire to obtain certain benefits … Magic and alchemy share a central philosophy, one that has had a great impact on the progress of Western society. alchemy definition in English dictionary, alchemy meaning, synonyms, see also 'alchemic',alchemist',alchemise',alchemize'. the secret of life; a great elixir or remedy sought by the alchemists. First the alchemist had to be educated in order to read, translated, and copy the formula. /ˈælkəmi/. Was alchemy a form of magic in the Middle Ages? From Heritage.org But there was some kind of alchemy in the air when they were chosen. The practitioner of alchemy, in the Middle Ages, as also noted with magic, was often in the clergy. Learn more. An alchemist takes something ordinary and transforms them into something extraordinary. alchemy definition: Alchemy is defined as the process of taking something ordinary and turning it into something extraordinary, sometimes in a way that cannot be explained. Alchemy in its simplest definition is the transformation and changing of a base material into a refined one. Alchemy is the practice of attempting to turn base metals into gold. n. 1. See also, the process or act of change, especially from one thing to another, as the change from base metal to gold, pursued by the alchemists. alchemy A pseudoscience of the Middle Ages, which attempted to use primitive lab methods to understand laws of nature and the universe. See more ideas about Alchemy, Runes, Magic symbols. an alchemist who believed that, in one of several ways, it was possible to change less valuable elements into silver or gold. Our spell bags are magical combinations of tools to assist you in your quest. The practice of turning base metals into gold but also of attaining spiritual perfection. Let's look at a brief history of this metaphysical practice. Alchemy is often portrayed as magical or fantastical in some way.In fictionland, you can use alchemy to produce powerful potions, create weapons, or even turn an object into something else completely.. Imagine that by some political alchemy, all men had been made equal. This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional. /ˈælkəmi/. ‘The alchemy of stage and screen can transform books and introduce them to new audiences.’ ‘At first, this may seem as magical as the fabled alchemy that could turn any substance to gold.’ ‘He hewed to his original self-conception with unrepentant ferocity, engaging in a type of human alchemy, changing himself into an imaginary creature who lived in place of the ordinary man.’ There are historical answers to what each one is supposed to be, but authors tend to assign their own definitions. Its practitioners mainly sought to turn lead into gold, a quest that has captured the imaginations of … Books removed: Due to capacity constraints we had to move some large Magic files off this server. It is the deepest form of philosophy. a form of chemistry studied in the Middle Ages that involved trying to discover how to change ordinary metals into gold. The medieval chemical science and speculative philosophy that focused on the attempt to change less valuable metals into gold, to find a universal cure for disease, and to discover a means of prolonging life indefinitely is called alchemy. This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional. any seemingly magical process of transforming or combining elements into something new: Through some kind of alchemy he has reinvented himself as a writer. https://www.thefreedictionary.com/Alchemy+magic. Some of the methods and glassware alchemists created are still used in some form. Science is a part of alchemy. Alchemy, a form of speculative thought that, among other aims, tried to transform base metals such as lead or copper into silver or gold and to discover a cure for disease and a way of extending life. On Alchemy, Magic, and the ... Everything that “is” first “was”, at the imaginal level, for the first definition of consciousness was the realization that “as I think therefore I am”. There were several reasons for this. Alchemy definition, a form of chemistry and speculative philosophy practiced in the Middle Ages and the Renaissance and concerned principally with discovering methods for transmuting baser metals into gold and with finding a universal solvent and an elixir of life. Part of the issue, of course, is that historically there have been multiple definitions for each. noun. A medieval philosophy and early form of chemistry whose aims were the changing of common metals into gold, the discovery of a cure for all diseases, and the preparation of a potion that gives eternal youth. 64 synonyms and near synonyms of alchemy from the Merriam-Webster Thesaurus, plus 1 antonym or near antonym. any magical power or process of transmuting a common substance, usually of little value, into a substance of great value. https://medical-dictionary.thefreedictionary.com/Alchemy+magic, Dictionary, Encyclopedia and Thesaurus - The Free Dictionary, the webmaster's page for free fun content, Alcian yellow-toluidine blue (Leung) stain. Alchemy requires a desire to improve oneself, something which science is missing. Some examples: Alchemy. Alchemy, "the art of transmuting metals," refers specifically to turning base metals like lead into gold. See more. As nouns the difference between alchemy and magic is that alchemy is (label) the ancient search for a universal panacea, and of the philosopher's stone, that eventually developed into chemistry while magic is the use of rituals or actions, especially based on supernatural or occult knowledge, to manipulate or obtain information about the natural world, especially when seen as falling outside the realm of … See this page for books removed and alternate download locations: magic-files-redirect-page.htm This is a case of Science Marches On.Alchemy, after all, used to … It was not conclusively disproved by scientific evidence until the 19th century. Alchemy (from Arabic: al-kīmiyā) is an ancient branch of natural philosophy, a philosophical and protoscientific tradition practiced throughout Europe, Africa, China and throughout Asia, observable in Chinese text from around 73–49 BCE and Greco-Roman Egypt in the first few centuries CE.. Alchemists attempted to purify, mature, and perfect certain materials. Alchemy Definition and Alchemists. A medieval chemical philosophy having as its asserted aims the transmutation of base metals into gold, the discovery of the panacea, and the preparation of the elixir of longevity. Find another word for alchemy. As I read (and translated) the list of offenders, I had to wonder here alchemists would fit, and suspected that they would be the worst ffenders - the jugglers or illusionists, whose patron is Mercury - if they figured here at all. Another word for alchemy: magic, witchcraft, wizardry, sorcery, makutu | Collins English Thesaurus This fascinating new book covers the history, practices, and philosophies of magic and alchemy in Western history, explaining their basic concepts, looking at the tools used by magicians and alchemists, and discussing the rituals associated with each. Involved trying to find a way to… alchemy magic definition 19th century Thesaurus, 1! 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Last Updated: Wednesday, 10 January 2007, 06:52 GMT
Apple shares up on iPhone launch
Apple announced the iPhone in San Francisco on Tuesday
iPhone launch
Shares in Apple closed 8% higher on news that it was launching a touch screen mobile phone, the iPhone.
News of the device sent shares in makers of so-called 'smart phones' - such as the Blackberry - sharply lower.
Costing from $499 (£257), the iPhone will be on sale from June in the US and from October in Europe. It will operate on the Cingular Wireless network.
Also at the Macworld event in San Francisco, boss Steve Jobs said the firm would be known simply as "Apple".
The decision to switch from the Apple Computer brand was an indication of the firm's focus on consumer electronics, Mr Jobs said.
The iPhone, with 4 gigabytes (GB) of memory, will cost $499 while a model with twice the memory space will be $599, albeit only if the customer takes out a two-year contract with a phone company.
Apple expects to sell just one million of the devices in the first year.
But Mr Jobs predicted that in 2008, when the phone will become available in Asia, Apple could sell 10 million iPhones, equivalent to 1% of today's yearly mobile phone market.
Andrew Seibert, of Stewart Capital Advisors, said phone firm Verizon might have to watch out and that other manufacturers "may have some problems".
Analyst Shannon Cross of Soleil Cross Research said the move would lead consumers to "upgrade some of the existing iPods" but more crucially it would cause greater competition for existing smart phones.
Shares in makers of smart phones fell on the news, with Research in Motion - the company behind Blackberry devices, tumbling nearly 8% on the Nasdaq.
"We won't find out for another six months what real impact (the iPhone) is going to have in the channels," said Research Capital analyst Nick Agostino.
But after the announcement, the market reacted to potential stiff competition between Apple and the likes of Nokia, Motorola and Palm, for high-end consumers.
Users will be able to download music to the phone through from iTunes, as well as take photos.
'Revolutionary'
We are all born with the ultimate pointing device - our fingers. iPhone uses them to create the most revolutionary user interface since the mouse
Steve Jobs, chief executive, Apple Computer
See Apple Computer share price
Mr Jobs said: "Most advanced phones are called smart phones. But they are actually not so smart, and really not so easy to use.
"We are all born with the ultimate pointing device - our fingers - and iPhone uses them to create the most revolutionary user interface since the mouse,"
The iPhone name is currently owned by Cisco, which said it expected to reach an agreement with Apple over the trademark.
The two firms have been in talks and a Cisco spokeswoman said she expected a deal to be struck imminently.
By the close of trading, Apple shares were $7.10 higher at $92.57. AT&T, the firm behind Cingular Wireless, saw its shares add 13 cents, to $33.94.
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Last Updated: Saturday, 11 March 2006, 21:22 GMT
Worst outcome for Milosevic tribunal
By Jon Silverman
Legal affairs analyst
Four years on, a verdict in the case is now impossible
It has been a black week for the UN tribunal authorities in the Hague.
On 5 March, the Serb nationalist war criminal, Milan Babic, was found dead in his prison cell. He is presumed to have committed suicide.
Now, the man against whom Babic testified in 2002, Slobodan Milosevic, is himself dead.
It raises questions which may tarnish the reputation of the International Criminal Tribunal for Yugoslavia (ICTY) and undermine confidence in war crimes justice generally.
First, was it a mistake to roll all the charges relating to Kosovo, Bosnia and Croatia - more than 60 in all - into a single trial?
Milosevic died just days after Milan Babic was found dead in his cell
It is sometimes forgotten that in 2001, the lower chamber of the tribunal ruled that the Kosovo indictment merited a separate trial because the allegations were sufficiently distinct from events earlier in the 1990s in Croatia and Bosnia.
But the decision was overturned following a prosecution appeal.
As late as December 2005, the issue of severing the Kosovo indictment from the rest of the charges was dealt with again. The judges deciding against doing so because they felt it would merely be an invitation to Mr Milosevic to seek additional time and further delay proceedings.
In the light of his death, the tribunal has got the worst of all possible outcomes - no verdict on any of the indictments.
Legacy diminished
The death of Mr Milosevic will place a spotlight on his legal adversary, the chief war crimes prosecutor, Carla del Ponte. It was largely her decision to charge the former president with genocide in relation to Bosnia.
Carla Del Ponte had said the Milosevic trial was nearing the end
Some believed that was a political step to enhance the credibility of the tribunal at a time when its performance was being questioned.
We shall never know whether the genocide charge would have been proved and, in the absence of Mr Milosevic, it now becomes even more crucial for the tribunal to place fugitive war crimes suspects Radovan Karadzic and Ratko Mladic on trial.
It has been said that the two ad hoc tribunals set up by the UN Security Council to deal with crimes in former Yugoslavia and Rwanda are a "laboratory" for the permanent International Criminal Court which has yet to hold its first trial.
Certainly, the mistakes made by the two tribunals will have been noted - principally, the failure in their early phases, to provide an outreach programme to ensure that people in the Serb Republic and Rwanda felt an active engagement with the evidence unfolding in courts many hundreds of miles away.
The impetus to strive for justice for the victims of war crimes will continue. But the death of Mr Milosevic - the first head of state to be indicted for crimes against humanity - will diminish the legacy of the most important court to be established in Europe since the end of World War II.
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Slobodan Milosevic divides Belgrade in death as in life, reports Nick Hawton
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ENGLAND – Judge: House prices are undermining marriage
UK – Gay marriage: no opt-out for Christian registrars
ENGLAND – Medway Council child protection services ‘inadequate’
Filed under Child Protection
Ofsted has told Medway Council to make changes
Medway Council today vows to speed up improvements already being made to its child protection services, after being rated ‘inadequate’ by Ofsted inspectors. The rating follows national changes recently brought in to the way Ofsted carries out inspections.
Since the last inspection in 2011, Ofsted has introduced a more rigorous test and the pace of Medway Council’s ongoing improvements have not yet met these new standards.
The report recognises the council is introducing a fast pace of improvement, pushed forward by the department’s new director – recruited for her record of rapidly turning around a children services department rated inadequate.
The report also states that inspectors concluded no children were found to be at immediate risk and highlights the strong support for children’s safeguarding from the council’s political leadership and Chief Executive.
In its summary, the report states a number of areas rated as good or adequate:
· People and different services who work with children and families are passionate about their job and that any child at immediate risk is protected from harm by their social worker and other services.
· Children and families who find life difficult and ask for help are put in touch with services that make real differences to their lives.
· The new senior managers who run Medway Council’s Children’s Services are very clear about the changes they need to make and know the pace of improvement has been too slow.
It also lists areas that need improving, which are:
· Social workers and managers do not always follow procedure and that some children are not protected as well as they should be, or quickly enough.
· Decision making by managers of teams in the service need to improve to ensure help and protection is offered to children and families at the right time and the way cases are closed – in some cases too early – needs to reviewed.
· Decision-making needs to be based on clear and accurate plans and assessments.
· Recruitment of more permanent social workers needs to be enhanced to reduce the changes children and families face.
Today’s Ofsted report notes the budget for child protection services in Medway has been protected against a background of some other council services having seen reductions.
As part of the council’s improvement plan, substantial additional funding has been agreed for specific projects, such as a new electronic recording system, which will free up social workers so that they spend more time concentrating on their main job – working with children and families.
In addition, the council is also creating a new multi-agency team to rapidly assess all children referred to the council. In addition, the council will be tackling the reasons for the high rate of re-referrals.
This team will include staff from partner agencies across Medway – an approach adopted in some other areas of the country, where organisations such as the NHS and the police have worked with the local council to ensure children most at risk are helped quickly, and in an effective way.
The report adds that ‘children subject to child protection plans are seen regularly by social workers and significant elements of good practice were identified by inspectors examining the child’s journey through services’. It adds inspectors had seen evidence of ‘good and sensitive work with children and families that had effectively reduced risk’.
However, it states ‘although no children were found to be at immediate risk, deficits in the quality of practice, case recording, and management oversight may lead to some children being inadequately protected’.
The report recognises the council’s Director of Children and Adult Services Barbara Peacock – who started in September – has ‘quickly understood key areas for development’, ‘established a clear vision’ and is ‘significantly increasing the pace of change’.
Under the leadership and governance section, the report highlights the strong support for the children’s safeguarding service, both from the political leadership of the council and from its Chief Executive.
It adds ‘while the strategic priorities of the council and its partners are clear, the council has not sufficiently identified the mechanisms to ensure that the most vulnerable children are effectively protected’.
The report also states that information sharing across agencies is not ‘sufficiently robust’, decision making on referrals is not consistent and that ‘while social workers are clearly conscientious and committed’, ‘high referral rates, high caseloads, and competing demands impact negatively’.
Cllr Les Wicks, Portfolio Holder for Children Services, has apologised, and confirmed that the council’s new director is bringing about a fast pace of change to address the priorities for improvement.
He said: “I would like to unreservedly apologise to the people of Medway – our children and families – for our failure to deliver the children’s safeguarding service that our children and young people in Medway deserve. The situation is not good enough and is not acceptable.
“Early last year it was clear to me as the lead member for children’s services that we were not improving fast enough to meet the standards that children in Medway deserved.
“Things needed to change faster and that is why in June last year we appointed Barbara Peacock as our new Director of Children’s and Adults Services. Barbara joined in September 2012 with a track record of delivering improvement in underperforming social care teams.
“Since then, we have completed a thorough review of the whole children’s safeguarding area and in late 2012 we instigated a major programme of change that was already starting to address the weaknesses identified by Ofsted’s inspection in January.
“We still have much to do, but are committed to working with our partners to protect children at risk in Medway.”
Neil Davies, Chief Executive, added: “I have been very forthright in my belief that the work we do around child protection and safeguarding needs to improve and when it became clear last year that this was not happening quickly enough I considered this unacceptable.
“However, I am confident that the directorate – under Barbara Peacock – has the right leadership and right plan in place to deliver the improvements needed. Ofsted has recognised this clearly in the report.
“Ofsted also highlighted the strong support for the children’s safeguarding service, both from the political leadership of the council and from me as Chief Executive. This strong support will not change as we continue to address the problems highlighted in this inspection report.”
Barbara Peacock, Director of Children and Adult Services, said: “We wholly accept the findings in today’s Ofsted report.
“The inspectors have highlighted that Medway has committed and conscientious social workers and our improvement plan builds on that commitment to their work.
“Ofsted has recognised that we already have a comprehensive improvement plan and we are already making rapid progress in delivering those improvements.”
SOURCE: ITV News
Permanent link to this article: http://operationfatherhood.org/family-law-public/child-protection/england-medway-council-child-protection-services-inadequate/
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You are here: Home » Entertainment » Jewish Family Services’ 2019 Heart & Soul Gala
Jewish Family Services’ 2019 Heart & Soul Gala
Sentinel News | March 8, 2019 | 0 Comments
Gala chairs are (left to right) Erin Combs, Scott Schindler and Jamie Carr.
Jewish Family Service of San Diego (JFS) will host its annual Heart & Soul Gala at 6 p.m., Saturday, April 6 at the Hyatt Regency La Jolla at Aventine. At its signature benefit gala, JFS will share stories and successes from throughout the year, highlighting the nonprofit’s work to provide resources and support to more than 20,000 San Diegans of all ages, faiths and backgrounds. The event will also celebrate the contributions of its 2019 Mitzvah Honorees: Ilene Mittman and Aviva Saad, and ACLU of San Diego and Imperial Counties.
Ilene Mittman and Aviva Saad are being celebrated for their inspiring work and dedication at JFS’s Balboa Avenue Older Adult Center, which provides a safe, uplifting environment for individuals and families impacted by Alzheimer’s disease and related dementias. Ilene has been a volunteer at the center for the last 10 years, and a true champion of JFS, encouraging countless friends, family members and acquaintances to get involved. Humble, dedicated, and compassionate, Ilene is the heart of the center on any day she comes to volunteer.
Aviva became program coordinator at the Balboa Avenue Older Adult Center in 2008. Where many senior-focused day programs struggle to find a place for those impacted by the disease, Aviva has created a schedule designed specifically to meet their needs. With remarkable energy and drive, she has led the center’s efforts to expand dementia-friendly programming and create a culture of care for participants, family members and caregivers alike.
The American Civil Liberties Union of San Diego and Imperial Counties (ACLU) is a prominent force for the protection and expansion of fundamental rights in California’s second largest county and southern borderlands. In late October 2018, when federal immigration authorities began releasing dozens of asylum-seeking families onto San Diego streets without warning and without food, clothing, transportation or shelter, SDRRN mobilized to provide emergency shelter and humanitarian aid to more than 5,900 asylum-seeking migrants released by the federal government into this region. Together, ACLU, JFS and the rest of the SDRRN has worked to ensure that “no one stands alone in our community.”
Partnering with Honorary Chairs Evelyn and Ernest Rady, Gala Chairs Jamie Carr, Erin Combs Pearl and Scott Schindler will host an evening of dinner, dancing and a silent auction to encourage awareness and philanthropy throughout the year.
For information, visit www.jfssd.org/gala or call (858) 637-3013.
Category: Entertainment, Events, Local News
General articles by the Presidio Sentinel and Associated Partners.
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COVID-19: Your rights at work *UPDATED*
Please note this page will be updated regularly as we remain in close contact with both employers and members during this health crisis.
Who is at the highest risk of contracting the virus at work?
Front line workers in direct contact with the public are at the highest risk. This may include airport personnel, border services and immigration employees, teaching assistants, passport offices employees, healthcare staff etc. Anyone who comes in close proximity with a possibly infected individual could be at risk for contracting the coronavirus.
What are the employer's responsibilities and my rights in the workplace?
There is a general duty on all employers to take all reasonable precautions to prevent harm to employees in the workplace. Employers should have a detailed plan in place to deal with this pandemic and specific protocols, including providing personal protective equipment for workers and the necessary training to use and dispose of that equipment. The approach must be proactive and focus on the protection of the worker.
PSAC is urging all employers to focus on the steps that will be required should the situation escalate within Canada. Employers also have a responsibility to provide appropriate education and training to all of their employees.
Under health and safety legislation, employees have the right to refuse dangerous work.
Workplace health and safety committees have a legal right to participate in the development of any workplace prevention and preparation strategies dealing with the virus.
For more information, consult the Canadian Centre for Occupational Health & Safety.
If you have any questions or concerns about your health and safety at work, speak to a member of your PSAC local or a health and safety representative in your workplace. You can also reach out to your PSAC regional office.
What kind of leave can I take if I am quarantined or forced to self-isolate?
The federal government has agreed to our demand to use "other leave with pay" rather than force our members to use sick leave. Treasury Board has said:
Employees that are required by public health officials to self-isolate, if in good health and able to work, will be asked to discuss with their managers the option to telework. If that is not possible, the employees will be granted “other leave with pay (6990 code)” as per their collective agreements.
In the event that your collective agreement does not provide alternatives to sick leave as mentioned above and your employer is refusing to grant you paid leave, you are entitled to take sick leave if you are quarantined. Refer to your collective agreement for details.
If you do not have any (or not enough) paid sick leave, you can take unpaid job-protected leave. The Canada Labour Code provides up to 17 weeks of job-protected medical leave. Many provinces have such leave under their employment standards legislation. You can claim Employment Insurance (EI) benefits for periods off work due to illness if your employer doesn’t pay for your sick leave. The Liberal government has recently announced a change to the rules for Employment Insurance (EI) so that workers affected do not have to serve the waiting period to claim EI sick benefits, as well as other measures to help employers and employees. For more information, visit Government of Canada takes action on COVID-19.
If you contract coronavirus at work, you may be able to file a claim for workers compensation benefits. These types of claims were made by healthcare workers during the SARS outbreak. For more information contact your provincial or territorial workers compensation board or speak to a union representative in your local, PSAC regional office, or component.
The union is urging all employers to be flexible in allowing employees to take paid and unpaid leaves or to allow employees to work from home if possible.
Can I telework to avoid exposure to the virus, or if I am ill or quarantined?
PSAC has urged all employers to allow telework wherever possible and Treasury Board has now committeed to being "as flexible as possible" in granting leave and other provisions for our members . They have issued the following statement:
Managers are to consider telework for all employees, at all work sites, and identify an approach that is flexible while ensuring continued critical government operations and services to Canadians.
Federal organizations must identify and determine how to manage through exceptional situations that do not lend themselves to telework such as: critical services requiring on-site presence; security limitations; other operational imperatives where there are no alternatives.
However, if you are ill, you should not have to work, but instead have the right to take sick leave.
In workplaces where telework is not possible, the employer must either allow you to take leave for quarantine or illness and take all necessary measures to ensure that your workplace is healthy and safe in accordance with health and safety legislation.
As well, COVID-19 may be considered a “disability” under human rights legislation, which would then require employers to accommodate you to the point of “undue hardship”. For more information, contact the Canadian Human Rights Commission or your provincial/territorial human rights commission (if you do not work in the federal public service or under federal jurisdiction).
What can I do if my children's school or daycare is closed?
Treasury Board has said that if federal government employees cannot work because their children cannot attend school or daycare due to a closure or because of attendance restrictions in place in relation to the coronavirus situation, employees will be granted “other leave with pay” (6990 code).
The above provisions for disruption of school and daycare operations related to the coronavirus will remain available to federal government employees and managers for the duration of the disruption in the respective jurisdictions.
What rights do I have if a family member is affected by the virus?
Many collective agreements contain provisions for family-related leave. Refer to your collective agreement to determine your entitlements. As well, the Canada Labour Code and employment standards legislation in many provinces and territories contain provisions for job-protected family responsibility leave. If the illness becomes serious, you may also claim benefits for Compassionate Care Leave under your collective agreement and Employment Insurance.
If you are required to take care of a family member with the virus who is a dependent and you have made reasonable efforts to self-accommodate, the employer may be required to accommodate you up to the point of undue hardship (i.e. flexible work schedule, reduced hour, a different work schedule..etc..). The usual obligations on the employer on the duty to accommodate apply.
What resources do I have in terms of mental health?
For government employees: contact the 24-7 Employee Assistance Program (EAP) or your departmental coordinator, access care through the Public Service Healthcare Plan (PSHP), or use the nationwide Specialized Organizational Services (SOS).
You can also check out Treasury Board of Canada's fact sheet for more resources on mental health.
What do I do if I face discrimination at work?
If you face discrimination as a result of: having to be in quarantine due to real or perceived illness/disability; being out of the workplace due to illness or taking care of sick family; being stereotyped or harassed because of your race or ethnic origin, or any other negative treatment due to a ground of discrimination under human rights legislation. You should speak to your local or component representative about the possibility of filing a grievance and/or human rights complaint.
Members of Asian communities in Canada and around the world have been facing racism and discrimination as a result of misinformation and stereotypes about the communities perceived to be associated with the virus. We want to remind everyone that fear or confusion about this virus should never lead to stereotyping or negative comments or actions towards people because of their race, ethnicity, or place of origin (see the PSAC Anti-Harassment Policy and the Statement on Harassment).
Right to refuse dangerous work
Do employees have the right to refuse work due to fear of potential exposure to COVID-19?
Collective agreement provisions and health and safety legislation in all jurisdictions in Canada require employers to provide a healthy and safe environment for employees.
Under health and safety legislation, employees have the right to refuse dangerous work. This would include refusing work due to hazard related to the COVID-19 pandemic if the worker believes there is a hazard, their concern is communicated to a manager and the seriousness of the perceived danger justifies the risk.
Although the current pandemic has caused justifiable fear and anxiety amongst workers about their health, fear alone of a potential exposure will not be an adequate reason to refuse work.
Whether the work refusal is justified will depend on the facts and the measures taken by the employer to protect health and safety eliminate the potential danger in the workplace.
Some of the measures taken to reduce risk of infection to employees should include:
- Posting signage to alert workers of any signs and symptoms of acute respiratory illness,
- Display posters promoting hand-washing and respiratory hygiene,
- Ensuring tissues and alcohol-based hand rubs are available in bathrooms and other high traffic areas,
- Ensuring social distancing between workspaces,
- Encouraging employees to stay home when they are sick,
- Facilitating teleworking.
You can find valuable resources for businesses and employees on the Public Health Agency of Canada website.
Are directives from public health authorities banning large public gatherings enough to justify my refusal to work in my crowded office?
Public health authorities in most provincial jurisdictions have now banned large gatherings and implored people to practice social distancing, telework and avoid all non-essential travel from home. In some jurisdictions (Québec), all external and internal gatherings have been prohibited and persons who do not follow directed quarantine orders of public health officials can be arrested and subject to significant fines.
If your workplace is set up in a way that prevents you from following public health directives and your employer is not taking reasonable measures to protect you, this may be sufficient reason to justify a work refusal on the ground that the workplace is a hazard.
What are the potential consequences of refusing to work due to concerns about COVID-19?
Refusing to work in defiance of an employer directive is insubordination. The consequences could therefore be discipline.
However, if the refusal is deemed to be justified, the discipline could eventually be overturned by an arbitrator if a grievance is filed.
If you are considering a work refusal, be sure to contact your local health and safety representative as information from public health authorities about the relative risk posed by the virus in any given region or workplace continues to evolve.
If I cannot refuse to work, what can I do to protect myself?
- Voice your concerns with your supervisor,
- Contact your union representative or your local rep on the Workplace Health and Safety Committee,
- If you have available leave, consider taking any personal leave to give you time to discuss the issue with your union rep before going into work,
- Let your union representative know if the employer is failing to put measures in place to protect workers’ health and safety (i.e. hand sanitizer, social distancing, telework).
Disclosure of pandemic illness and privacy rights
Do I have an obligation to disclose that I have COVID-19 or that I have been exposed to it?
In normal circumstances, employers do not have a right to know an employee’s diagnosis.
With the ongoing national effort to flatten the curve of the pandemic, employers who require employees to self-disclose would likely be deemed to be in compliance with their obligation to provide a healthy and safe environment for all employees.
In these circumstances, if someone in the workplace was known to have contracted COVID-19, an employer would be directed by public health authorities to inform the persons who had the most direct contact with the individual. Employer’s rights would be limited to disclosing the information to those that need to know it.
Under legislation such as the federal Quarantine Act or emergency measures and public health legislation in provincial and territorial jurisdictions, public health authorities may direct employers to disclose personal health information to them about persons in the workplace who have tested positive or been directly exposed to persons who have tested positive for COVID-19 in order to reduce the propagation of the disease.
However, employers would still have an obligation to protect workers’ privacy rights and would not be allowed to share an individual worker’s personal health information with other workers who do not need to know the information.
For more information, please refer to the Office of Privacy Commissioner’s guidance on the application of Privacy Act and PIPEDA. You can also refer to your respective provincial privacy rights.
Can an employer require me to provide medical documentation regarding my fitness to return to work after a COVID-19 illness?
On March 19, 2020 the Ontario government passed legislation Bill-186, Employment Standards Amendment Act (Infectious Disease Emergencies), 2020, which provides that an employee will not be required to provide a medical note if they need to take a leave related to COVID-19. Similarly, an employee would not be required to provide medical documentation upon return to work if they have had COVID-19.
In Quebec, the CNESST advise workers not to go to hospitals or medical clinics if they are not sick.
The Canadian Medical Association has called for the discontinuation of all medical notes in all jurisdictions during the COVID-19 crisis as this puts an unnecessary burden on the health care system.
However, if an employer has reasonable cause to believe based on consistent information that you may not be fit to return to work and may pose a risk to the health and safety of other employees, it may ask for additional medical documentation confirming your fitness to return to the workplace. This would be pursuant to the employer’s obligation to provide a health and safe environment for all workers under applicable health and safety legislation and the CA.
The request for information should be limited to what is necessary to make the determination regarding your functional limitations but should exclude any information identifying a disability.
The employer may not unreasonably deny you the ability to return to work if it is relying on impressionistic or discriminatory information. In fact, doing so could constitute discrimination on the basis of perceived disability. This arbitrary action on the part of the employer could be grieved and an arbitrator could eventually require an employer to reimburse you for any leave or income lost as well as damages for pain and suffering.
Can my employer force me to get tested for COVID-19?
Public health authorities are currently not conducting any random testing for COVID-19. Testing is only being conducted in limited circumstances.
Therefore, unless you have been directed by a public health authority to submit to testing or there is a reasonable cause to question your fitness to work (i.e. due to COVID-19 symptoms exhibited), the employer would have no basis to ask or require that you be subject to an assessment and testing by public health authorities.
What if I refuse to disclose that I have COVID-19?
If you willfully refuse to self-disclose a highly contagious disease such as COVID-19, this could be in violation of health and safety legislation requiring employees to disclose workplace hazards as well as directives from public health authorities.
Discipline could result due to the significant health and safety risk you could pose to other workers. Further, it is likely that an arbitrator would find some measure of discipline to be reasonable. The fact that you intentionally refused to disclose would be an aggravating factor.
Leave for COVID-19 absences
What are my rights to job protection and income security if I am in quarantine or voluntarily choose to self-isolate?
Federal and provincial governments have announced a range of measures to mitigate the impact of the pandemic on individuals and the economy. Many of these measures address short-term needs and are a direct response to the deficiencies in our support systems, however the governments’ actions are urgently needed. Follow this link to find a summary of the latest announcements.
I cannot do my job from home. Does my employer have to continue to employ me if the employer's operations have significantly decreased or been temporarily suspended due to COVID-19?
The COVID-19 crisis and the subsequent closing down of many non-essential services in most provinces and territories has led to an increase in telework but also a significant reduction in hours of work for members. In some cases, employers (non-TBS) have begun the process of laying off workers.
If you are unable to do your job from home and you have not been deemed an essential or critical worker, collective agreement provisions on job security, obligations to consult the union and layoff provisions should be consulted. Contact your union representative for assistance.
Ultimately, there is no obligation to continue to employ you if are not working or there is no work for you to do because of the impact of COVID-19.
In addition, it is not discriminatory to lay you off if there is no work for you to do.
PSAC is advocating to ensure workers' who cannot work due to the temporary COVID-19 shutdown are guaranteed income security and job protection during this period and that recall rights are respected when the crisis ends. For more details, refer to our information about the latest federal support for workers.
What are my employer’s obligations to me as a worker if I can no longer get back into the country due to border restrictions?
The recent closing down of the border has led to hardship for members who are international students with visas and foreign temporary workers who are now stuck abroad.
On March 16th, the government announced the closing of the border to all travellers except those from the U.S.
On March 18th, the government announced the closing of the Canada-U.S. border to all non-essential travellers for 30 days. Canadian citizen and permanent residents will not be denied entry but will be required to self-isolate for 14 days upon arrival in Canada.
In addition, international students who held a student visa before March 18th and foreign temporary workers considered “critical workers” will be allowed entry into the country but will be screened before they travel and required to self-isolate for 14-days upon arrival in Canada.
If you fall into these exemptions and are unable to get back to your job for 14 days, speak to your supervisor about the possibility of teleworking while you are in self-isolation. If this is not possible, please refer to our information on federal support for the workers.
Can I ask my employer to provide me with the appropriate equipment to work from home?
While many employees have the necessary tools to work remotely, you may find you require additional equipment. Speak to your supervisor and union rep about it and try to resolve situation keeping in mind that what is reasonable in the office may not be in a temporary mandatory telework arrangement during a pandemic. Also, the employer may be required to provide you with a different but reasonable accommodation so that you are able to continue to telework.
As an example, Treasury Board has issued some guidelines for managers on how address requests for additional equipment. As a general framework, all requests are subject to departmental adaptation and approval. Who departments choose to equip will depend on the nature of the different types of work undertaken by employees, including their relative level of criticality, and the characteristics of their workforce, including employment status and location. However, departments need to consider, as a priority, equipping to satisfy duty to accommodate obligations; and occupational health and safety requirements.
Is my manager allowed to demand that I send an email every morning and evening to indicate at what time I start and finish work?
The collective agreement provides for management rights, but those rights are not unlimited. They include the right to supervise and monitor your work. Every case is unique and management rights must be assessed to determine whether they are exercised reasonably or unreasonably. For instance, if your manager has no legitimate reason to impose this condition, you could challenge it, particularly during this pandemic, which is a very stressful time for all employees. If a measure seems excessive and unreasonable, first discuss the issue with your supervisor or your union representative.
Is my manager allowed to go into my mailbox to check whether I’m working and on what I’m working?
Normally, the tools you use at work, including your computer and the network, belong to your employer. Treasury Board has a Policy on Acceptable Network and Device Use which applies to federal public service employers.
The labour board (FPSLREB) has confirmed that there should be no expectation of privacy when communicating electronically at work on the employer’s system.
Your employer could therefore monitor your compliance with the policy and acceptable use of its system, which includes accessing your mailbox when you are on leave and the work must go on.
The employer could also conduct an internal investigation to check whether your use of the equipment is acceptable. However, accessing your mailbox without just cause, simply to harass you, may potentially be an abuse of the power extended to management in the collective agreement and a violation of employer policy.
Human rights and COVID-19
If I can no longer work my full hours due to family-related obligations, what are my rights?
If your family obligations meet the threshold for family status protection under human rights legislation, you could be entitled to accommodation to the point of undue hardship. You could also be entitled to alternative scheduling like reduced hours, variable schedule, etc.
Please note that all family-related obligations do not meet the threshold of human rights protection on the basis of family status. For more details, you can refer to PSAC’s guide on Duty to Accommodate.
If you are no longer able to work, you could also be entitled to EI or the Canada Emergency Response Benefit (CERB), please refer to our latest information for more details.
If I had an accommodation at work that is no longer available with mandatory telework, what do I do?
Speak to your supervisor and union rep about it and try to resolve situation keeping in mind that what is reasonable in the office may not be in a temporary mandatory telework arrangement during a pandemic. Also, the employer may be required to provide you with a different but reasonable accommodation so that you are able to continue to telework.
Grievance and arbitration
Are all grievance deadlines being temporarily suspended during the COVID-19 shutdown?
Most Boards, Tribunals and Human Rights Commission have now temporarily suspended all in-person meetings, including mediation and hearings. Most recently, the FPSLREB extended the suspension of all deadlines for in-person hearings and mediations between March 20th and May 29th.
With respect to private sector arbitration, decisions are being made to find alternative ways to address ongoing disputes on a case by case basis.
PSAC has also written to all separate (non-TBS) employers to ask that all grievance deadlines be temporarily suspended in order to support public health authorities’ advice that social distancing and the limiting of non-essential travel are the most effective ways we have to flatten the curve.
How do I grieve or file a complaint during the pandemic period?
Get in touch with your local union representative.
Even if your grievance does not relate to the COVID-19 situation, grievances can be filed electronically or by other means that have been mutually agreed to by the union and the employer.
If you think the union should be filing an unfair labour practice complaint, get in touch with your local representative
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Classic Album Stamps
R2OK! Forum Index -> Music Chat
Posted: Thu Jan 07, 2010 9:44 am Post subject: Classic Album Stamps
(With apologies to the Dark Lord for nicking his thread)
Royal Mail has issued a series of special stamps depicting classic British pop and rock album covers
http://news.bbc.co.uk/1/hi/entertainment/8444156.stm
Pink Floyd - Division Bell
Coldplay - A Rush Of Blood To The Head
Blur - Parklife
New Order - Power, Corruption and Lies
Rolling Stones - Let It Bleed
Mike Oldfield - Tubular Bells
Led Zeppelin - IV
Primal Scream - Screamadelica
David Bowie - Ziggy Stardust
Interestingly, they've picked abstract covers, only Bowie's shows the artist/s themselves. Nothing by Sir Elton John either.
I would have liked to have seen 10CC's Original Soundtrack, or Cat Stevens' Tea For The Tillerman, or, to cover the folk angle (and quite appropriately for the purpose) Steeleye Span's Parcel of Rogues. Perhaps too much to expect them to include Boxer's Below The Belt, though
Which favourite album of yours would you have liked to have seen included?
Pink Moon by Nick Drake has a cover that would fit with the abstract theme of this series of stamps. I'm surprised that Sgt. Pepper isn't included.
I think they've already done a series of Beatles album covers.
Yes, they have - http://news.bbc.co.uk/1/hi/england/merseyside/5339284.stm
Thank you Ron - that explains it
Briant
Location: Liverpool England UK
Posted: Thu Jan 07, 2010 4:30 pm Post subject: The Philately Brothers.....
I've got several USA Elvis 29cents stamps (unused) with The King holding a fifties microphone. I think the public were asked to vote for the image they liked best and this one was chosen over the Las Vegas Elvis and other possible choices. One funny thing I heard was that people were deliberately putting fictitious addresses on letters so that they would be stamped as undeliverable with those famous words 'Return to sender!'
Elvis would be 75 if he were alive today! Lee Van Cleef, the Western film 'baddie''s birthdate is tomorrow Jan 9th. Lee would be 85!
The song by Guy Clark 'Desperadoes waiting for a train' always reminds me of Lee Van Cleef in 'High Noon.' Lee was the first actor to be seen in this classic Western. He had no dialogue in the film either, but played the harmonica in many scenes. Originally, Lee was up for the part of the deputy played by Lloyd Bridges, but the director didn't like his beaked profile! This was one of his best features in being a convincing villain I think. He was a musician too and played several instruments and wrote a few songs for his later roles in Spaghetti Westerns.
These stamps are really rather nice, I particularly like the tubular bells one.
Shaky Fan
The Beatles stamps were issued 3 years ago - 9th January 2007! Here's how they look on the first day cover...
I've got those Beatles stamps too, unstamped! Can I still use them?
What about dark side of the moon by pink floyd?
They have the Division Bell by Floyd instead.
R2OK! Forum Index -> Music Chat All times are GMT
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on blood road quotes
. Since then, three expansion packs have been released: Winter Assault in 2005, Dark Crusade in 2006, and Soulstorm in 2008.. Yer in my head. but I'm calm. 9. It uh . took us longer than we thought to put out the fire, says Jack.”. On Midwinter Day when the sun hangs low in the sky. I ain't no quitter, Pa. That's my girl.”. “Yer in my blood, Saba, he says. I wanna say . ― Moira Young, Blood Red Road. Lucky for me, Hermes trots over an I busy myself strokin his neck. Grins. I swear, if there was a rock in his path that he couldn’t be bothered steppin over, all he’d hafta do was give it one look an it’d roll outta the way.”. The blood pounds in my ears. Did you git lost? he says. . Even here. - Charles Spurgeon. I stare at him. A brother is a friend given by Nature. Blood Meridian: Or the Evening Redness in the West Questions and Answers. An I feel calm. He is able to overcome his injuries, and his life goes back to the way it once was. 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Weakness can git you killed.”, “Bloody Jack. An never give up, d'you unnerstand, never. he shouts as we run. “Move fast, travel light, an never tell 'em your real name.”, “Be careful, Angel, he says. The Blood Road is the eleventh instalment in the Logan McRae series and it’s every bit as brilliant and fresh as its predecessors. Error rating book. He's so smart, he's-. An if it ain't there, you can make it yerself.”, “Wisdom ain't a virtue I ever aspired to.”. 1 . All the air gits sucked outta the tunnel. We do not believe that in this country, freedom is reserved for the lucky, or happiness for the few. 491 likes. What with fightin off the hellwurms an gittin my shoulder tore open, an how I felt when I woke up an seen you an, now, here I am, being so close to findin Lugh an I dunno what's gonna happen an--, “I ain't never seen a creature like that before, she says. He's so smart, he's-. Let a second generation full of courage issue forth; let a people loving freedom come to growth. 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« Perhaps you have invested a complete lot of the time and money shopping for your lady in your country?Indonesian Brides
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The Happy-Go-Lucky Jewish Group That Connects Trump and Putin
Where Trump’s real-estate globe satisfies a top ally that is religious of Kremlin.
Ben Schreckinger is just a reporter for Politico.
Chabad of Port Washington, a community that is jewish on longer Island’s Manhasset Bay, sits in a squat stone edifice across from the Shell gasoline place and a strip shopping mall. The guts is definitely a building that is unexceptional an unexceptional road, save yourself for starters: a number of the shortest channels between Donald Trump and Vladimir Putin operate directly through it.
2 full decades ago, given that Russian president set about consolidating power using one part associated with globe, he embarked on a task to supplant their country’s existing Jewish civil culture and change it with a synchronous framework devoted to him. The brash Manhattan developer was working to get a piece of the massive flows of capital that were fleeing the former Soviet Union in search of stable assets in the West, especially real estate, and seeking partners in New York with ties to the region on the other side of the world.
Tale Continued Below
Their respective ambitions led the 2 men—along with Trump’s future son-in-law, Jared Kushner—to build a group of close, overlapping relationships in a world that is small intersects on Chabad, an international Hasidic movement people have not been aware of.
Beginning in 1999, Putin enlisted two of their closest confidants, the oligarchs Lev Leviev and Roman Abramovich, that would carry on to become Chabad’s biggest clients global, to generate the Federation of Jewish Communities of Russia beneath the leadership of Chabad rabbi Berel Lazar, that would turned out to be called “Putin’s rabbi.”
A several years later on, Trump would search for Russian tasks and money by joining forces by having a partnership called Bayrock-Sapir, led by Soviet emigres Tevfik Arif, Felix Sater and Tamir Sapir—who keep close ties to Chabad. The company’s ventures would result in numerous legal actions alleging fraudulence and an unlawful research of a flat project in Manhattan.
Meanwhile, backlinks between Trump and Chabad kept turning up. In 2007, Trump hosted the marriage of Sapir’s child and Leviev’s man that is right-hand Mar-a-Lago, their Palm Beach resort. A few months following the ceremony, Leviev came across Trump to talk about possible deals in Moscow after which hosted a bris when it comes to brand new couple’s first son during the site that is holiest in Chabad Judaism. Trump went to the bris along side Kushner, that would carry on to get a $300 million building from Leviev and marry Ivanka Trump, who does form a detailed relationship with Abramovich’s spouse, Dasha Zhukova. Zhukova would host the power few in Russia in 2014 and reportedly attend Trump’s inauguration as his or her visitor.
With the aid of this trans-Atlantic diaspora plus some globetrotting property moguls, Trump Tower and Moscow’s Red Square can feel from time to time like area of the exact exact same tight-knit neighbor hood. Now, with Trump within the Oval Office having proclaimed their want to reorient the worldwide order around enhanced U.S. relations with Putin’s government—and because the FBI probes the likelihood of incorrect coordination between Trump associates and also the Kremlin—that little globe has instantly taken on outsize importance.
Trump’s style of Jews
Created in Lithuania in 1775, the Chabad-Lubavitch motion today has adherents numbering into the five, or simply six, numbers. just What the motion does not have in figures it creates up for in passion, as it is well known for exercising a especially joyous as a type of judaism.
Mort Klein, president of this Zionist Organization of America, recalled having this trait impressed upon him during one household wedding from which the 2 tables occupied by their cousins that are first Chabad rabbis, put the remainder celebrants to shame. “They had been dancing up a storm, this business. I was thinking these people were black colored. Rather they’re simply black-hat,” Klein stated, talking about their old-fashioned garb that is hasidic.
Despite its tiny size, Chabad is continuing to grow to be probably the most sprawling Jewish organization in the whole world, with a existence in over 1,000 far-flung urban centers, including locales like Kathmandu and Hanoi with few full-time Jewish residents. The motion is renowned of these outposts, called Chabad houses, which work as community facilities and therefore are available to all Jews. “Take any forsaken city in the field, you have got a McDonald’s and a Chabad house,” explained Ronn Torossian, a jewish relations that are public in nyc.
Chabad adherents vary from other Hasidic Jews on many tiny points of customized, such as the propensity of Chabad guys to put on fedoras in the place of fur caps. Numerous adherents genuinely believe that the movement’s last living leader, Rabbi Menachem Mendel Schneerson, whom passed away in 1994, could be the messiah, plus some think he could be nevertheless alive. Chabad supporters will also be, based on Klein, “remarkable” fundraisers.
Because the closest thing the Jewish globe has to evangelism—much of its work is specialized in making Jews across the world more involved with Judaism—Chabad serves many more Jews who aren’t full-on adherents.
In accordance with Schmuley Boteach, a prominent rabbi in nj-new jersey and a longtime buddy of Democratic Sen. Cory Booker, Chabad provides Jews a 3rd means of concerning their spiritual identification. “You have actually three alternatives being a Jew,” he explained. “You can absorb and never be really affiliated. You may be spiritual and Orthodox, or there’s type of a 3rd possibility that Chabad provides for those who don’t desire to get the full Orthodox route but do wish to remain on the standard range.”
This way that is third give an explanation for affinity Trump has discovered with lots of Chabad enthusiasts—Jews whom shun liberal reform Judaism and only traditionalism but are perhaps not strictly devout.
“It’s maybe maybe perhaps not a shock that Trump-minded folks are involved in Chabad,” said Torossian. “Chabad is a location that tough, strong Jews feel safe. Chabad is really a nonjudgmental spot where individuals who are maybe maybe maybe not conventional and perhaps not by-the-book feel at ease.”
He summarized the Chabad attitude, that will be less restrictive as compared to Orthodox one, since, as you’ll.“If you can’t keep all the commandments, keep as many”
Torossian, whom coincidentally stated he could be Sater’s buddy and PR rep, additionally explained that this stability is particularly attractive to Jews through the former Soviet Union, who appreciate its mix of traditional trappings with a lenient mindset toward observance. “All Russian Jews visit Chabad,” he said. “Russian Jews are unpleasant in a reform synagogue.”
Putin’s kind of Jews
The Russian state’s embrace of Chabad occurred, like a lot of things in Putin’s Russia, because of a power struggle that is factional.
In 1999, right after he became minister that is prime Putin enlisted Abramovich and Leviev to produce the Federation of Russian Jewish Communities. Its function would be to undermine the umbrella that is existing Russia’s Jewish civil society, the Russian Jewish Congress, led by oligarch Vladimir Gusinsky, a possible hazard to Putin and President Boris Yeltsin. a later, gusinsky was arrested by putin’s government and forced into exile year.
At that time, Russia currently possessed a rabbi that is chief identified by the Russian Jewish Congress, Adolf Shayevich. But Abramovich and Leviev installed Chabad rabbi Lazar in the relative mind of the competing company. The Kremlin eliminated Shayevich from the spiritual affairs council, and from the time this has rather recognized Lazar as Russia’s chief rabbi, making the united states with two competing claimants to your name.
The Putin-Chabad alliance has reaped benefits for both edges. Under Putin, anti-Semitism is formally frustrated, a rest from centuries of discrimination and pogroms, plus the federal government has arrived to embrace a state-sanctioned form of latin women dating jewish identification being a welcome an element of the country.
As Putin has consolidated his control over Russia, Lazar has arrived become understood derisively as “Putin’s rabbi.” He has got escorted the leader that is russian Jerusalem’s Western Wall and went to the opening ceremony regarding the Sochi Olympics, Putin’s animal project, in the Jewish Sabbath. Putin returned that benefit by organizing for Lazar to enter the arena without publishing to safety checks that could have broken the principles for watching Shabbat.
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General Discussion archive (read-only)
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Damon Albarn on Morrissey's politics - NME
Category Other People/Bands
Thread starter Anonymous
Damon Albarn on Morrissey’s support of For Britain: “If you don’t live in the country, then you shouldn’t be dabbling in its politics” - NME
Now, Blur frontman Damon Albarn has had his say on the matter, speaking to Jordan Bassett during an NME interview with The Good, The Bad And The Queen.
“Steven is a complicated soul,” started Albarn, before bandmate and former Clash bassist Paul Simonon asked, “But does he live in England?”
“No, he lives in California,” replied Albarn. “He doesn’t care. He’s just doing it to wind people up.”
Simonon then argued that Morrissey’s time living abroad gave him a warped perception of how life really is in the UK.
“Sometimes if you are away and you don’t live in the country, then you’ve got a misconception of what the reality is from the ground up,” he said. “It’s the same as John Lydon – he’s sort of got to a certain level and he’s [entitled] to his views, but if you don’t live here, your vision of it is in a bubble.”
Albarn then added: “Yeah, I totally agree. You shouldn’t even have an opinion. If you don’t live in the country, then you shouldn’t be dabbling in its politics because to have the sensitivity to understand, you have to live amongst the emotional world of the people as well, not just the idea of something. That’s a long way from reality.
“So I think if you wanna be miserable and English, you’ve gotta be miserable and English. You know – really be it.”
Damon Albarn has a short memory:
Damon Albarn: new Gorillaz album inspired by Trump's election
https://www.theguardian.com/music/2...laz-new-album-humanz-response-trumps-election
vegan cro spirit 555 said:
yes for sure, AND he was going around for many years with the damned missing tooth making a spectacle of himself everywhere. bit gap right in front. if broke can get big new teeth so can this knob get his one tooth. but maybe he has in the last few years.
i dont know i would talk about someone else or give political advice with a big toothless gap in the mouth.
At least he's not fat and balding. Glass houses.
Ketamine Sun
Johnnie Ray said:
Never have seen a photo, though I don’t think vegan cro is fat or balding.
Vegan Cro’s parents regret the condom splitting
Shows what a lowlife piece of shite Vegan is though, he spends hours taking the piss out of how musicians look, while hiding behind anonymity on here. Sad bastard.
They all want to be Keith Richards. Johnny with the bleach spot, and Damon with the teeth.
The monkey spoke the public choke.
vegan cro spirit 555
DA is not fat and bald
only if you are BLIND:
as round as Bernard and as bald as . from this photo i have the abstraction
that he is still toothless, a toothless twat.
The Truth said:
In my opinion, the difference here is that I never knew David Bowie held these opinions because people were talking about his art and not his political opinions.
What is happening is something that is probably thousands of years old but it appears to me to be a trend. It works like this. Someone is interviewed and the interviewer doesn't really have any perception to delve into that person's art so they ask "What do you think about ______?"
This is how Bernard Sumner wound up talking about Morrissey and it's how Morrissey wound up talking about Weinstein and Spacey. I think that the person being interviewed is probably made to feel relaxed and there are probably a number of things discussed, but then the journalist gets to what they know will get some attention.
I don't know if this is because twitter and Facebook have gotten us used to being in each other's business and made people think that their opinions are more important or relevant than they are. Or maybe it's because journalists know this formula will work? As a longtime listener of Morrissey I'm sure that you or I or many people here, or any journalist who actually knows his career or spends some time preparing for an interview, could think of dozens of things to ask and talk about for hours until he told us to gtfo. And I would never think to ask about Kevin Spacey. And I sure wouldn't get him started on immigration because he already said it, we know it, and so what? He doesn't even vote.
Now I have not clicked the link. Maybe Damon Albarn got up that morning and thought "I really have something to say about Morrissey!" (They really should leave John Lydon alone or he might appear out of a puff of smoke and tell everyone that The Clash were bullshit.)
Okay, clicked the link now. It appears to be about nothing but Morrissey. While I doubt Damon Albarn regrets what he said, as it's not really that damning of anyone, I would imagine that he was tricked. The fact that Paul Simonon was there as well would lead me to believe that he probably was publicizing some project and didn't jsut happen to grab Paul and go talk about Morrissey. I imagine that was part of a longer interview that was actually intended to move some product, but outrage over Morrissey seems to get clicks and sell papers.
Okay, now I do not exactly blame the journalists completely. It's not that they should never talk about Morrissey. He is totally responsible for that. It's ironic that Morrissey will ask "Where were the parents" about a 14 year old boy victimized by a serial sex offender, but then when someone asks him a question, with all of his years in the business, we're supposed to feel he is a victim? Where was the publicist?
No, it's Morrissey's fault that he is in this mess to the extent that he is in his right mind.
But the point is most of these people who have commented on it were meeting with a journalist to publicize a record or a tour. They were not trying to set up a campaign to crucify Morrissey. And unless they are all drunk I don't know why they answer these questions. But they probably want to have that access to the press. They probably still think that playing ball with the NME will get them some attention when they tour and maybe help get a better album review. And they don't want to seem like they have something to hide when asked about Morrissey. But I don't think that they go to an interview with the intention of discussing things which really have zero to do with them. It's lazy journalism and I think they just answer the question, usually in very mild terms, not realizing that this is the focus of the article.
you never knew Bowie used to give the Nazi salute while standing in the back of big black limousine?
thats kind of big gap in your abstraction grid.
Everybody knows about the interviews where Bowie said the UK needed the fascism. Back in the day
when he made the sauerkraut records.
Nobody remembers, when you get woke you get to forget all type of abstractions.
He has the most annoying upper class accent. I thought the above picture showed a homeless guy who was just offered to stay in Fritzl's basement.
Deleted member 27456
Nigel L Bevan said:
In some respects very valid points. But we must look at some facts and I cannot speak for Morrissey and this is my opinion.
It doesn't matter where someone lives. If they are English/British whenever they return they see changes to the area they were brought up in. I remember Manchester in late 8os and remember how it was. When I return back to my hometown in Wales I can immediately see the differences to my childhood. My hometown has lost its identity. It was a working class town and now it's a ghost town with Polish shops everywhere. Its heritage has been lost. It had the most pubs in Wales for a town at one point in my lifetime. It had a Steel works on its door step employing thousands. Thatcher and what followed destroyed its community.
So I dont live in Wales and live in Manchester. The reason I moved here was diversity as I wanted to be around ethnic culture. Even the culture I wanted to be around is now the minority.
Morrissey has the right to comment wherever he lives.
Amen to that, them two twats saying that is just ridiculous,who the hell do they think they are. Nigel, Thank you!
Yes he does. It may be due to the wind snipping thru his toothless gap. Here is a very recent photo.
He is super fat. Hes rounder than Bernard-hard to believe but true, and has but a little puff of hair left. Poor bald knob.
Don't Leave Us In The Dark
So we shouldn't have an opinion on Syrian atrocities and genocide and famine in some countries just because we do not live there?
ForgotHowIGotMyName
countthree
Damon Albarn does not analize for a second the reason why Morrissey lives outside the country.
That is in reply to some links where David Bowie was talking about Scottish independence decades later.
Yes everyone knows David Bowie was fascinated by Hitler for a while.
You're misrepresenting the situation about the "Nazi salute" of course, but
misrepresenting the Nazi salute???
what kind of thing is that say? I thought you were WOKE
next thing im going to hear is that those white twats at the "NEW ORDER"
non sold out gig giving the salute were also misrepresented
everybody but Moz seems to get misrepresnted.
either way with that knob DA super bald and super fat, it wasnt Moz in the glass house.
countthree said:
Cos he's a tax-dodging c***. Not complicated, really.
It's analyse, with a y, BTW. I wouldn't mention it except your version is a little bit rude.
LOL, it is. Well, I mixed at least three languages in that word, my bad. But you can't deny it was poetic.
Yes, "misrepresenting the Nazi salute." You said that he "used to give the Nazi salute." This implies it is something that happened more than once, and is an established fact. You have misrepresented it.
In fact, there is a photo where it is claimed that he is making this gesture. It happened once. He said that the photo catches him waving at the crowds and that he was not actually "making a Nazi salute."
Maybe he did.
or maybe he was waving at the crowds.
Did he do it all the time so that we can be sure?
He did say some things about Adolf Hitler that might lead one to believe he did this on purpose. He talked about it quite a bit so you can decide for yourself. I could make a case either way.
Now, what was the point?
bhops
Last of the famous international screw ups.
I think it's clear that Bowie was kinda interested in Third Reich imagery for a while during the Thin White Duke phase, lets face it, with the blond hair and waifish physique he would've made an excellent Nazi. Was it a Nazi salute? Debatable and not really conclusive either way, that Mercedes though is fantastic.
'The operation went well.....................but the patient died.'
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There is no set definition of loneliness, but it is generally described as a “mismatch between the quantity and quality of social relationships that we have, and those that we want.”
It’s an emotional, rather than physical, state. It is not the same as social isolation, although people who are socially isolated are at greater risk of loneliness.
Who does it affect?
Loneliness does not just affect older people;
15% of working aged people, a similar number of people aged 65-79 and 29% of people aged 80 and over experience loneliness.
And it can effect anyone; personal circumstances, such as bereavement, poor health, living alone, living away from family, a lack of transport, becoming a carer, or living on a low income can make someone more vulnerable to feelings of loneliness.
The potential to be exposed to these risk factors increases with age, and so older people are more likely to suffer from loneliness, and it has been found that belonging to a minority ethnic or social group can also make people more vulnerable to loneliness.
And in an era of council cuts, many of the support services which ensure people don’t fall into loneliness, such as Children Centre’s and bus services are closing or losing their funding.
What are the consequences?
There are health and social implications for people who suffer from loneliness.
If you’re lonely you’re more likely to suffer from depression have an increased risk of high blood pressure are more likely to develop dementia. Loneliness is more damaging to health than physical inactivity or obesity and health implications on a par with smoking 15 cigarettes a day.
This leads to pressures on social services – older people who are lonely are, on average 1.8 times more likely to visit their GP 1.6 times more likely to visit A&E and 3.5 times more likely to enter local authority residential care.
So tackling loneliness therefore makes sense, not just from a social and ethical perspective, but also from an economic perspective.
The Local Government Association maintains that implementing measures to combat loneliness don’t need to be financially burdensome, particularly if existing resources are better targeted.
In fact, a scheme in Gloucestershire to identify the most lonely and isolated in the community resulted in savings of £1.2million to health and social care services, with every £1 invested in the scheme seeing a return in investment of £3.10.
How can loneliness be tackled?
Combating loneliness requires input from a wide range of partners, including local authorities, health and social care providers, and community groups.
Raising awareness and removing the stigma that is attached to being lonely is an important first step in ensuring that people who are lonely, but may not recognise the fact (or feel reluctant to admit it) start accessing the help and services that they need.
Local authorities use a range of techniques and work with a variety of local agencies to reach out to people who are lonely and encourage them to use services offered.
These include mapping against common risk factors to proactively target people who may need more social support, as well as using mass-media, mail-outs and leaflets to promote their activities.
Forging local partnerships and harnessing volunteers within the community is another key way to identify lonely people. For example hospitals or social workers might refer an at-risk individual to a charities’ befriending service, or the same charity might link in with community groups to promote their service and try to extend their reach to people who haven’t yet been identified.
National responses to tackling loneliness
In January, 2017 the UK Parliament launched the Jo Cox Commission on Loneliness to explore national strategies to combat loneliness.
However, most strategies to combat loneliness tend to focus on local, rather than national, action.
Some have called on the government to incorporate loneliness as a mandatory requirement for local health and wellbeing strategies – at present this is voluntary.
The Welsh Government’s Strategy for Older People in Wales 2013-2023 recognises the importance of social wellbeing for older people, however research from the RVS shows that re-ablement services still tend to focus on improving physical wellbeing, to the detriment of those that address emotional and social wellbeing.
Overall, current UK and Welsh Government interventions tend to focus on older people.
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Zion Chapel, Margate, Kent, England
Notes: The Zion Chapel, built in 1802, was in Addington Square beside the burial ground until a replacement building opened on a different site in 1882. Images can be seen here, and the location as it used to be on this map - see the square at the bottom of Margate that crosses the fold; there is a yellow dot on the…
Church or Cemetery : Latitude: 51.38655, Longitude: 1.38662
1 GOATHAM / HYDE 28 Aug 1881 Zion Chapel, Margate, Kent, England F99
2 MANNING / ANDREWS 25 Dec 1874 Zion Chapel, Margate, Kent, England F4196
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Podcast 2A
editThey Might Be Giants Podcast
Season 1 (2005-06): 1A | 2A | 3A | 4A | 5A | 5B | 6A | 6B | 6C | 7A | 8A | 9A | 10A | 11A
Season 2 (2007): 21A | 22A | 23A | 24A | 25A | 26A | 27A | 28A | 28B | 28C | Tour
Season 3 (2008-09): 31A | 32A | 32B | 33A | 33B | 34A | 35A | 36A | 36B | 37A | 38A | 39
Season 4 (2010-11): 40 | 41 | 42 | Tour | 43 | 44 | 45 | 46 | 47 | 48
Season 5 (2012): 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 | 57A | 58 (2014)
See also: They Might Be Giants Friday Night Family Podcast
Host: Cecil Portesque
Date published: January 17, 2006
Show length: 22:27
Subscribe: XML Feed / Apple Podcasts
Download MP3: Download
Audio info: 64kbps MP3, Stereo, 10.3 MB (originally 192kbps; 30.9 MB)
"Includes exclusive They Might Be Giants live recordings, rarities and preview tracks. Including, "Why Did You Grow a Beard", "Fingertips LIve" [sic], "Untitled Track" from Tire Damage [sic], "Taste the Fame", "The World that Swings" [sic], "The Deranged Millionaire" [sic], "Raliegh" [sic] and "Robot Parade"."
Segments[edit]
To see what music is played during the narrator patter segments and copyright notice of this podcast, head to Patter Music.
Starting time [0:00] - Intro:
Alright, so many things to talk about. Uh, you are listening to They Might Be Giants Podcast 2A. Today's show has a showbusiness theme. I'm your host, Cecil. And it's snowing outside our studio here. We got a lot of surprises coming up on this program. Some live recordings, uh, some rarities, and, um, some unreleased tracks. So, uh, here's a brand new track. Unreleased, exclusive to the They Might Be Giants Podcast. It's called "Why Did You Grow A Beard?" It's unrelated to the showbusiness theme, but then we'll be off to the races after that. Thank you for, uh, podcasting in.
[0:59] - Why Did You Grow A Beard?
[2:05] - Fingertips (Live Almanac)
[7:46] - Narrator patter:
Alright. They Might Be Giants recorded live. That was of course, uh, Fingertips from the Almanac collection, uh, from TheyMightBeGiants.com. Now we're gonna take a hard left turn to a untitled track off the live album, Severe Tire Damage. Uh, this is one of the bonus tracks, it features a little bit of music. Uh, this, this track features the audience chanting the words 'people' and the words 'ape' and, uh, it's one of the more outside tracks that, released by the band. I wanna thank you for tuning in, I'm your host, my name's Cecil, and this is They Might Be Giants Podcast 2A.
[8:43] - Battle For The Planet Of The Apes
[10:36] - Taste The Fame
[11:33] - We've Got A World That Swings
[13:33] - Yeah, The Deranged Millionaire
[14:52] - It's Over Now by The Goldwaters
[15:18] - Narrator patter:
That was, uh, Taste the Fame, off of Venue Songs; We've Got a World That Swings from the, uh, S-E-X-X-Y EP; Yeah, The Deranged Millionaire, an exclusive to this podcast and TMBG.com. Here is, uh, Raleigh from Venue Songs.
[15:36] - It's Over Now (cont'd.)
[15:52] - Raleigh
[17:30] - Copyright Notice:
Installing and delivering melody since 1982! They Might Be Giants Podcast 2A! This production is copywritten by They Might Be Giants, and is not for reproduction or resale! Please support this free service by sending your friends for their own copy of They Might Be Giants Podcasts at TMBG.com!
[18:14] - Robot Parade (Live Almanac)
[21:06] - Teenagers Are Going
This is the first podcast to use music not by TMBG.
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Serialized Novel
The Handover
(read Part I)
Pedro Ponce
The year after the Tragedy, his last in college, Woodbern was invited to a one-way party. You were supposed to leave at a specified time from the nearest subway station on a one-way ticket to the end of a designated line, too far to return in time for curfew. From there, groups would continue on foot to an encampment between disused warehouses and storage silos, or further, into desiccated fields scored by train tracks. These were protests, not parties, even if there happened to be a DJ. BYOS, though most substances had already been consumed by the time protesters reached their departure platforms.
He had shared a bowl with a former roommate, his roommate’s girlfriend, and the girlfriend’s younger sister, a prospective. Alison, the younger sister, had claimed she’d never smoked before, but she was a quick study with the pipe and lighter. She passed to him, stretching her legs toward the center of their circle. The eagle’s head skulking from the lighter case perched, in his line of vision, on shoulders draped in Varsity volleyball fleece. Alison was 17. His eyes filled with the orange light of his inhalation.
At 10:45, a text message summoned them to Cibola, the last stop on the Gold Line. Alison stumbled slightly as they approached the stop and linked arms with him, their fingers insinuating as they took the escalator down to the ticket machines. She gave his hand a squeeze as he bought their tickets.
He felt an oncoming train in his chest and stomach. As Alison babbled in his ear, the noise continued to surge through the bench they shared and into his stationary body. A moment passed, then another. The track ahead remained empty. He tried to look in the direction of the noise but found he couldn’t move his head. He felt the platform recede as he managed to shift slightly in his seat. Move your left knee, thought Woodbern. The command seemed to dissipate into the reticulated walls overhead. Move your left knee, he thought again. From the far edge of an infinite expanse, he felt Alison’s hand drag him toward a set of sliding doors.
He would be fine if he could just sit down. He sat down. He recognized friends from campus, but their conversation stilted through the pulse of his organs, which ebbed the longer the train lingered.
“Good evening,” said a man in burgundy corduroy slacks and a flannel shirt. “My name is Officer Jacobs and my partner’s name is Officer Byrne. Please present your tickets for inspection.” A muffled groan circulated as Officer Byrne withdrew a chain from under his collar, the end of which bore a Transport Police badge. His Armchair Messiahs T-shirt looked freshly printed; the band’s orange insignia was set off in sharp contrast by the crisp indigo of the officer’s jeans.
Move your left knee, thought Woodbern as the officers reached the middle of the car. The beam of a penlight strafed his eyes. The car vanished. From somewhere in the curtain of afterglow, he heard Officer Jacobs. “Tickets,” he said.
Move your left knee, thought Woodbern, concentrating all he could of his axons and dendrites to a point somewhere in front of his chest. The officer’s fingers formed a hook at eye level. Woodbern felt his own hand crawl to the rim of his shirt pocket. His fingers dabbed at the seam of a deepening vacancy.
The penlight stopped at his violently jogging knee. Jacobs smirked toward his partner. “Everything OK, sir?” he asked.
Woodbern nodded, wordlessly, and felt the stiff edge of the ticket. Jacobs tore it from his fingers and barely looked before proceeding to the last seat of the car.
“Tickets,” he said, looking down at a young woman and man huddled at either side of clustered canvas bags. They avoided eye contact as both officers stopped in front of them.
“Excuse me? Miss? No Ingles? Boleto. Boleto.”
“She understands,” said the man, looking up. “We both do. We bought tickets just like everybody else. We just can’t find them.”
Byrne turned to Jacobs. “That’s odd.”
“What?” asked Jacobs.
“They say they understand English. But they don’t seem to understand the word for ticket.”
“My mom’s sick,” said the young woman. “She can’t take care of herself.”
“See what I mean?” said Byrne. “That sounded like English to me.”
“Me too,” said Jacobs.
“But that doesn’t have a shit’s worth to do with where their tickets are.”
“You’re right. That is odd.”
The man pointed at the officers in turn. “I’ve noted both your badge numbers and I’m filing a complaint. This is harassment.” The woman grabbed his elbow and pulled his arm back.
Jacobs scratched at his temple. “There it is again.”
“I know, right? English.”
Jacobs pondered a moment over crossed arms. “The decent thing to do would be to help them find their ticket.”
“You read my mind. We wouldn’t want to keep Mom waiting.” Brady lifted one of the canvas bags carefully by the straps and looked inside before upending it over the floor of the car. “See it?” he asked.
Jacobs took his time, kicking at a head of lettuce and crushing each of three tomatoes under the sole of his shoe. “Nothing.”
Byrne shook his head as he spilled the contents of each sack at their feet. The rest of the car was silent through the topple of jars, bags, and paper parcels to the floor. When the bags were empty, Byrne reached for an ornately stitched purse wedged behind the woman’s back. This he upended as well; over the scatter of pens, tissues, and small change, a wallet phone slid next to Woodbern’s foot. The phone skittered back from the vibration of an incoming call. The screen filled with a woman’s face, straining to smile over the cannula fed through her nostrils. Byrne threw the purse into a puddle of egg yolks. “Gosh darn it,” he lamented to his partner.
“Easy, bro,” Jacobs said. “We’ll just have to find another way to help these people.”
“We don’t need—” Byrne’s collapsible truncheon pressed at the woman’s throat before she could finish. She struggled as Byrne dallied over the voltage control. She looked toward the man. He stared back, saying nothing. She stopped.
“Get up,” said Jacobs. The couple was dragged to their feet, one to each officer.
The platform lights began to blink. Woodbern made it through the doors just as they started to close. Others followed, careful of where they stepped.
Woodbern reached the apex of Arcadia and Glyn Cagny, where he waited for the signal to cross. From his position on the crowded corner, the dimpled PED XING button shone black, reflecting the face of the Tragedy Memorial. For several moments, crosstown traffic swelled in the monolith’s expanse.
He cleared Security, reaching the elevator bank just as the doors of a waiting car started to close. The flat screen overhead broadcast a sharp exchange between experts.
“Is it your contention,” enunciated the host, “that this behavior is, in fact, acceptable?”
The respondent set down his water glass. “That’s not at all what I’m saying. But the more such incidents are reported—and all evidence points to them proliferating—the less they look like garden variety desecrations.” He raised a hand preemptively. “For the pew soiler, desecration is secondary.”
He had not noticed the woman at the panel of illuminated numbers, the only other passenger in the car. She availed herself of a commercial break to ask for Woodbern’s floor. “Eighteen,” he said, answered in turn by the clatter of plastic. Felt-tip markers rolled at his feet as the car ascended. Woodbern gathered as many as he could, pulled to a crouch at the woman’s feet. As she apologized, Woodbern saw the vine tattooed around her ankle. “Ultra?” He braced both hands against the rising floor.
MK Ultra raised a finger to her lips. “Here, I’m just plain old K.” She indicated the cobalt visitor pass clipped to the waist of her skirt.
Ultra’s talent as a performer was strictly situational. Before Dreamland, her stage work was limited to bit parts—maids, cigarette girls, the mute presence anchoring a production’s verisimilitude. She excelled in musicals as the object of serenades, alternately coy and alluring, skeptical and smitten. By number’s end, the leads were rapt to her mimicry of attention. They circled, helpless, at cast parties, until exhaustion drove them home, unless they were among the select admitted to Ultra’s stifling walkup near City Centre. There, beneath the rumble of window units, they consummated the vision glanced askance not hours before. They started with the lights on, probing the divots left behind by corsets and costume jewelry, the astringent pallor of colorless cheeks. They finished in darkness, veiling Ultra’s retreat somewhere far upstage.
Escutcheon had hired her to run a focus group. She would be paid handsomely for a morning of two-hour sessions taking down the concerns of Readers, Interpreters, and Ancillary Staff on the question of “Safe and Collegial Workspace: Viable or Oxymoron?” Helpfully, the Escutcheon Board had already provided the answer (definitely Viable); still required was documentation of concern with employee opinion. The sheets of easel pad noting survey responses would scroll to dust in a subterranean archive, while a voice recognition tech in Human Resources harvested data from the recording chip embedded in Ultra’s fused glass pendant.
“I’m a Reader,” Woodbern mused, recalling no notice or invitation.
Ultra’s heels crossed the intervening tiles of the slowing car. “Are you jealous?” She smoothed his tie and loosed the dropped markers from his hands. He forgot to answer as the doors of the car opened. He did not forget the sway of Ultra’s pencil skirt as she coaxed the straps of her tote further along her shoulder, crossed to the opposite elevator bank, and tapped repeatedly at a button for the lower floors.
Gina’s hair smelled like gin and tonic. They were practicing the Twin Cubs on Woodbern’s bed. For the last few nights, they had pored together over Tactile Therapy slides in preparation for her next qualifying exam. It was either this or shopping for Leslie and Ben.
“Who?” asked Woodbern, looking up from one of Gina’s thick maroon binders.
Gina seemed to ignore him as she toweled the ends of her hair. “Very funny. They only invited us months ago.”
“They’re the ones getting married at the All-Mart?”
“You make it sound like something to be ashamed of.” She took a brush to her hair. “Leslie showed me the floor plan. It’s not like they’re sticking them in any old aisle. They’re getting the Gazebo Room. And swans for the koi pond for practically nothing.”
The various positions had names like Bear’s Den, Winter Burrow, Spring Thaw. They locked limbs in imitation of the black-and-white schematics, a veritable Kama Sutra of therapeutic embraces. They had finished the Caring poses and started the Sharing. Gina arranged herself parallel to Woodbern. Woodbern, lying on his side, threaded his left arm under Gina’s but came to rest too high, against her breasts. She tensed slightly and told him to loosen his arm. She lowered his elbow until it came to rest above her navel; Woodbern felt her torso rise and fall through a cycle of deep breaths. With each exhalation, he was drawn closer to her left ear. He didn’t realize he was breathing in tandem until strands of her hair, loosened in their maneuvers, peeled off the pillow and stuck to his nostrils.
“I thought JB said dancers couldn’t drink,” Woodbern said, flinching slightly at the smell of singed lemons.
“I wasn’t,” Gina insisted, then she remembered the birthday party that had ended her shift. The party hadn’t been especially rambunctious, but the birthday boy had spilled most of his free cocktail mid-lap dance. He apologized profusely and was reaching for his wallet when the bouncer arrived to haul him off. “It’s weird. I still had ice chips in my bra when the bouncer just showed up. Like he knew to be there before anything happened.” She pressed a handful of slightly damp curls to her face. “Still? I washed it twice.”
“It’s nothing,” Woodbern said, even as the smell seemed to lodge solidly at the back of his throat. He swallowed and nuzzled, eliciting exasperated laughter.
“Bunny! This won’t work if you keep trying to get in my pants.” She brushed a bare foot against his ankle and returned to her parallel pose.
“Isn’t the real exam on mannequins?”
“Enhanced mannequins.” Gina shifted slightly away and then linked fingers over Woodbern’s elbow. “The sensors deduct for every missed pressure point. Twice as much if you hit an erogenous zone.” She looked down her nose in accusation, then set her gaze on the light fixture overhead. “So…feel like telling me anything?”
Woodbern stared into Gina’s ear, blurred by proximity. He swallowed again, this time against a metallic taste somewhere near his tonsils. He was midway through his annual re-reading of The Satterfield Scenario and eager to return as soon as they were done. The last known work of Francis Tybald, diplomat, best-selling author, and reputed Cold War spymaster, the novel was left incomplete at the time of Tybald’s disappearance late in the past century. The manuscript, lightly edited, was nevertheless published; completists like Woodbern kept it in circulation. The Master, as he was simply known among fans, had finished all but Chapter 0 in a sequence counting down the efforts of rival spy networks to foil or foster the titular Scenario. Satterfield was unique in Tybald’s oeuvre—and the genre at large—for its forking structure and absence of protagonists. The action, such as it was, developed collectively in the accumulation of chapters narrating simultaneous events across all seven continents. Adding to the confusion was Tybald’s insistence on treating his characters like pieces in an elaborate game, identified by initials or generic descriptors forming a tenuous frame around shadowy presences. D in Geneva places a long-distance call at the end of Chapter 19. Chapter 18 begins with a ringing phone in a suburb of Washington, DC. Is the gardener outside the house screening his calls? Or is he counting the number of rings before the caller hangs up? Is this the completion of the previous chapter or a wrong number? Continuity is implied but never confirmed. The reader emerges squinting, not from darkness, but an excess of illumination. The closer Woodbern got to the end, the slower he made his progress to the concluding nullity. There were three schools of thought on Tybald’s last work. The first credited happenstance—age, exhaustion, frustration with a dwindling audience. The second suspected conspiracy, sounding the text for fictional clues to actual secrets that would never survive the author’s vanishing. The third, and most heretical, saw intention of a more singular nature, culminating in a work complete in its incompletion, a vista of scaffolding and sodden tarps giving shape to what belied even the modest comfort of designation as “The End.”
Woodbern traced the curvature of Gina’s ear, unsettled all at once by its asymmetry, the swell of down on the tragus.
“Tomorrow is how many years?”
Woodbern looked outside, where the sky still preserved a diluted slick of light. He did the math, sighed, rolled away.
“There’s nothing wrong with remembering.”
“How old would she be?”
The only image he had of his mother was a grainy black-and-white photograph. A woman in profile, well-dressed, dark hair. Gloved hands, perhaps folded in contemplation, perhaps not. He remembered a hat but couldn’t be sure if this was from an actual keepsake or his father’s lecture notes on the Kennedy administration.
“Can we talk about something else?” He heard Gina sit up. He began to apologize but was stopped short by the squeeze of legs over his hips. They kissed obliquely, turning towards each other. She drew his hands under her shirt; the skin of her belly felt warm.
“Someone’s starting to feel better,” Gina said, reaching into his pocket. She leaned in but abruptly stopped. Her hand emerged around a pink plastic marker.
St. Odile’s was quiet enough that Woodbern thought his empty stomach would draw the attention of the cathedral’s lone supplicant, a veiled silhouette several rows ahead. She continued her rosary undisturbed as Woodbern churned in vacancy. If he was quick, he could catch the next train back to Escutcheon before the Security window closed for the afternoon. He approached the life-size Pietà that served as backdrop for a niche of electric candles. Mary’s downcast eyes took in the corpse of her fallen Son, all the while admonishing viewers not to forget the coin slot for donations. Woodbern reached for his wallet; in memory, he saw his father making the same gesture, his tie smeared with Russian dressing from the deli where they occasionally shared lunch. He would withdraw two bills without checking their denominations, and fold them into fourths. Mr. Woodbern handed them to his son, who unfailingly stated the obvious, long after he knew better. “Mom’s not dead.” Mr. Woodbern nodded, saying nothing, and waited. Woodbern pushed the money through the slot and pressed the button of the farthest candle within reach, holding the pads of his fingers over the artificial wick as long as his father allowed.
“You hear that?” The speaker addressed Woodbern from an adjacent seat in the darkened nave.
Woodbern replaced his wallet. “Sorry?”
“You hear that?” the voice repeated. Part of a face emerged in a smear of stained glass.
“Zackster?”
“For fuck—” Woodbern’s former Escutcheon supervisor lowered his voice. “For fuck’s sake, Woodbern. Remember where the fuck you are!” The veiled matron turned aside in the direction of their whispers. “Sit down. But not next to me.” The Zackster surveyed the nave, swiveling his view methodically from one aisle to the opposite, then back again.
Woodbern took a seat behind him.
“Get on the kneeler. Like you’re saying penance.” Zack seemed to labor for breath as he spoke, even though he was whispering.
Woodbern propped his hands on the back of the seat ahead, folding them together as he leaned forward. “They said you were transferred overseas.”
“I was.” Zack paused but didn’t elaborate. “Have you been followed?”
“Followed? By who?”
He shook his head. “Never mind. There’s not much time. They’ll find me soon enough. They’ll find both of us.”
“Are you alright?” Woodbern asked. “Do you need something? Money?”
“I need you to listen.” The Zackster pivoted his head ninety degrees and scanned the distant cupola. He coughed or maybe chuckled. “All this time, I thought the Board were good old-fashioned church boys. You ever notice we never bugged a church? Probably not. You’re the Workhorse. Woodbern the Workhorse. That’s what they called you.”
He ignored the question and faced the tabernacle. “All this time, I thought it was scruples. Some weird sign of respect. But they just haven’t figured out how to do it. Escutcheon’s best and brightest. Beaten by a thousand-year-old architectural design.” The Zackster sat rigidly back in his seat. “What about them peepers, Woodbern?”
“What about them?”
“Are you seeing anything? When you’re not at the console?”
Woodbern stared down at his hands. The periphery of his vision felt strangely blank, unblinkered by the axes of his touchscreen. “I take the mandatory breaks. Eye drops after every shift. Just like you said in Orientation.”
“I think it’s in the eye drops.”
“Assessment is ongoing.” Zackster raised his left hand. His palm was cupped around a small black case that opened into square halves. The top half was empty and lined with a black insulating foam. The bottom held a small illuminated screen. The screen was divided into dark quadrants, which were further divided by concentric green circles. Radiating from the screen’s dead center was a rotating yellow segment. Woodbern watched the digits in the upper right quadrant advance fifteen seconds as the segment’s endpoint traced a quarter of the outer circle’s circumference. “The outer circle is real time. If you’re lucky, you’ll never have to bother with the others.” He checked the screen. “You remember Bentham’s Blind Spot?”
Woodbern, a skilled test taker, briefly relished being asked a question he could answer. “It’s the last known obstacle to comprehensive surveillance. You told me that in Console Training.”
“And what’s the only conceivable way of avoiding Bentham’s Blind Spot?”
“The camera would have to be everywhere at once. Practically…sentient.”
A pair of red dots appeared just inside the outer circle. “I’m leaving something for you.” He indicated an oxblood satchel slumped against the corner of his seat.
“What are those dots?”
The Zackster ignored him. “Take it with you to Escutcheon. Security won’t find it—as long as you never open it. The frequency’s too low. That’ll buy us some time.”
The red dots were closer to the center now; two more pairs had appeared from the edges of the lower quadrants.
“Don’t follow me out. Count to one hundred, take the satchel, and then leave.” He snapped the black case shut and laid it next to the satchel. He tapped the case twice with his finger. “This tells you if you’re being tailed. Though there’s nothing you can do about it.”
“Tailed?” Woodbern felt the word on his tongue as he watched the stained-glass niches darken overhead. The Zackster kept repeating something urgently through gritted teeth.
“Woodbern. This is serious. How long until Security closes the afternoon admissions window?”
Woodbern checked his watch. “Twenty minutes.”
“That’s enough. You’ll do fine. Just remember—”
“Never open the satchel.” It was still there, next to the closed black case, when he heard the heavy wooden doors close behind him. He turned around. The seats behind him were empty. He reached for the case, recalling the red dots hovering at the screen’s periphery, when a sharp intake of breath drew his attention forward. The veiled woman spoke insistently into the space in front of her; with one hand, she held herself steady as with the other, she seemed to administer a sort of penance or blessing at angles along her torso. Her words were indistinguishable from breath as their pace accelerated. Woodbern moved to stand when he was stopped by a sudden noise. The spaces around him seemed to resonate with the grind of gears. The sound gathered to a point somewhere in the vicinity of his feet. From beneath the raised kneeling pad, a cylindrical massager rolled to a stop against his shoes. It glanced off the scuffed leather, propelled by battery power across a length of dusty marble before the dip in the floor drew it back to repeat its trajectory.
The line at the entrance to Hygeia Station was slowed by a mother and son. The mother waited until the turnstiles to search for her train pass, all the while arguing by phone with the hostility usually reserved for blood relations. The boy, looking bored, ran his wrist back and forth under the took a pull of coffee from a sleeved cup. “Ma’am?” he prompted. The mother told her interlocutor on the phone to wait while she wrangled her attendant’s scanner, entranced by the green filaments of light traced over his skin. The attendant cast his eye on the growing line behind them as he son’s neck under the scanner. The screen overhead displayed the discounted fare as the turnstile opened to admit them.
The train platform was empty when Woodbern arrived. He withdrew the black case from his pocket. The strap of the satchel dug into his shoulder as he cautiously opened the case. The satchel’s oxblood skin showed vividly against the gray platform.
The monitor inside was blank. He tapped the screen several times, held it at various angles to the fluorescent lights overhead.
“I don’t think that’s going to work.” Woodbern looked up. The speaker was standing over him, his head twisted slightly to the right as he eyed the dormant screen, an unlit cigarette between his lips.
“Guess not,” Woodbern answered. He closed the case.
His companion on the platform took the cigarette out of his mouth and pointed it towards Woodbern. “Know what you got there?”
Woodbern studied the man more closely. He was young, maybe slightly younger than Woodbern, studiously bohemian in tweed and denim. One lapel of his sport coat was held down by an adhesive nametag, introducing him as Virgil. Nametags had become fashionable after the Tragedy as a kind of tacit protest; with the proliferation of surveillance cameras, some sought to demonstrate their absurdity by embracing it, whether pseudonymously or not.
Woodbern leaned away and peered into the vacant tunnel. “I’m running late. I really don’t—”
Virgil, if that was his real name, raised his hands and backed off a few steps. “Didn’t mean to pry. I’m a collector. I notice things. That’s some serious vintage shit.”
“This? This was…a gift.”
“Then you’re one lucky son of a bitch.” He approached Woodbern. “Does it run classic pixilation?”
“Classic what?”
“May I?” Virgil took the case before Woodbern could protest. He flipped it open expertly, his fingers evenly spaced along the case’s polygonal sides. His face assumed a smudge of color from the suddenly active screen. “Beautiful,” he whispered. Woodbern stood and looked over Virgil's shoulder.
The screen was a mosaic of primary colors, tiles moving up, down, and diagonally. The visible field blinked brightly several times, then went dark. A cluster of red dots appeared at the upper circumference. They hovered for several moments as another cluster materialized in the opposite quadrant. The clusters roiled threateningly around a pulsing blue point in the center of the screen before vanishing beyond the scope’s range. The screen filled with letters first from the left
ONLY YOU CAN ACCEPT
then from the right
ONLY YOU CAN EXECUTE
before crumbling to digitized rubble, from which emerged, stenciled in red and blue stars:
The screen went dark once again.
The platform lights began to blink, signaling the arrival of the next car.
“My gaming group will never believe this. Do you mind if I get a picture or—”
Woodbern turned away from the widening light on the tracks. “How much do you want it for?”
Virgil’s eyes looked confused through the thick black frames of his eyeglasses. “Everything on me. It wouldn’t be enough.”
Woodbern shrugged. “Don’t make me miss my train.”
The train slid to a stop. Woodbern started to get up. Virgil unfolded his wallet and withdrew several bills, pausing to extract more money from behind a pocket of well-thumbed cards. He handed it all to Woodbern. Woodbern stowed the jumble of bills without counting it.
He took a seat near the doors just as they closed. As the car began to move, he saw Virgil walking away from the platform, toward the station escalators. His sport coat was halved diagonally by an oxblood strap. The attached satchel knocked against his side, as if Virgil were moving quickly. Woodbern craned his neck back against the windows of the car as the platform streamed out of view.
The guard smiled as he waved the retinal wand over Woodbern’s face. “Someone’s moving up in the world.” The guard nodded, indicating the oxblood satchel Woodbern gripped in both hands.
“Early birthday present,” Woodbern explained as he relinquished the case to the conveyor belt.
The guard nodded as he set it flat and thumbed the pewter catch. “Very nice,” he remarked. “Where can I get one?”
“One of a kind, unfortunately.” Or was it? The guard ignored him, eyes intent on his monitor. The case made its way slowly into the scanner’s maw.
The guard called him back. “I’m very sorry, Mr. Woodbern. My machine’s acting up. I’m going to have to run your briefcase again.” Woodbern stepped back to the start of the conveyor belt. “Happens all the time.” The guard reversed the case’s original position, the catches this time facing away from him.
“No worries.” Woodbern stayed where he was as the case entered the machine a second time.
The belt ground forward, then stopped. Only the edge of the guard’s head was visible, unmoving, in front of the monitor. Woodbern checked his watch. He stepped toward the full-body scanner, but a second guard appeared and blocked the entrance.
“There a problem?”
“Mr. Woodbern…I’m going to need you to wait right here.” said the first guard, still out of view. Woodbern heard a dial tone and the chirp of a touchpad. The second guard watched him intently, saying nothing.
“Will this take long? I’m running late.”
“It’ll take as long as it takes,” said the second guard. A third and fourth guard emerged from behind an opaque glass barrier to scan the growing line of onlookers behind him. Woodbern was directed to take a seat.
A woman in a striped black suit emerged with the first guard from behind the barrier. The guard explained something to the woman in urgent whispers. He stopped when he saw Woodbern.
The woman approached a quadrangular device next to the security monitor and pressed a large blue button. The button blinked twice, then turned yellow. The device emitted a long, grating sound, part air raid siren, part foghorn. It shook slightly, expelling a crisp red accordion file, thick with papers.
“Come with me,” the woman said, taking the file. He followed her behind the glass barrier.
A line of fluorescent lights reflected dully from the brown tiles, which were scored with arrows of yellow reflective tape pointing away from and back to the lobby. The doors to either side were shut; the sound of muted conversation emerged intermittently as they passed. The woman directed him to stay immediately behind her. She turned left, then right, then left again. The floor they walked declined gradually until they reached the threshold of an empty conference room. She pointed in with the red folder; Woodbern entered and made his way towards a seat at a long table. “Here,” the agent insisted, pointing to a chair at the head of the table, further into the rectangular room. He took the seat as instructed; the glossy back felt tacky to his fingers, as if just wiped down. When he looked up, the door was closed.
He checked his watch. He was relieved; it was only three minutes after 1:00. Then he saw the stilled second hand. He tapped at the face—nothing. He recalled a recent Subscriber Override, an inside look at advanced interrogation techniques. The most aggressive forms, rarely used except in cases of extreme urgency, required a mostly harmless disorientation of the subject. Disorientation was necessary in order to cut through the suspect’s cover as efficiently, yet safely, as possible. This was easily accomplished by running the suspect through a powerfully magnetized corridor, disabling watches and any handheld devices without the need for further search. Without a sense of passing time, the subject was more suggestible and prone to cooperation.
The conference room door opened. He couldn’t tell if it was the same woman who had led him here. Their hair was similarly severe and the color of their clothing was an exact match, but this woman seemed taller and more physically imposing. The sound of her heels seemed to resonate through his skin as she took a seat at the opposite end of the conference table. Between them, she placed the red folder.
“Good afternoon,” she said. She sounded surprisingly affable.
“I know you’re concerned about making it back to work. Please be assured that this won’t take long and that we will release you with a letter advising your employer of this inquiry.”
The woman took off her glasses and set them on the simulated grain of the table. She looked much younger without them on. “Now, I will happily send you on your way if you answer one question to my satisfaction. Is that agreeable?”
“Yes, Miss.”
She replaced her glasses. “Very good. Now, tell me what’s in the satchel?”
“Nothing—” He stopped himself.
“I mean, certainly nothing hazardous. Just what I usually bring to work.”
The interrogator maintained direct eye contact for several seconds without responding. “Are you being amusing?”
“No…I was just answering your question. There’s nothing in the bag. Nothing that should trigger your scanner anyway.”
“It is not a scanner.”
“Sorry. Your…device—”
“You seem very preoccupied with the precise nature of technology that should not concern civilians.”
“I don’t…All I meant to say was that there is nothing in the case that should concern you.”
The interrogator stood from her seat. “Everything concerns me.”
“As well it should. But there’s nothing in the case—”
“That’s the problem, Mr.—” She took a moment to consult the file without opening it. “Woodbern.” She withdrew a page and slid it over to his end of the table. Against a black background, he recognized the satchel’s rounded silhouette, transparent. “As you can see, Security just found nothing in the bag. Help me understand, Mr. Woodbern. What is in the bag?”
Woodbern could think of nothing to say. He looked at the stilled second hand of his watch.
“Very well.” She removed her blazer and placed it on the back of her chair. She undid the cuffs of the blouse underneath and rolled up the sleeves, revealing arms of an alarming musculature. “I will help you understand. You say there’s nothing in the bag. That’s your honest response.”
She struck the table with her fists. “There is always something in the bag. Bags are used to hold something. If one has a bag that holds nothing, then it must be significant.”
“Significant? How?”
“That is what I’m asking you.”
“No. That’s—”
The woman took out a Prizm in a silver protective case printed with the Escutcheon logo. She scrolled until she found the tab she was looking for. The room filled with his earlier conversation at the security dock—Minutes? Hours ago?—about his new bag. “How exactly did you acquire this one-of-a-kind bag?”
Woodbern tried to remember the rest of the Subscriber Override about interrogations. He could recall nothing after the magnetized corridor, apart from an extended preview of the next night’s Puppy Party.
There was a knock at the door. A dark figure waited behind the frosted glass without coming in. The officer left her seat. If she exchanged any words with the figure at the door, he could hear nothing of the conversation. The officer shut the door and returned to her seat. Her right hand held the opened satchel. Her face gradually assumed, from chin upwards, a look of solicitude.
“Mr. Woodbern. It seems I owe you an apology. We take our jobs here very seriously and, occasionally, diligence leads to misunderstanding.”
Woodbern nodded, staring at the satchel’s slack triangular clasp, the visible interior pale as a throat. “I was unaware of your recent loss.”
“I’m not sure what you mean.”
“A very proper answer. I commend you. I started here as a Reader, believe it or not. I still remember the Feed Protocols. A Reader must not mistake oversight for familiarity. A Reader, regardless of an assignment’s duration, still knows next to nothing of the Subject. ” The officer met his stare. “That poor girl. Lost her way. Ended up shot.”
“I heard it was a suicide.”
“Yes. Tragic. It’s no wonder you’ve been affected.”
“Subject 7 was a number to me. Nothing more. You’ve seen my file. My assessments say the same thing.”
The officer nodded. “In that case, you’re free to go. And to avoid any future misunderstandings, don’t forget to add this handsome satchel to your Personal Inventory.” She slid the bag to his end of the table. Woodbern hoisted it to his shoulder, feeling its lightness as he approached the door.
For the rest of the day, Woodbern seemed to occupy a waiting room, the exact dimensions of which were just enough to accommodate him and his questionable burden. Instead of outdated magazines, he read the silent looks of all he encountered, looks revealing nothing but the consensus that his diagnosis was grave. The camera previously devoted to Subject 7 stayed dark. At 5 p.m., he left his console and approached his floor’s security dock to go home. He passed without trouble this time, though the guards seemed reluctant to exchange platitudes about the relative nearness of Friday.
On the return trip from Memorial Place, the sky seemed to take on the same hue as the station’s concrete walls. His watch—now working again—read 5:34, but the streets in his neighborhood were already growing dark as he emerged from the long escalator to the street. Storm clouds appeared to gather towards the west. A strong wind pushed against him as he crossed toward the first blocks of row houses.
The longer he walked, the darker the sky. The sleeve of his coat turned gray from a powdery residue. Woodbern tracked a finger through the thickening accumulation; he withdrew it, clotted with ashes. He looked ahead. For as far as he could see, the sky was raining paper. Shreds of it stirred as he walked. He grasped a torn corner before it fell again to the pavement; the numeral 7 edged the tear. Some pieces were printed with Roman numerals, some with text, some with fragments of black-and-white drawings: the nose of a gun, the face of a clock, the opaque bottom of a tumbler. Block letters and small print settled to the surrounding shrubbery and scattered at his feet.
He turned a corner. He squinted into sunlight quickly dimmed behind a tower of smoke emerging from the direction of his apartment.
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Satellite Transmission and Press are productions of the Satellite Collective.
Editorial offices are located at 328 W 101st Street. © 2014
Transmission Issue 4 Design by Ivan Himanen
Web Director Daniel Talsky
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Upper Canada District School Board » UCDSB News » Archived News » 2018-2019 » November 28 Board Meeting Release
Highlights from November 28 Board of Trustees Meeting
November 30, 2018 (Brockville, ON) – Trustees with the Upper Canada District School Board (UCDSB) met on Wednesday, November 28 to discuss several agenda items and acknowledge outgoing trustees.
Farewell and Recognition for Outgoing Trustees: Director of Education Stephen Sliwa recognized outgoing trustees at the last official meeting of the Board of Trustees for the 2014-2018 term.
Sliwa honoured Chair Jeff McMillan for his eight years as a trustee, the last four of which he served as chair, and his 40 years of work in education as both a teacher and trustee. Sliwa spoke of how McMillan lead the Board with integrity, for walking a straight path and for his efforts to unite and direct us as a school district on this journey. McMillan was presented with several gifts including the traditional pineapple given in jest by Board colleagues as a sign it’s time to “move on.”
Trustee Jeremy Armer was recognized for helping to improve Board operations through his background in business and for being a tireless advocate for Ward 7 and its schools.
Sliwa paid tribute to First Vice Chair Caroll Carkner for her work supporting Ward 10, particularly her organization of zone meetings that created connections between the Board and her community of Prescott-Russell. He also cited Carkner for her work with the UCDSB’s charitable foundation, Champions for Kids.
Sliwa also paid homage to Trustee Susan Richards for her work on behalf of Ward 3 and particularly for long and distinguished service on the Board’s Special Education Advisory Committee.
Trustee Wendy MacPherson, who joined the meeting via phone, was thanked for her community leadership and being a strong advocate for Ward 9. Sliwa honoured her for being a “straight shooter” and ensuring the voice of students and her communities were heard.
Morrisburg Public School Improvement Plan for Student Achievement and Wellness (SIPSAW): Principal Krista Mano told trustees how her school’s SIPSAW is addressing the needs of her students and helping them advance their understanding of math and literacy.
The school is an Ontario Focused Intervention Partnership (OFIP) school, meaning it has been identified for extra support by the province to help students succeed. For the past two years, the school has received additional resources for its programming, as well as additional professional development for staff.
The school is using guided reading to help students address their understanding of non-fiction text. Small groups of students read with a trained volunteer or educator at a level appropriate for their group based on EQAO and other data. The students are taught specific strategies to help them build their literacy skills. These include sounding out words, using pictures and the text to infer meaning, and rereading to enhance understanding.
In mathematics, the school is using a system called the “What to Look For Continuum of Numeracy Development.” The document is used to identify where a student should be at in literacy skills based on their age and grade level. The school identifies, through marker students, where students are at and then decides on strategies to move them to where they should be and beyond. Strategies the school uses to increase mathematical understanding include: doubling - where students are encouraged, in sequential order, to take a number and then add the same number to it; times-tabling exercises; and picking a number and then adding a larger number to gain a deeper understanding of the relationship between numbers.
The school increases wellness in several ways. Staff use the Kelso’s Choice and Zones of Regulation programs to teach students self-regulation techniques and positive ways to deal with conflict. They have a sensory room and a calming room for students who need a break from regular classroom instruction. The school also makes a conscious effort to connect students with the community through visits to a local retirement home and the Winchester District Memorial Hospital. Students also enjoy fun programs such as the Stay on Course 4 Communities golf program, a dance club, and the Bluebots Robotics Club.
North Dundas District High School Board Improvement Plan for Student Achievement and Wellness (SIPSAW): Principal Angela Grandy presented on her school’s SIPSAW and the way staff are teaching students new reading strategies so they can be successful in literacy, math and other subjects.
A study of students’ EQAO results and other data suggests they have trouble understanding complex, non-fiction text. This makes it difficult to comprehend questions on EQAO math and literacy testing. The school has responded by teaching students learning strategies such as how to detach suffixes and prefixes from words they understand so they can perceive how they change their meaning. Students are taught to recognize key words and highlight them to deduce what is being asked, in addition to how to view pictures, graphs and other information within a text to infer the meaning of a question.
In Wellness, the school is using data from Tell Them From Me surveys to address a range of issues from updating the school dress code to providing new opportunities such as Wellness Wednesdays, which offer students a chance to participate in healthy activities such as Zumba and yoga.
Policy Revisions Due to Legalization of Non-Medical Cannabis Use: The Board approved changes to the Community Use of School Grounds and Facilities Policy (policy 435). The revisions reflect changes in federal law regarding non-medical cannabis use, and resulting revisions to provincial regulations. The changes state that all rental agreements must comply with provisions of the Smoke-Free Ontario Act, the Liquor Licence Act, and the Cannabis Act. It also states all board facilities must abide by the organization’s Code of Conduct. The policy is subject to periodic review by the board to meet emerging situations relative to school usage.
Stephen Sliwa
Jeff McMillan
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New information following the change in COVID-19 alert levels. massey.ac.nz/coronavirus
Home > Admission > Scholarships and awards > Other scholarships and awards > Sasakawa programmes > Sylff > Fellow profiles > Cindy Chong
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Cindy Chong
Cindy completed her undergraduate years at Victoria University of Wellington and participated in an exchange to the National University of Singapore for one semester in her final year. This experience sparked an interest in the different learning and studying environments between NZ and Singapore. Cindy later completed her Honours in Psychology at the University of Auckland where she received First-Class Honours. She has been a private tutor to students in past years as she has a keen interest in individuals’ different learning styles.
Combined with her experience in Singapore, this passion led Cindy to enrolling in a Masters in Developmental Psychology with a particular focus on parents' teaching strategies in a word-learning episode and how this is associated with learning in children. At time of writing (April 2015) she is looking at whether parent’s posture, eye gaze and particular aspects of speech such as certain words and intonation are related to children’s learning.
Cindy enjoys being outdoors on a trampoline or traveling around the world. In the future, she hopes to potentially study cross-cultural differences in teaching strategies and their associated efficacy in learning.
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News: anderson cooper mom
And, I think it’s still hard to believe it’s been so long because I think it’s still so present in our lives, that sense of loss,” Cooper told PEOPLE. Cooper went on to share that it was only years later that he realized how different his upbringing had been. The couple welcomed their first child, a baby boy named Grayson, on June 17. Text us for exclusive photos and videos, royal news, and way more.
His big sisters are madly in love and already excited to help with taking care of him.”. (I reserve the right to change my mind at any point in the future, I am currently very sleep deprived and a puddle of emotions. He’s healthy and we cannot thank the staff at @cedarssinai for taking amazing care of us as we bring a tiny human into a pandemic.”. The baby came two years after she and husband Jonathan Blumenstein lost their 4-year-old daughter, Abigail, when she was hit by a car in March 2018 that also severely injured Miles. It’s still surreal to know that we are really parents but it’s a great new adventure that we are excited to take on together.”.
)” The actress went on to write, “Thank you my lovelies for understanding and helping protect this little creature. “It’s interesting and weird at the same time.”, “I remember as a kid watching a movie with my mom and turning to her and being like, ‘Did you ever know Errol Flynn?’ And she’d be like, [hesitantly] ‘Oh, yes.’ I always knew there was a lot more there,” Anderson, said at a 2016 Television Critics Association. “Your thoughts and prayers are appreciated.”.
“She is a beautiful gift from God. “Go Go and mom are doing great.”, The Bringing Up Bates star welcomed their second child, a son, on March 25.
“Sharing a little glimpse of Hope,” she captioned the snap. The Bachelor Nation alum announced the arrival of her and husband Austin Brannen’s second child together, daughter Salter Kennedy, on Saturday, March 7. “Ace Flores 3.14.2020,” the Dash Dolls alum wrote on Instagram on March 16 following the birth of her and the rapper’s son. “In the midst of a lot of bad news, Israel has lit up our house with immense joy,” the couple told Us exclusively of their second daughter on April 8, five days after her arrival. The Princes of Malibu alum and his wife welcomed twins on February 19, according to TMZ. My son. Us confirmed on February 2 that the actress and her husband welcomed their third child following a previous miscarriage. Our prayer is that Kolter grows up to love and reflect Christ to his generation.”, Gail gave birth to their third child on March 16.
While we are overjoyed to share this news, we also feel a strong instinct to protect our little one’s privacy.
“If famous people were coming over to the house, like Charlie Chaplin or Truman Capote, we would be sitting at the table next to them,” Anderson told PEOPLE. “We have some exciting news: we were blessed to welcome the newest member of our family!” he captioned an Instagram photo of their adorable newborn.
This is an amazing privilege and it was an incredible experience,’ ” he shared. The country singer’s fiancée gave birth to their daughter, Naomi, on March 1. The FBI star and her husband welcomed their son, Otis Paradis, on March 21, but she waited until April 28 to share the news. “[My son], Wyatt, hadn’t been created, was not a being at that point, but I had the idea in my head. “He is three days old.
While promoting the pair’s HBO documentary in 2016, Cooper praised his mother’s sunny disposition, sharing that she was “far more joyous” than him. Welcome to earth star child,” the Tony winner captioned his son’s Instagram debut on March 10. “I gave birth January 8th and our hearts have gotten bigger whilst our rest has shrunken considerably.
Love is love.”. I prayed for this life.”. The next generation! “Along with proud siblings Jackson James (11) Etta Jones (7) and London Rose (5), [we] are beyond thrilled to announce the arrival of Goldie Patricia Daly!” Carson captioned a selfie from the hospital.
She really is the love of my life.”. Some would even say RAD. From our family to all of yours, we’re sending our love and best wishes for a Happy New Year and Happy New Decade.”, A source told Us Weekly exclusively at the time that the couple “went through so much” ahead of their baby girl’s arrival. While other moms stayed home baking cookies, Cooper’s mother designed jeans while sneaking her sons into Studio 54 and hosting dinner parties with some of the biggest names in Hollywood — and Cooper credits his parents with helping him realize the “possibilities of one’s imagination” at a young age.
So where did the money go?
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As the lovely doctors and nurses helped my daughter get some fluid out of her lungs, we watched the maternity ward around us change hourly to prepare for the upcoming COVID storm. He is named after my father, who died when I was ten. And sleep.
Cooper didn’t publicly come out as gay until 2012, but it was decades earlier that he had the conversation with his mother – a discussion that he “regretted” for years.
Williams is also mother to daughter Matilda, who she welcomed with the late Heath Ledger in 2005. The musicians welcomed son Vincent Frank Foster on February 21. I love you all.
@tylerhilton and I thought we understood joy, love, purpose and life before but… turns out we weren’t even close until we met Miss Winnie.”, “Just here staring at my husband as he obsesses over our daughter,” the reality star captioned a February 3 Instagram photo of Samuels and their newborn.
Coyote Ugly Turns 20: Where Is the Cast Now? Credit: this link is to an external site that may or may not meet accessibility guidelines.
“Cameron feels like this baby is truly a miracle,” the insider shared. Celebrity parents fromCameron Diaz to John David Duggar gained adorable mini family members in 2020. Here’s everything else Cooper has said about his mother. The Challenge alum posted a May 27 selfie with her infant via Instagram, writing, “I just sit and stare at her in awe of how perfect she is.
The Real Housewives of Beverly Hills star and her husband announced the arrival of their third child on February 25. this link is to an external site that may or may not meet accessibility guidelines.
Introducing ... PEOPLE's Products Worth the Hype, Gloria Vanderbilt, Style Icon and Mother of Anderson Cooper, Dies at 95, I didn’t want there to be anything left unsaid with my mom, Andy Cohen Says Anderson Cooper Got His ‘Infectious Giggle’ from Late Mom Gloria Vanderbilt, How the Late Gloria Vanderbilt Built Her Iconic Denim Empire. “As a first-time mom, she’s a bit nervous but also excited!”. The 1988 death of Cooper’s brother Carter, who died by suicide that summer at the age of 23, left a permanent hole in their hearts, but also strengthened their relationship. Playfully, Cooper shared that the heiress said she “did date him … once” – as he repeated the word “date” while making air quotes.
“At 1130am on May 7 weighing 8lbs5oz, Charlie Elena Carrasco made her grand entrance into the world.
“Overwhelmed with gratitude.”. “And just like that, we are a family of four,” the actor captioned his May 28 family photo. She worked as a model, an actress, a writer and launched a denim fashion empire in the 1970s that was reportedly worth $100 million.
“We are so blessed to have our healthy son safely in our arms and are officially complete as a family,” Field Williams wrote via Instagram on February 14.
The Kings of Leon bassist’s model wife gave birth to their daughter, Adeline, on January 21. The DJ confirmed in a Mother’s Day post on May 10 that he’d welcomed his first child with the Miss Universe Trinidad and Tobago, almost two months after King announced on March 21 that she’d given birth to son Pace.
“Our connection is God-given. #partyoffive,” the Laguna Beach alum captioned a January 17 upload of her newborn being held by his older siblings.
The director and his wife welcomed their first child, a boy, on February 22. “His arrival was made possible, in no small part, by the front line heroes — the nurses and doctors who show up each day to make sure that life keeps marching forward, regardless of the circumstances. It wasn’t initially clear how much Cooper would receive, but it was assumed to be sizable given online reports about her net worth. “ViacomCBS condemns bigotry of any kind, and we categorically denounce all forms of anti-Semitism,” a spokesperson for the mass media conglomerate said in a statement to Us Weekly on […], It’s On!
As much as I want to post every movement of her toe, I have decided to curb my urge to show her off and protect this little one’s privacy until she can make her own decision.
The Superstore actress revealed in a Mother’s Day post that she’d given birth to the couple’s second child. He was about 6 pounds at birth. magazine announced on April 23 that the couple had secretly welcomed their second child together at their New York home.
The rapper wrote on her June 10 Instagram Story: “I have a son.
“Welcome to the world,” Tyler gushed via Instagram on February 27 while showing off their new arrival. She lost her baby, Sophia, two months later. It just seemed like, ‘Oh, that’s what happens.’ And it’s only until later on that you realize, ‘Oh, wait a minute, not everybody has this.
“Our lives have changed forever with the arrival of our baby girl,” the reality stars told Us exclusively. I can not wait to share every new experience and walk down roads never traveled with you by my side. “I think she does have this incredibly optimistic way of looking at things. Although she came earlier than we expected, this is the best kind of celebration we have ever experienced, and we are so in love with our new role as parents!”. “@teddimellencamp was a champ in the delivery room! “They weren’t getting along before – hence the split,” one source exclusively tells Us, noting that Disick, 37, and Richie, 21, have “worked on having a life separate from each other,” but […], Anderson Cooper Told Mom Gloria He Was Having a Baby Ahead of Her Death. “She has already consumed our thoughts and intentions for these past pregnancy months and now, no day will ever be the same without her! The Shahs of Sunset star gave birth to her first child, Elijah Javad, on April 27. “@frankieballard I’ll never forget this unbelievable day with you and how my heart grew a schimillion times watching you hold our baby girl. She sued her lawyer and psychiatrist in 1993 for stealing millions of dollars and selling off her business interests without her permission. “I love you with all my soul and all my heart,” Stowers captioned her Instagram reveal. The Flash star posted a throwback baby bump pic on April 2 captioned, “This was good but holding you in my arms is an indescribable feeling.
Ripley Nightingale Davis arrived on March 31 with her “Mom’s beautiful face,” the Vampire Diaries alum announced via Twitter. You are a lucky little man to have a mama like you do.”. The Brooklyn Nine-Nine star and her husband welcomed a baby boy named Axel on February 15. “3:58pm, weighing 7 lbs 11 oz and 21 inches long,” she wrote, per Page Six.
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THE DRAWINGS OF REMBRANDT:
a revision of Otto Benesch's catalogue raisonné
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Benesch 001-100
Benesch 500a - in progress
Drawings Not in Benesch
Benesch 1-119 illustrations
Benesch 120-219 illustrations
Benesch 477- illustrations (in
CATALOGUE - Please hold your mouse over the 'Catalogue' tab to find the number you require
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Abbreviations: the bibliographical abbreviations refer to the literature listed under the Bibliography tab. It should be assumed that the authors quoted regarded the drawings referred to as by Rembrandt unless otherwise stated.
For an explanation of the use of question marks in the Summary Attributions, please see under the 'About' tab.
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See rembrandtcatalogue.net, Benesch 152, 2 June 2013 (accessed 12 March 2018).
Benesch 0301
Subject: Three Studies of an Old Woman with a Veil and a Sketch of Two Women with a Child
Verso: laid down but a sketch of a head seems to show through the paper.
Medium: Pen and brown (iron-gall) ink on paper prepared with brown wash; ruled framing lines in pen and brown ink. Inscribed on the brown backing card, lower right: “Sc”
180 x 147. Watermark: none visible; chain lines: horizontal (distance apart uncertain).
COMMENTS: The drawing may once have belonged to the album of studies of women and children recorded in Jan van de Capelle’s collection in 1680 (see under Benesch 0194).
Reading the drawing from left to right, the old woman seems to hold a coin, then to reach for her bag and finally to secure it there. The way the veil is drawn in the upper version of the figure shows that it was created last.[1] At the upper left another group is sketched, with a woman and child (seen from behind) apparently approaching a second woman, who seems to be leaning on a half- door or balustrade. More lightly sketched, this group has more in common with the style of Benesch 0194, 0226 and 0228, while the contrast in the thickness of the lines is reminiscent of Benesch 0235.
As with many iron-gall ink drawings, the lines have ‘spread’ because of the acidic action on the paper. To judge from old black and white photographs (one included here), the condition has continued to deteriorate in the last century. Nevertheless, the drawing’s attribution does not appear problematic when compared with the documentary works in the same medium, such as Benesch 0161 and 0168; it also helps secure Benesch 0381 for Rembrandt.
Benesch noted the old woman’s resemblance to a Rembrandt school painting in Braunschweig, also known through an etching of 1755 by Johann Anton Riedel (see reproduction).[2]
Condition: the iron-gall ink has eaten into the paper (see further above); some foxing.
Summary attribution: Rembrandt.
Date: c.1638-39.
COLLECTION: D Weimar, Goethe-Nationalmuseum (inv. Schuch, I, 874/0004).
FURTHER LITERATURE/REMARKS: Schuchardt, 1848, I, p.309, no.874; Neumann, 1918, no.11, repr.; Benesch, 1935, p.23; Benesch, II, 1954/73, no.301. repr. (c.1636; compares Benesch 0302, 0304, 0340 for style; foreshadows Benesch 0381; reminiscent of painting after Rembrandt in Braunschweig, Bode and Hofstede de Groot 689, also known from etching by Riedel [see main text above]); Scheidig, 1976, no.37; Exh. Amsterdam, 1999, pp.85-86, repr. (late 1630s; see main text above; compares Benesch 0300, 0391 and 0404); Schatborn, 2019, no.339, repr. (c.1639).
PROVENANCE: Johann Wolfgang von Goethe (but no collector’s mark).
[1] This reverses the reading given in Exh. Amsterdam, 1999.
[2] The painting after Rembrandt in Braunschweig is repr. - also using the Riedel etching - by Bode and Hofstede de Groot, VIII, p.156, no.VI .
First posted 11 November 2016.
Subject: Two Studies of a Woman with a Child
Medium: Pen and brown ink, rubbed with the finger. Inscribed verso, upper left, in black chalk: “244”
176 x 119. Watermark: none; chain lines: 23-24v.
COMMENTS: The drawing, which is much faded, belongs in style with Benesch 0258-9, with looser, less rigorous penwork than one would expect from Rembrandt himself. Indeed, even in comparison with these two drawings, the forms appear slack – note the hands, which may be compared with Benesch 0261 - and the characterisations seem yet further from Rembrandt’s mark. None of the documentary drawings provides support for an attribution to Rembrandt and the sketch was probably made by a pupil, perhaps in the early-to-mid-1640s but possibly later (cf. Benesch 0408), emulating Rembrandt’s own studies of women and children, and for style, his more liquid drawings of c.1635-42 (cf. Benesch 0292, 0482 recto and 0188). These qualities are reminiscent of drawings attributed to Ferdinand Bol (cf. Benesch 0475, Sumowski 93x) although as yet I hesitate to place the drawing under his name.
Condition: much faded and also foxed.
Summary attribution: School of Rembrandt.
Date: c.1645-53?
COLLECTION: NL Amsterdam, Rijksmuseum (L. 2228; inv.RP-T-1930-52)
FURTHER LITERATURE/REMARKS: Lippmann, III, 43; Exh. The Hague, 1902, no.36; Exh. Leiden, 1903, no.13; Exh. London, 1904, no.122; Exh. Leiden, 1906, no.73; Hofstede de Groot, 1906, no.1298 (c.1635); Exh. Paris, 1908, no.411 (c.1635); Saxl, 1908, p.345 (c.1655; compares Benesch 0304); Hofstede de Groot, 1909, no.3; Exh. Amsterdam, 1913, no.72; Exh. Leiden, 1916, no.26 (c.1638); Hirschmann, 1917, p.12 (c.1638); Seidlitz, 1917, p.253 (c.1635); Stockholm, 1920, p.81 (P. Koninck, c.1635); Exh. The Hague, 1930, no.52 (c.1638); Benesch, 1935, p.23 (c.1634-35); Gerson, 1936, no.Z LXXXVII (Rembrandt); Amsterdam, 1942, no.18, repr. pl.9 (c.1636-37); Poortenaar, 1943, pp.13, 46, no.84, repr. (c.1635); Benesch, II, 1954/73, no.302, repr. (c.1636; compares Benesch 0300 and 0301; abstract sense of Benesch 0342-3 and 0415 here at a peak); Haverkamp-Begemann, 1961, p.26, under Benesch 345; Van Gelder, 1961, p.150; Slive, 1965, no.376 (c.1636-40); Munich, 1973, p.158, under no.1104; Amsterdam, 1981, under no.2, n.4 (c.1636); Amsterdam, 1985, no.91, repr. (not Rembrandt; compares Benesch 0304 [as Saxl, 1908] and Benesch 0258-9; could be a much later imitation); [Not in Schatborn, 2019].
PROVENANCE: Jonathan Richardson, jun. (L. 2170); probably his sale, London, Langford, 5 February and following days, 1772, part of lot 2 (individual drawings not described); Sir John Charles Robinson (L.1433; the mark has been largely erased); from whom purchased as by Rembrandt with seven other drawings through the dealer Agnew’s of London, by Dr Cornelis Hofstede de Groot, 1901 (Hofstede de Groot notes, Royal Library, The Hague) by whom presented to the present repository in 1906 but with usufruct; transferred in 1930.
Subject: Mother and Child Seated in a Chair, the mother in profile to right
Medium: Pen and brown ink with brown wash, probably also rubbed with the finger, on paper tinted brown; some fine but hesitant touches of pen and dark grey ink (in the child's face), by a later hand; ruled framing lines in pen and brown ink.
117 x 127. Watermark: none visible (laid down).
COMMENTS: The current consensus appears to reject this drawing, but in the light of a comparison with Benesch 0382, I am more than a little inclined to accept it. The hatching and the penwork in general seem close in style. However, comparisons are more difficult with any of the documentary drawings, although the manner in which the brush is used resembles the wash in Benesch 0164 of 1638. That date seems plausible if the drawing is indeed genuine, as I believe it probably is.
If so, it may have featured in the album of drawings of women and children mentioned under Benesch 0194.
Condition: light foxing; later touches as noted under medium above.
Summary attribution: Rembrandt (?)
Date: c.1638?
COLLECTION: D Berlin, Staatliche Museen Berlin, Kupferstichkabinett (inv. KdZ 1138)
FURTHER LITERATURE/REMARKS: Dutuit, 1885, p.80; Freise, Lilienfeld and Wichmann, 1914, no.118 (records opinion of Hofstede de Groot that the drawing is by Rembrandt); Berlin, 1930, I, p.233, inv.1138 (c.1635; probably by Rembrandt); Benesch, 1935, p.23; Benesch, II, 1954/73, no.303, repr. (c.1636; compares Benesch 0302 and Benesch 0304); Exh. Berlin, 1956, no.56 (c.1635); Van Gelder, 1961, p.150 (perhaps depicts Rombartus, thus 1635-36); Vogel-Köhn, 1981, no.17 (c.1635-36); The Present Catalogue, 2016; Berlin, 2018, no.142, repr. (notes later touches; states the drawing was likely owned by Jan van de Cappelle as a Rembrandt, yet a work of Rembrandt's school, c.1646; too schematic for Rembrandt; inspired by Benesch 0482 or a similar drawing; Benesch 0410 thought by the same hand; further compares Benesch 0302, 0304 and Benesch 0425); [Not in Schatborn, 2019].
PROVENANCE: Acquired by the present repository before 1878.[1]
[1] See under Benesch 0314 for the possibility that this drawing may be a fragment of one formerly in the Valerius Röver collection, described as including "een slapend vroúwtje met een kindtje aan de borst van Dezelve".
Subject: Two Women with a Baby
Medium: Pen and brown ink; ruled framing lines in pen and brown ink.
130 x 110. Watermark: a crowned shield (cut)
COMMENTS: Superficially the drawing might appear acceptable on the basis of Benesch 0303, but overall the attribution seems much more suspect: barely a line gets a grip on the form, the structure falls apart and the hand is generally hesitant. A comparison with the secondary sketch in the background of Benesch 0301 is instructive in this regard. The drawing may have been partly inspired by Benesch 0382 and the supplementary figure behind is the least prepossessing passage of the composition. The fragmentary sketch at the top seems unlike Rembrandt himself and the main drawing has been compared with Benesch 0258-59; [1] a closer analogy for the lower lines, where the ink is somewhat paler, would appear to be Benesch 0261, yet even here the present work seems less fluent and coherent. Overall, the style approaches the work of Ferdinand Bol more closely (cf. the kneeling Magdalene in Benesch 0537).
Condition: faded; trimmed at the top.
Summary attribution: School of Rembrandt (Ferdinand Bol??)
COLLECTION: D Dresden, Kupferstich-Kabinett (L.1647; inv. C 1405)
FURTHER LITERATURE/REMARKS: Franke, 1865, port. V, no.18/5; Hofstede de Groot, 1890, no.77; Woerman, 1896-98, vol. VIII, p.94, no.318; Hofstede de Groot, 1906, no.264; Saxl, 1908, p.345 (compares Benesch 0302); Neumann,1918.I, no.12 and Anmerkungen p.3 (same group represented in Benesch 0301); Freise, Lilienfeld and Wichmann, 1925, p.17, no.71 (not Rembrandt); Benesch, 1935, p.23; Benesch, II, 1954/73, no.304, repr. (c.1636; refutes Neumann’s comparison with Benesch 0301); Exh. Dresden, 1960, p.11, no.14; Scheidig, 1962, p.41, repr. pl.27; Vogel-Köhn, 1974, no.43; Amsterdam, 1985, under no.91 (not Rembrandt; same hand as Benesch 0302); Exh. Dresden, 2004, no.89, repr. (School of Rembrandt; hands et al. reworked; same artist as Benesch 0302, and Benesch 0258-9); Exh. Paris, 2006, no.53, repr. (as Exh. Dresden, 2004); [Not in Schatborn, 2019].
PROVENANCE: acquired by the present repository before 1756.
[1] See Exh. Paris, 2006.
Subject: Two Orientals Standing in Discussion
Medium: Pen and brown ink with brown wash; ruled framing line in pen and brown ink.
170 x 115.
COMMENTS: Despite the presence of two dubious collectors’ marks, the drawing could well be a genuine Rembrandt school work. There are links with the style and iconography of drawings such as Benesch 0209 and it may have been made at around the same time, although in this case an attribution to Rembrandt himself is not even remotely likely (and the ink is certainly not iron-gall). The right hand figure resembles his counterpart in Benesch 0665a, and also the figure second from the left in the etching of c.1639, The Presentation in the Temple (Bartsch 49; NH 184). The left figure resmbles that in Benesch 0211. Benesch's comparison with the style of Benesch 0412 is reasonable - see especially the broad outlines and the dots for the eyes.
Condition: generally good, some minor spotting and staining.
COLLECTION: whereabouts unknown (since 1978).
FURTHER LITERATURE/REMARKS: Exh. Frankfurt, 1926, no.360; Benesch, II, 1954/73, no.305, repr. (c.1636; compares Benesch 0412); Exh. London, 1978, p.73, n.1 (style of Rembrandt; forged Reynolds mark); [Not in Schatborn, 2019].
PROVENANCE: Joshua Reynolds (dubious version of L.2364); another mark, a cross (not otherwise recorded, probably also fake);[1] E. Calando (L.837 – if the mark is genuine); Robert von Hirsch, Basel; his sale, London, Sotheby’s, 20 June, 1978, lot 47, sold for £3,500.
[1] I am grateful to Peter Fuhring and through him to Donato Esposito for their opinions on the marks. The latter notes that the Reynolds mark closely copies the illustration in Phillips' March 1798 sale of the artist's collection (correspondence in late November 2016). It does seem odd to go to the trouble of producing the 'fake' stamp, only to use it once. Could it be that in fact the drawing was in Reynolds's collection?
Subject: A Man Reclining, Apparently Ill
Verso: Head of a Man in a Wide Fur Hat [1]
Medium: Pen and (dark) brown ink, perhaps retouched with the reed pen, with some brown wash (mostly above); verso: pen and brown (iron-gall?) ink.
75 x 123.
COMMENTS: The drawing belongs in style and iconography with Benesch 0307 (qv), which reveals that the figure is recumbent in bed. The rather thin, spindly pen style is reminiscent of Benesch 0163 of c.1638 and is likely to be by the same hand. Rembrandt himself used such thin lines in the slightly earlier Christ Carrying the Cross, Benesch 0097. In Benesch 0306-7 there is a certain amount of wash, plus in the present case the area above, perhaps a trial of the brush. The verso only adds ammunition to the idea that the drawing is not by Rembrandt himself, though it resembles Benesch 0377.[1]
Condition: generally good, though trimmed from a larger sheet.
Summary attribution: School of Rembrandt/Rembrandt??
Date: c.1638-39
COLLECTION: D Berlin, Kupfersichkabinett (inv.3012a; 113-1885)
FURTHER LITERATURE/REMARKS: Amtliche Berichte, VII, 1887, col.VII; Michel, 1893, p.574; Hofstede de Groot, 1906, no.144 (early; shows Man Taking off his Shoes); Freise, Lilienfeld and Wichmann, 1914, no.136 (probably middle period); Exh. Berlin, 1930, no.283 (c.1650); Berlin, 1930, p.234, inv. 3012a (as Hofstede de Groot, 1906); Lugt, 1933, under no.1157 (compares Louvre drawing, Benesch 0307); Benesch, 1935, p.23; Benesch, II, 1954/73, no.306, repr. (c.1636; quotes Lugt on subject and on comparison with Benesch 0307; ‘the almost geometrical framing of the figure’ compared with Benesch 0302 and 0412); Exh. Berlin, 1956, no.77 (c.1630-40); Exh. Paris, 1988, under no.11 (c.1635; preliminary sketch before Benesch 0307); Berlin, 2018, no.138, repr. (Rembrandt school, c.1636-39; after the Paris version, Benesch 0307 - the hands now like claws; relates to drawings of Saskia and others in bed of c.1635-39, like Benesch 0285; verso compared with Benesch 0219 and said to be in iron-gall ink, comparing also Benesch 0377, which may be by the same hand); [Not in Schatborn, 2019].
PROVENANCE: Johann Daniel Böhm (L.1442 and 272; L.271 verso); (Károly?) Pulszky (according to Berlin inventory); (Erich?) von Rath (according to Berlin inventory); Alexander Posonyi (L.159 verso), whose collection presented by Julius Guttentag to the present repository in 1885.
[1] As noted by Bevers in Berlin, 2018, no.138.
Subject: A Man Reclining in Bed, Apparently Ill
Verso: inscriptions only.
Medium: Pen and (dark) brown ink, perhaps retouched with the reed pen, with brown wash, touched with white (under the pupils). Inscribed upper right with Bonnat’s album no.: “25”; verso, in graphite: "Rembrandt / Collection Andreossy"
COMMENTS: The drawing belongs in style and iconography with Benesch 0306 (qv), for which the same remarks apply here. However, in this case the formulation of the hands resembles that of the recumbent Christ in Benesch 0100 recto, a reason why an attribution to Rembrandt himself, though unlikely, is not completely impossible for these two drawings.
Condition: some foxing and other stains, mostly near the periphery.
COLLECTION: F Paris, Louvre (L.1886a; inv. RF 4719; MS inventory vol.xx, p.272)
FURTHER LITERATURE/REMARKS: Michel, 1893, p.588; Hofstede de Groot, 1906, no.720; Paris, 1933, no.1157 (c.1632-34; compares Benesch 0306); Benesch, 1935, p.23; Benesch, II, 1954/73, no.307, repr. (c.1636); Exh. Bordeaux, 1959, no.103; Exh. Paris, 1988-89, no.1111, repr. (mid-1630s; compares Benesch 100); Berlin, 2018, under no.138, repr. (Rembrandt school, c.1636-39; after the Paris version, Benesch 0307 - the hands now like claws); [Not in Schatborn, 2019].
PROVENANCE: Count Antoine François Andreossy; presumably his sale, Paris, 13-16 April 1864 probably one of the two drawings in lot 351 (sold for F22); Léon Bonnat (L.1714 and with his Rembrandt album number top right: “25”), by whom acquired between 1885 and 1893 and by whom given to the present repository, 23 June 1919.
Subject: A Woman Teaching a Child to Walk with Leading Strings; half-length sketch of a man
Verso: laid down on a mat with red framing lines and pinkish wash.
Medium: Red chalk. Inscribed by Rembrandt in red chalk at upper left but largely erased: “6812 [?]/ [...]d 19630[?] / goed [?] 40 [?] den [?] e [?] [...]”[1]
165 x 153. Watermark: none visible; chain lines: 26h.
COMMENTS: Although in red rather than black chalk, the style seems close to Benesch 0277 and Benesch 0280a and the drawing is likely to date from c.1636-37.[2] Like them it may have belonged to the album of drawings of women and children mentioned under Benesch 0194. For the subject and technique, compare for example also Benesch 0309, and Benesch 0421-22, as Benesch suggested.
The expressions of both the woman and the child – which seems to hold a toy – are economically conveyed and the darker chalk in the former’s hands reveals that Rembrandt was concerned to record the use of leading strings accurately. The rather exotically attired man on the right is probably related to the other figures, as he seems to look at the child, perhaps with a gesture of warning.
See further under Benesch 0357, with which this drawing was formerly mounted together and in which the medium and paper seem very similar.
Condition: a little discoloured and with a few smudges of dirt.
COLLECTION: A Vienna, Albertina (inv.8836)
FURTHER LITERATURE/REMARKS: Schönbrunner and Meder, 859; Hofstede de Groot, 1906, no.1454 (c.1635); Benesch, 1935, p.23; Benesch, II, 1954/73, no.308, repr. fig.346/373 (c.1636; compares Benesch 0309, 0421 and 0422 as well as pen drawings Benesch 0302, 0411 and 0412; Exh. Rotterdam-Amsterdam, 1956, no.58; Exh. Stockholm, 1956, no.84; Haverkamp-Begemann, 1961, p.25; Exh. Vienna, 1969-70, no.9, repr.; Exh. Milan, 1970, no.6; Exh. Vienna, 2004, no.44, repr. (c.1636); Exh. Milwaukee, 2005, no.22, repr. (mid-1630s); Schatborn, 2019, no.284 and pp.19, 143 and 144, repr. (c.1636; many depictions of this subject; relates to iconography of the etching with a Nude Seated and Standing, with a child learning to walk in the background, which has been interpreted as referring to practice, Bartsch 194; NH 233; women and children common in genre studies).
PROVENANCE: Prince Charles de Ligne; Herzog Albert von Sachsen-Teschen (L.174).
[1] The erased inscription, which has not been previously remarked on, has been a source of considerable frustration to the compiler!
[2] Among the documentary drawings, cf. Benesch 0444 of 1635 and Benesch 0161 verso of c.1638.
Subject: A Woman Making a Small Child Stand on a Table
Medium: Black chalk; ruled framing lines in pen and brown ink.
86 x 77.
COMMENTS: The drawing is presumably a fragment from a larger sheet. A charming vignette which captures the unsteady gait of the child, it is hard to think of precedents for such studies of everyday home life. In style the drawing fits with many other red and black chalk sketches of the period around 1636 (cf., for example, Benesch 0308, 0375), although with hints of the somewhat sparser style of the 1640s. Like many of these, it may have came from the album of drawings of women and children mentioned under Benesch 0194.
Condition: generally good; a fragment – see above.
Summary attribution: Rembrandt
COLLECTION: NL Amsterdam, Amsterdam Museum, Fodor Collection (inv. TA 18021)
FURTHER LITERATURE/REMARKS: 'En Hollande', Beaux-Arts, lxiv, 23 March 1934; Gemeentemusea : verslag over het jaar 1934, 1935, p.18, repr.; Exh. Amsterdam, 1935.I, no.171, repr.; Exh. Amsterdam, 1938, no.68; Benesch, II, 1954/73, no.309, repr.fig.344/374 (c.1636; in 1954 ed. wrongly as in red chalk; relates to Benesch 0308); Exh. Cologne-Bremen, 1955, no.65; Exh. Rotterdam-Amsterdam, 1956, no.61; Exh. Warsaw, 1956, no.14, repr. fig. 9; Sumowski, 1956-57, p.258, no.4; Exh. Jerusalem, 1960, no.58; Exh. Belgrade and Zagreb, 1960, no.58; Haverkamp Begemann, 1961, p.25; Sumowski, 1961, p.6; Exh. Budapest, 1962, no.58; Vogel-Köhn, 1974, pp.40 and 212-213, no.59; Amsterdam, 1981, no.6, repr. (c.1635-37, referring to Benesch 0457 dated 1637); Exh. Kobe-Tokyo, 1993, pp.56, 182-183 and 229, no. 51, repr; Exh. Amsterdam, 2006, p.4, repr.; Amsterdam Museum, Collectie Online (http://am.adlibhosting.com/Details/collect/42426, consulted 26 November 2016); Schatborn, 2019, no.281, repr. (c.1636).
PROVENANCE: Dutch private collection (A. Welcker?; “shown to me in July 1931 by the etcher J. Poortenaar” – note by F. Lugt, RKD); A. Welcker, by whom presented to the present repository in 1934.
Subject: A Seated Old Woman with Clasped Hands, in an armchair, three-quarter length
Medium: Red chalk (in two tones)
236 x 157. chain lines: vertical (distance apart uncertain)
COMMENTS: In 1906, Hofstede de Groot wrote that “The drawing is reminiscent of Rembrandt, but seems rather to be by another hand; the colour of the chalk is somewhat bluer than usual for Rembrandt. It is presumably a French drawing of the eighteenth century” (see Literature below).
These remarks are of considerable interest - one might say that the drawing appears almost “too good to be true” – and they require refutation if the drawing is to be retained for Rembrandt. As Hofstede de Groot wrote, the chalk colour is less warm than in most of Rembrandt’s other red chalk studies and comparable in tone to a kind of sanguine sometimes employed by eighteenth-century French artists (like Hubert Robert, Greuze and Ango); also, while the scale and the composition echo Rembrandt’s studies of old men from the Leiden period, the chalk is here handled with the greater breadth of the years from around 1635-45, or even later. The whole conception of the forms is extraordinarily bold, with broad ‘zones', one for the head, another for the torso and the third for drapery-covered legs. The combination of such definite outlines with soft parallel shading is characteristic of the above-named, and other, French eighteenth-century draughtsmen. In addition, the chair and the figure compare quite closely with a painted portrait of 1654 in the Hermitage, a work now usually assigned to Rembrandt’s school,[1] and this led Sumowski tentatively to advance an attribution to Nicolaes Maes (see Literature below). But might the drawing have inspired the pupil? Or is the drawing, in fact, from the 1650s?
Thus the drawing poses the usual two questions: 1. is it by Rembrandt? 2. when was it made?
Comparisons with the documentary drawings do not resolve these questions clearly. In red chalk, apart from the Leiden period studies of old men, especially Benesch 0037, Benesch 0040 (which has some comparably broadly handled passages below) and Benesch 0041 (note the similarly clasped hands), all of which seem less regular and smooth in their outlines and general execution, there are few analogous figure drawings.[2] The Studies of St John the Baptist (Benesch 0142a recto) despite having, on the left, some comparable pentimenti in the profile to those seen in the old woman’s left arm, are more tentative and searching. The Portrait of Cornelis Claesz. Anslo of 1640 (Benesch 0758) again seems more searching and much less fluent.
More convincing analogies were remarked on by Starcky,[3] who drew attention in particular to Benesch 0254 (for the way the detail peters out below), Benesch 0196 (for the smooth shading of the skirt, though it must be earlier) and Benesch 0376 (for the drapery); for the dress and character type he noted the similarity to the woman below the Baptist in the grisaille now in Berlin of the mid-1630s (Bredius 555; Corpus A106, vol.VI, no.110). To these comparisons may be added the hatching in the drapery to the right of Benesch 0421, a drawing in which the figures, albeit smaller, are also conceived in the same structurally broad terms. This approach is also encountered in Benesch 0357. Another characteristic Rembrandt touch is the sharp loops seen at the extreme left of the drawing, where the sitter’s drapery re-emerges from under the arm of the chair, and again at the lower right of the drawing. For the rather mechanical-looking juncture of the arm and hand at the wrist, compare Benesch 0280a and 0280e (in the former of which the modelling of the lower face is also somewhat comparable). Finally the stronger, more emphatic strokes of the chalk seen in the most important outlines, correcting and clarifying the underlying work, are a feature of many Rembrandt drawings in all media, seen in parts of Benesch 0137, where the drapery again has points of similarity, as does the use of strong outlines (in the head).
In the light of these similarities it seems prudent to date the drawing, albeit tentatively, in the later 1630s, and to accept that its exceptional fluency anticipates qualities that were embraced by French artists in the eighteenth century, including Fragonard. If in some respects the drawing ‘stands out’ in Rembrandt’s oeuvre, it can only be that, unusually, it is a ‘set piece’, a drawing made more as an end in itself than as a sketch or study towards another work of art.[4]
It has been suggested that the drawing is a portrait of the artist’s mother, but the identification is far from convincing.[5] But as noted above, the figure does resemble, especially in her attire, the model used for the woman below the Baptist in the Berlin grisaille. Her headdress also compares well with Benesch 0152 and 0154.
A somewhat harsh copy was in the collection of the late E. Blum of London.[6]
Condition: generally good; the paper off-white, veering to grey; some spots and stains, partly disguised.
COLLECTION: F Paris, Musée du Louvre, Collection Edmond de Rothschild (inv.193 dR; formerly 1107; MS inventory vol.I, p.6.)
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1 (Die Zeichnung erinnert an Rembrandt, scheint aber doch von anderer Hand zu sein; die Farbe des Rötels ist etwas bläulicher als sonst bei Rembrandt. Es ist vermutlich eine französische Zeichnung aus dem achtzehnten Jahrhundert); Exh. Paris, 1937, no.89; Blum, 1939, no.6 (relates to 1654 Hermitage painting [on which see above]; Exh. Paris, 1947, no.147; Münz, 1952, p.152, repr. fig.163; Benesch, II, 1954/73, no.310, repr. (c.1636; compares Benesch 0308 and related drawings; rejects Hofstede de Groot’s doubts); Sumowski, 1956-57, p.258, repr. fig.18 (relates to 1654 Hermitage painting [on which see above]by Maes?); Sumowski, 1961, p.6; Exh. Paris, 1970, no.142; Exh. Paris, 1988-89, no.14, repr.(c.1635-37; compares Benesch 0254 and Benesch 0196, 0376, and the woman below the Baptist in the grisaille now in Berlin of the mid-1630s [Bredius 555; Corpus A106, vol.VI, no.110]; perhaps a portrait of Rembrandt’s mother); Exh. Leiden, 2005-6, under no.30, repr. fig.104 (c.1635-37; not directly for the Hermitage painting); Exh. Paris, 2006, no.15, repr.; Exh. Los Angeles, 2008-9, no.27.2, repr. (c.1647; compares Benesch 0590 and 0769); Robinson, 2009, pp.498-501, repr. fig.1 (mid-to-late 1640s?); Schatborn, 2019, no.369, repr. (1640-43).
PROVENANCE: Paul Sandby (L.2112 – the mark is smudged but the identification of it appears to be secure; it is typically placed right in the lower left corner as here); Emile Galichon (L.856); his sale, Paris, Hôtel Drouot, 10-14 May, 1875, lot 127, bt Duval, F900; Henri Duval, Liège; his sale, Amsterdam, Muller’s, 22-23 June, 1910, no.299, repr. (bt Danlos, f.3420); Baron Edmond de Rothschild, by whom presented to the present repository, 1935.
[1] Bredius 381. See also Exh. Dijon, 2003-4, no.3, repr.; and Exh. Leiden, 2005-6, no.30, repr..
[2] The colour of the chalk, however, is similar in Benesch 0005.
[3] See Exh. Paris, 1988-89, no.14.
[4] Benesch 0433, though in another style, also ‘stands out’ in Rembrandt’s oeuvre for similar reasons.
[5] For a discussion, see Exh Leiden, 2005, p.138.
[6] Red chalk, 187 x 152, with a fragmentary foolscap watermark and Blum’s collector’s mark (an ‘EB’ monogram with the letters back-to-back in an oval). My thanks to Peter Fuhring of the Fondation Custodia for checking whether there is more information about this mark (which there was not).
Subject: A Young Man Pulling a Rope, full-length, profile to right
Medium: Quill and reed pens and brown ink with brown wash, with white bodycolour; ruled framing lines in pen and brown ink. Inscribed in pen and brown ink, lower right: “42” [there may also have been a third digit, perhaps a ‘5’]; on the backing, a French military diary (?) and inscribed in pencil on the now removed second backing: “17,30”
292 x 180. Watermark: none visible; chain lines: 24-25v.
COMMENTS: The drawing was long associated with a painting in Darmstadt, now given to the school of Rembrandt, depicting the Flagellation of Christ (Bredius 593). It is dated but the inscription, originally read as 1668, is now thought to read 1658.[1] Although the match with the figure on the left is not a close one, it conveys a sense of the potential purpose of the youth in the drawing, posed like a garzone in an Italian Renaissance workshop. But his youthful, optimistic appearance seems geared towards a more positive raison d’être.[2]
There are two distinct campaigns of work in different styles: first came the flickering penwork, most visible in the head and upper arm, which gives a lively impression, though not one that can easily be compared with anything by Rembrandt himself. Benesch 0263 has something of the same quality, though the lines are there kept under slightly tighter control, at least in the head and hands. Benesch 0267 is also comparable and includes some work with the brush which, although emphasising some outlines, stands apart in style from what we see here.
Indeed, the wash and the lines made with the tip of the brush, which belong to the ‘second campaign’, seem to belong to a much later era, and it is therefore not surprising to find that past writers have hovered between dating the drawing to the mid-1630s, as suggested by the penwork, and the 1650s or ‘60s, as is argued by the work with the brush (and also by the supposed date Darmstadt Flagellation, mentioned above). In the use of the brush, there are technical and stylistic elements in common with Rembrandt’s drawing of Hendrickje Stoffels in the British Museum of around 1654 (Benesch 1103). But where Rembrandt conveys a sense of the weight and placement of the figure, the present artist was less successful and overall the execution is more heavy-handed; nor do we experience the tension created by the rope in the arm, or as it winds its way around the body.
The similarities with Rembrandt’s work may be only generic, but they seem as close as any to be found among the works of Rembrandt’s followers, and a date in the 1650s seems probable. Gerbrand van den Eeckhout, whom we associate with the above-mentioned pen drawings (Benesch 0263 and 0267), was also a practised and proficient draughtsman with the brush, but the character of his style seems rather different.[3] Carel Fabritius has been invoked,[4] but on the basis of the core drawings attributed to him, such as Benesch 0500 and 0506, the penwork is far removed from what we see here. Only the heavy outlining and the generosity of the wash make any connection, but in the present work the outlines are applied with the tip of the brush rather than a pen and the way the brush is manipulated is not echoed in Fabritius’ paintings. Closer is Benesch 0709, also recently associated with Fabritius and in which the outlines are applied with the brush once more, but the links between that drawing with Fabritius are also insecure, limited to the comparability of the heavy penwork with the underpaint of Fabritius’s paintings as revealed by X-radiography. So for the time being the drawing is here catalogued as anonymous but also as ‘associated with’ Carel Fabritius.
A drawing of a figure similar to the one here, but on a ship hoisting a bale on board is in Berlin.[5]
Condition: generally good; lightly foxed.
Summary attribution: School of Rembrandt (Carel Fabritius??)
COLLECTION: NL Amsterdam, Rijksmuseum (L. 2228; inv. RP-T-1930-34)
FURTHER LITERATURE/REMARKS: Lippmann, III, 92; Exh. Leiden, 1903, no.35; Exh. London, 1904, no.134; Valentiner, 1905, p.61 (1656-57); Exh. Leiden, 1906, no.37; Hofstede de Groot, 1906, no.1280 (c.1668; relates to Painting of Christ at the Column [Darmstadt] of that year); Valentiner, 1906, p.43, repr.; Valentiner, 1907, p.237; Exh. Paris, 1908, no.376 (1668); Exh. Amsterdam, 1913, no.30; Rembrandthuis Gids, 1913, p.12 (1668); Hofstede de Groot, 1909, no.32; Exh. Leiden, 1916, no.94 (1668); Hirschmann, 1917, p.20 (1668); Seidlitz, 1917, p.253 (1660s); Demonts, 1921, no.40 (1668); Exh. Paris, 1921, no.60; Valentiner, 1921, p.128, under no.S471 (1656); Becker, 1923, no.41 (1668); Meder, 1922, detail repr. fig.25; Berlin, 1930, p.246, under no.1963; Exh. The Hague, 1930, no.25 (c.1668); Hell, 1930, p.104 (1650-55); Exh. Amsterdam, 1932, no.325, repr. (c.1657); Freeman, 1933, no.2; Valentiner, II, 1934, no.480 (c.1655); Benesch, 1935, p.23; Exh. Chicago, 1935-36, no.43 (1668); Exh. Worcester, 1936, no.43 (1668); Amsterdam, 1942, no.38, repr. pl.23 (c.1658); Huebner, 1943, repr. p.11; Schinnerer, 1944, no.20 (c.1655); Benesch, 1947, no.77, repr. (c.1635-36); Von Alten, 1947, no.80 (1658); Exh. Basel, 1948, no.30 (1658); Van Gelder, 1949, p.207 (1668); Exh. Rome-Florence, 1951, no.92, repr. (c.1658); Porkay, 1951, pp.57-58, repr. pl.xv; Valentiner, 1951, p.347, n.7 (c.1656, not 1636 as suggested by Benesch); Benesch, II, 1954/73, no.311, repr. (c.1636; quill pen clearly c.1636; used later for Darmstadt painting); Bibeln, 1954, pl.148; Benesch, 1955, pp.402-3 (Collected Writings, p.188); Van Gelder, 1955, p.396 (after 1650); van Regteren Altena, 1955.I, p.119 (c.1636?); Exh. Rotterdam-Amsterdam, 1956, no.232, repr. fig.56 (1656-58); Exh. Stockholm, 1956, no.170 (1658?); Müller-Hofstede, 1956, p.94 (late); Rosenberg, 1956, pp.68-69 (1658); White, 1956.I, p.324 (late); Tsojen, 1956, repr. pl.63; Sumowski, 1956-57, p.262 (c.1646); Exh. Washington-New York-Minneapolis-Boston-Cleveland-Chicago, 1958-59, no.67 (c.1645; outlines perhaps reinforced by a pupil); Exh. Brussels-Hamburg, 1961, no.58 (c.1655); Stech, 1964, no.51 (c.1655); Slive, 1965, no.430 (c.1655-58); Musper, 1968, p.230; Wallace, 1968, repr. p.50; Bredius-Gerson, 1969, under no.593 (not 1636); Exh. Amsterdam, 1969, no.77 (c.1645); Hamann-Sumowski, 1969, pp.374 and 386, repr. fig.255 (c.1640); Haak, 1974, no.44 (c.1645); Bernhard, 1976, p.178 (c.1636); Bailey, 1978, p.215, repr. (c.1645); Sumowski, 1979 etc., under no.1581xx; Amsterdam, 1985, no.29, repr. (1640s; for a Raising of the Cross?/Flagellation of Christ?; compares Benesch 0518a and 0519 and a drawing in Berlin, 1930,p.246, no.1963 ; Exh. Groningen, 2005, no.65 (circle of Rembrandt); Exh. Amsterdam, 2006, p.30, repr. pl.26 (attributed to Fabritius); Exh. Los Angeles, 2008-9, under nos.21.1-2, repr. fig.21b (Carel Fabritius); Exh. Amsterdam, 2014, no.19, repr. (Fabritius; compares Benesch 0412, 0506, 0709 and Amsterdam, 1985 nos. 61-65); [Not in Exh. The Hague-Schwerin, 2004-5]; [Not in Schatborn, 2006.I.]; [Not in Schatborn, 2019].
PROVENANCE: Freiherr Max von Heyl zu Herrnsheim (1844-1925), Darmstadt (L. 2879); his sale, Stuttgart, Gutekunst, 25 May 1903 and following days, lot 254, bt Büchle, DM 1210, for Cornelis Hofstede de Groot (his notes in Koninklijk Bibliotheek, The Hague), by whom donated to the present repository in 1906, with usufruct; transferred 14 April 1930.
[1] Bredius 593; Benesch suggested that the painting might be the work of Barend Fabritius and Gerson thought the signature and date were not original.
[2] Schatborn, in Amsterdam, 1985, no.29, additionally suggests the Raising of the Cross as a possibility.
[3] Compare Sumowski 782x-797x.
[4] See, for example, Exh. Los Angeles, 2008-9, under no.21.1-2.
[5] As noted by Bock and Rosenberg in Berlin, 1930, p.246, no.1963, who describe it as a forgery, but with mention of the present drawing (and the Darmstadt painting).
First posted 6 December 2016.
Subject: Man in a Plumed Hat and Rich Costume, three-quarter-length
Verso: Blank, see inscriptions
Medium: Pen and brown ink with brown wash, touched with later grey wash; ruled framing lines in pen and dark brown ink. Inscribed in pen and brown ink, lower right: “422” (Dyce inventory number); verso, top left in graphite: “6/8”
167 x 113. Watermark: hard to decipher (see illustration) perhaps a fragment of a Strasburg lily with letters “WR” (comparable to Heawood 1769 – Schieland 1616);[1] chain lines: 27h.
COMMENTS: Stylistically the drawing belongs with works such as Benesch 0296 and 0298 by Gerbrand van den Eeckhout, rather than with Rembrandt’s own drawings of this kind, as exemplified, for example, by Benesch 0295.[2] The greater detail and effort expended here has somewhat reduced the verve with which Benesch 0298 is executed - exacerbated by the later rework in grey wash – and in this the drawing resembles (e.g. in the hem of the garment and the plumage of the hat) Benesch 0318. The harsh formulation of the left hand, which resembles a scroll or even a book, is only truly paralleled in Rembrandt’s work by the child’s feet in Benesch 0313![3] Compare also the drawing, formerly attributed to Rembrandt (though not in Benesch), of a Woman in a Rich Costume, now in the Ulmer Museum.[4]
Whether the man is an actor or not is open to debate. The drawing was generally believed to belong with Rembrandt’s depictions of figures from Joost van den Vondel’s tragedy, “Gijsbrecht van Amstel”, although this has been questioned (see under Benesch 0120).[5] It may be that the figure is simply decked out in mid-sixteenth-century clothes from Rembrandt’s own wardrobe of vintage clothing.
Condition: some foxing, more severe on the verso than the recto.
Summary attribution: Gerbrand van den Eeckhout?
COLLECTION: GB London, Victoria and Albert Museum (L.1957; L.153b; inv. Dyce.422).
FURTHER LITERATURE/REMARKS: Reid, 1874, p.64, no.422 (Jan Lievens; formerly ascribed to Rembrandt); Hofstede de Groot, 1906, no.970 (Rembrandt but noting the Lievens attribution of the time); Exh. London, 1921, no.102, repr. pl.xx; Borenius, 1921, p.229 (not improbably by Rembrandt himself); Valentiner, II, 1934, no.721, repr.; Benesch, 1935, p.23; Benesch, 1947, no.69, repr.; Benesch, II, 1954/73, no.312, repr. (c.1635-36; compares Benesch 0316-21); Volskaya, 1961, pp.54-60 (represents Gijsbrecht); Reynolds (ed.), 1964, p.24; Van der Waal, 1969, p.147; Sumowski, Gem., IV, p.1877, under no.12; Berlin, 2006, p.197, n.54 (attributed to Eeckhout); London, 2014, no.55, repr. (attributed to Eeckhout; compares Benesch 0318 and figure’s left hand to Benesch 0171; via Berlin, 2006, follows Bevers, 2010, recording the latter's opinion in a conversation of 3 March 2010 that the drawing is by van den Eeckhout);[6] [Not in Schatborn, 2019].
PROVENANCE: Rev. Alexander Dyce (1798-1869), by whom bequeathed to the present repository.
[1] As suggested in London, 2014, no.55, but the "WR" initials often feature in watermarks with a Strasburg bend or lily.
[2] The notes I made when I first studied the drawing carefully in 1984 describe it as an ‘Eeckhout-esque Rembrandt’. It is noteworthy that when the drawing was first published in 1874 by G.W. Reid, he felt it necessary to reject the old attribution to Rembrandt, proposing Jan Lievens as its author.
[3] In London, 2014, the hand is compared with Benesch 0171.
[4] Repr. Bevers, 2010, p.64, fig.36, as by Gerbrand van den Eeckhout.
[5] De Winkel, 2006, pp.244-46, who believes the clothes are not typical for stage props of the period.
[6] In an email to the compiler of 3 February 2004, Peter Schatborn stated that he thought the drawing was by Rembrandt, "the only Rembrandt of this group".
First posted 28 December 2016.
Subject: A Woman with a Child Descending a Staircase
Medium: Pen and brown ink and brown wash; traces of a ruled framing line in pen and brown ink.
Inscribed at lower right corner, in an old hand, in brown ink, with a paraphe – see under Benesch 0113.
187 x 132. Watermark: none.
COMMENTS: This highly-regarded drawing was long thought to represent Saskia with one of her and Rembrandt’s children. But the child looks to be too old for any of Rembrandt’s children of the 1630s, who all died within weeks of their births, while the style of the drawing belongs so clearly to the mid-1630s that it cannot represent Titus, who was born in 1641. Various plausible but speculative alternative identifications have been suggested, including the children of Saskia’s sister, Hiskia, or those of Saskia’s cousin, Hendrick Uylenburgh.[1]
The date is confirmed by analogies with several drawings. Among the documentary drawings, the lilt of the drapery resembles the figure at the lower right of Benesch 0141 but in its breadth, also in the wash, it compares better with the yet bolder Benesch 0092 of 1635 and Benesch 0095 probably of a year or two later. Its analogies with the work of Gerbrand van den Eeckhout, as seen in Benesch 0113, which seems notably less spirited and confident, and in Benesch 0316 – the drawing chosen for comparison by by Benesch – show how closely the pupil could emulate his teacher.
For the paraphe at lower right, see under Benesch 0113. The drawing may have come from the album of drawings of the life of women with children discussed under Benesch 0194.
Condition: generally very good ; some slight discolouration especially near the extreme edges and the fragmentary framing lines suggest a minor amount of trimming.
COLLECTION: USA New York, The Pierpont Morgan Library (inv.I, 191)
FURTHER LITERATURE/REMARKS: Fairfax Murray, 1905-12, I, no.191, repr.; Bode and Valentiner, 1906, p.83, repr. (c.1635-36); Graul, 1906, no.14; Bode and Valentiner, 1907, repr. pl.I; Exh. Paris, 1908, no.400; Bruel, 1908, pp.422 and 455, repr.; Schmidt-Degener, 1908, p.101; Exh. New York, 1918, no.24; Graul, 1924, no.14; Hind, 1932, p.36, repr. pl.xiv; Valentiner, II, 1934, no.675, repr. (c.1636); Benesch, 1935, p.22; Exh. Buffalo, 1935, no.48, repr.; Exh. Chicago, 1935-36, no.26, repr.; Exh. Worcester, 1936, no.25, repr.; Exh. New York, 1939, no.106; Benesch, 1947, no.79, repr.; Tietze, 1947, no.64, repr.; Exh. Worcester, 1948, no.50; Exh. New York, 1950, no.30; Exh. Philadelphia, 1950-51, no.52; Sachs, 1951, p.71, repr. pl.45; Rousseau, 1952, p.89, repr.; Exh. New York, 1952; Goldscheider, 1953, p.158; Benesch, I, 1954/73, under no.117 and II, no.313, repr. (c.1636; perhaps Rumbartus; compares Benesch 0316); Rosenberg, 1956, p.128, repr. fig.18; Drost, 1957, no.179; Exh. New York, 1957, no.95; Rosenberg, 1959.I, p.76, repr. fig.140; Van Gelder, 1959, no.60 (perhaps later than c.1636 as Rumbartus younger when he died); Benesch, 1960, no.21, repr.; Roger-Marz, 1960, p.152, repr.; Exh. New York-Cambridge, 1960, no.23, repr. pl.19 (c.1636; not Rumbartus); Van Gelder, 1961, p.150; Scheidig, 1962, pp.41 and 77, repr. pl.29; Schuler, 1962, p.148, repr.; Great Drawings, 1962-79, II, no.575, repr.; Eisler, 1963, repr. pl.72; Lambourne, 1963, repr. pl.34; Robb and Garrison, 1963, p.543, repr. fig.465; Hale, 1964, pp.252-3, repr.; Brion, 1965, repr. fig.51; Capers and Maddox, 1965, p.261, repr. fig.10-8; Wallace, 1968, repr. pl.53; Bonnier, 1969, p.13, repr.; Exh. Amsterdam, 1969, no.44, repr.; Sumowski, 1969,p.34 repr. fig.5; Vogel-Köhn, 1974, no.38, repr.; Haak, 1974, repr. pl.18; Bernhard, 1976, II, p.187; Clark, 1978, p.76, repr. fig.73; Leymarie et al., 1979, p.xvii, repr.; Exh. Paris-Antwerp-London-New York, 1979–80, no.68, repr.; Exh. New York, 1981, no.74, repr.; Baudiquey, 1984, p.100, repr.; Guillaud, 1986, p.233, repr. fig.282; Sutton, 1986, p.201, repr. fig.289; Exh. Berlin-Amsterdam, 1991-92.I, no.9, repr. and under no.10; Fusconi et al., 1992, p.234, repr. fig.270; Genet, 1995, pp.21, repr. (detail) and 89, repr.; Giltaij, 1995, p.96 (comparing and contrasting Benesch 0113); Exh. Amsterdam, 1996-97, p.97, repr. fig.21.2; Hebborn, 1997, repr. pl.20; Exh. Hamburg and Bremen, 2000-2001, under no.2, repr. fig.b; Exh. Edinburgh and London, 2001, no.53, repr.(c.1635-36; not from life but recalled; exh. in Edinburgh only); Rosand, 2002, p.236, repr. fig.226 (characteristic use of a vertical ‘co-ordinate’); Exh. New York, 2006, no.43; New York, 2006, no.211 and under no.177, repr. (not Saskia or Rumbartus; compares Benesch 0113; paraphe might denote van de Cappelle’s album); Schatborn, 2019, no.291, repr. (c.1637).
PROVENANCE: probably John Bouverie (but without his mark – see L.325) and the following descendants; his sister, Anne Bouverie; her husband, John Hervey; his son, Christopher Hervey; his aunt, Elizabeth Bouverie; bequeathed by her to Charles Middleton, later 1st Baron Barham; his son-in-law, Sir Gerald Noel Noel, 2nd Baron Barham; his son, Sir Charles Noel, 3rd Baron Barham and later 1st Earl of Gainsborough; his descendants’ sale, London, Christie’s, 2 June 1902, lot 102 (with another drawing), bt Fairfax Murray, 30gns; Charles Fairfax Murray (1849-1919), London and Florence; from whom purchased through Galerie Alexandre Imbert, Rome, in 1909 by Pierpont Morgan (1837-1913), New York (no mark; see Lugt 1509); his son, J. P. Morgan, Jr. (1867-1943), New York.[2]
[1] Exh. Berlin-Amsterdam, 1991-92.I, no.9; Exh. Edinburgh-London, 2001, no.53; New York, 2006, no.211.
[2] The provenance before Fairfax Murray was revealed in New York, 2006, no.211.
Benesch 0313a
Subject: Bust Portrait of a Child, to front.
Verso: Head of a Sleeping Woman
Medium: Pen and brown ink.
COMMENTS: The delightful portrait on the recto is drawn with a fine nib and in considerable detail. The character of the penwork is more mincing, almost like needlework, than Rembrandt’s when he draws comparable works in the late 1630s or later – cf. Benesch 0440; Benesch A10 – the period to which this seems to belong.[1] Compare also Rembrandt's own drawings executed with a fine nib, such as Benesch 0360 and Benesch 0687.
It may be that the draughtsman, surely one of his own pupils, drew inspiration from Rembrandt’s etchings of c.1634-38, in which he employed fine lines and 'dots' in a manner that seems to be emulated here - cf., for example, the Portrait of Saskia with a String of Pearls in her Hair of c.1634 (Bartsch 347; NH 136), the Studies of the Head of Saskia and Others of 1636 (Bartsch 365; NH 157), Three Women’s Heads, one Sleeping, of 1637 (Bartsch 368; NH 161), and the Small Jewish Bride - Saskia as St Catherine, of 1638 (Bartsch 342; NH 169). In Barstch 365/NH157 especially, we also encounter the same detailed treatment of the eyes and the fine, near vertical parallel hatching on the chest. Among Rembrandt’s drawings, the ‘small dots’ technique appears to such an extent only in drawings that are among his earliest, such as the documentary study of Two Studies of the Head of an Old Man, of c.1626 (not in Benesch; J. Paul Getty Museum, Los Angeles, inv.83.GA.264) or the Self-Portrait, of c.1628-29 in the Rijksmuseum (Benesch 0054).
Furthermore, the drawing of the thumb and two fingers on the child’s shoulder do not resemble Rembrandt’s own depictions of hands; neither does the hatching either side of the neck reflect his own chararcteristic practice. The subsidiary study below is difficult to 'read', whether as the arm of the child or an independent sketch, perhaps a head supported by an arm.
The verso must have been begun in a comparable style to the recto – the fine lines of the underdrawing are still visible in places. A broader-nibbed pen was then used to correct and define the forms more firmly, but in their unvaried harshness (especially around the chin and cheeks; the vertical zigzag shading below; the profile of the far arm) the drawing seems distant from Rembrandt himself. A number of drawings survive that appear to be pupils’ derivations from Rembrandt’s studies of Saskia in bed and this must be yet another.
Condition: a fragment, with some stains and surface dirt, otherwise good.
COLLECTION: NL Amsterdam, Museum het Rembrandthuis.
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.313a, repr. (c.1636; Rumbartus? and on verso, Saskia?); Van Eeghen, 1956, pp.144-46; Benesch, 1960, under no.21; Amsterdam, 1972, no.XI, repr. (Rembrandt?; differs greatly from Benesch 0440; verso may very well depict Saskia); Amsterdam, 1991, no.10, repr. (unknown pupil of Rembrandt); [Not in Schatborn, 2019].
PROVENANCE: ‘Dr. Young’ (according to Benesch, this name was inscribed on the old mount in an early nineteenth-century hand); P.& D. Colnaghi & Co, London (their exhibition, Old Master Drawings, London, April, 1950, no.26, repr. pls. V and VI), from which purchased by the present repository in 1950.
[1] The contrast with Benesch 0440 was pointed out in Amsterdam, 1972, no.XI.
First posted 2 January 2017.
Subject: A Woman in Dutch National Costume, half-length turned and looking to right, wearing a dress with fur trim and linen cap
Verso: See Inscriptions
Medium: Pen and brown ink with slightly greyish brown wash and some probably later brown wash (in the mouth, the nearer cheek, near the eyes and probably indicating the background window); framing lines in pen and black ink (in brown ink down the left side only). Inscribed verso, centre, in graphite: ‘798’ and lower left: ‘300’; in pen and black ink, lower left: ‘9/7’; in red ink: ‘N2924’; in pen and brown ink below, in Esdaile’s hand: ‘Rembrandt 1835 WE’.
130 x 78. Watermark: none; chain lines: 28h.
COMMENTS: To judge from the description in the Röver inventory (given under Provenance, qv), this drawing could be a fragment of a sheet that originally also showed a sleeping woman with a small child at her breast.
The figure has been variously described as seated or standing behind a table, and in north or south (Zeeland) Dutch national costume. In fact the costume is from Waterland, an area around 20 miles north (and slightly east) of Amsterdam and including Monnickendam.[1] In a second study in Haarlem (Benesch 0315), what appears to be the same figure is seen from behind wearing the same costume and adopting a comparable pose, again standing near a table.[2] Although on other occasions (see, for example, Benesch 0710) such a repetition has led to the retention of only one version as an authentic work by Rembrandt, the other as by a pupil in the same room, in the present instance both drawings seem to be autograph – in style they cannot be separated, although the impression made by the British Museum drawing (Benesch 0314) is slightly undermined by what appear to be later touches in the face (especially be the eyes and mouth), rework that also extends to the window indicated in the upper background. Otherwise the handling of the pen is everywhere similar, with simple thin outlines in most parts, though with heavier touches under the figure's right arm, the same treatment of the fur and the ruff of the collar, the same horizontal pleats and shading in the arms and the same sensitive toning with brown wash.The sparing treatment of the face in Benesch 0314 is comparable to Benesch 0286, which suggests that the date could be slightly earlier than 1638, the date I have hitherto preferred.
The model is described on the verso of the Haarlem drawing as 'De minne moer van Titus, soon van Rembra [...]' ('the wet-nurse of Titus, Rembrandt's son') in a seventeenth- or eighteenth-century inscription. Titus van Rijn, the artist's son, was baptised on 22 September, 1641.[3] It has often been suggested that the model was therefore Geertje Dircx, but there are two objections to this idea: first, she is specifically recorded as Titus's 'dry' nurse in a document of October, 1649;[4] secondly, the style of both the Haarlem and the present drawing, as already noted, suggests an earlier date, c.1636-38, several years before Geertje Dircx is known to have had any contact with Rembrandt. One might possibly also argue that the model also looks rather too old. For the style, comparison may be made between them and two documentary drawings of this period: the 'Studies of a Woman reading and an Oriental' in the Kramarsky collection, New York (Benesch 0168 of c.1638), which although executed in iron-gall ink resembles them in the rendering of detail and in the application of the wash; and the study in Leiden for the 1638 etching of Adam and Eve (Benesch 0164), in which the group on the right is realised in a similar shorthand to the seated figure in the Haarlem drawing (Benesch 0315). Whether or not the inscription on the latter is reliable, the name of the model remains uncertain.
Condition: generally good; probably trimmed (see also the description in the Röver inventory) and retouched (see above); slightly faded; small repair upper left edge and repaired tear upper right edge; small restored patch under the figure’s right breast.
COLLECTION: GB London, British Museum (inv.1895,0915.1270)
FURTHER LITERATURE/REMARKS: Vosmaer, 1868/77, p.517/601 (see note 5); Robinson, 1869/76, no.779/798 (said to be nurse of Titus); Exh. London, 1878-9, no.324; London, 1895, no.378a (same model as Benesch 0263a); Exh. London, 1899, no.A25 (related drawing in Haarlem); Lippmann, IV, no.89a; Kleinmann, II, no.57; Valentiner, 1905, pp.37-8 and p.40, repr. pl.II, fig.2 (c.1643-4; of Geertje Dircx); Hofstede de Groot, 1906, no.899 (relates to Haarlem drawing); Baldwin Brown, 1907, p.78 (Geertje Dircx); Wurzbach, 1910, p.418 ('Woman at a Table'); London, 1915, no.52; Exh. London, 1929, p.239, under no.636, and 1929.I, p.214; Hind, 1932, p.15 (traditionally identified as Geertje Dircx); Valentiner, II, 1934, no.705, repr. (c.1642, Geertje Dircx, but she was not Titus' wet-nurse); Benesch, 1935, p.24 (c.1636; Frisian costume); Exh. London, 1938, no.52 (c.1635-40); Hamann, 1948, pp.87-8, repr. fig.63 (c.1642; Geertje Dircx, of whom portraits are rare); Benesch, II, 1954/73, no.314, repr. fig.353/380 (c.1636; Zeeland costume); Exh. Rotterdam-Amsterdam, 1956, p.94, under no.105 (early 1640s or c.1636; N. Holland costume though a Cats illustration shows it worn in Leiden – information from Prof. Dr Fr. W. S. van Thienen); Rosenberg, 1956, p.69 (early 1640s; probably Geertje Dircx); Haverkamp-Begemann, 1961, p.25 (beginning of 1640s; could be Geertje Dircx; costume N. Holland according to Prof. van Thienen); Muller, 1965, repr. p.39 (Geertje?); Slive, 1965, II, no.538 (c.1642; not Geertje Dircx, as she was not Titus' wet-nurse); Haak, 1969/68, p.141, repr. fig.216 (c.1636?; not Geertje Dircx as Benesch's date too early; perhaps Rumbartus' nursemaid); Exh. Amsterdam, 1969, p.146 under no.51 (perhaps c.1638 and therefore not Geertje Dircx; the inscription on the Haarlem drawing eighteenth century); Exh. London, 1970, p.25, under no.24; Bernhard, 1976, II, repr. p.171; Konstam, 1977, p.97, repr. p.103, repr. fig.49 (see n.2 below); Tümpel, 1977, p.98 (c.1643; Geertje Dircx?); Exh. Haarlem, 1978, p.13, under no.70 (1642-5; of Geertje Dircx; N. Holland costume); Konstam, 1978, p.28, repr. fig.10 (see n.2 below); Borssum Buisman, 1984, repr. p.6 (c.1642, of Geertje; refutes Konstam, 1978); Tümpel, 1986, repr. p.262 (as Tümpel, 1977); Exh. Berlin-Amsterdam-London, 1991-2, p.350 (costume compared with 'Young Woman at an open Half-Door' in Chicago, Br.367, now attributed to van Hoogstraten, see further n.2 below); Exh. London, 1992, no.20, repr. (c.1638; costume from Waterland; not necessarily of Geertje Dircx); Schatborn, 1994, p.21 (ex-Röver – perhaps the Haarlem drawing originally the same sheet; when cut, framing-lines redrawn; remnants of Röver no. visible); Haarlem, 1997, pp.300-301, under no.327 (ex-Röver; early 1640s and of Geertje Dircx); Roscam Abbing, 2006, p.28 (as Exh. London, 1992); Exh. Edinburgh-London, 2001, no.80, repr. (compares Louvre drawing of Anslo, Benesch 759, and suggests date c.1640); Schwartz, 2006, p.101, repr. fig.181 (supporting Konstam, 1977); De Winkel, 2006, p.81 (c.1640; Waterland dress; Geertje Dircx); London, 2010 (online), no.16, repr. (c.1638; probably not Geertje Dircx); Schatborn, 2019, no.295, repr. (c.1637).
PROVENANCE: perhaps Valerius Röver (L.2984; Portfolio 9, no.7: ‘Een Boerin en een slapend vroúwtje met een kindtje aan de borst van Dezelve’. [i.e. Rembrandt; the present drawing, now a fragment, is described on folio 26 of the manuscript mentioned under Benesch 0758 in the note pertaining to the Inscription]); perhaps Röver’s widow, C. van Dussen, who sold his drawings to the dealer H. de Leth; perhaps J. Goll van Franckenstein (L.2987; not identifiable in his sale, 1833); Thomas Lawrence (L.2445); William Esdaile (L.2617; see under Benesch 0286); presumably his sale, London, Christie’s, 17 June, 1840, perhaps lot 23: ‘Bust of an old Woman, bistre’, bt Woodburn with one other, £1-9-0); Mendes de Leon, sale, Amsterdam, 20 November, 1843, Kunstboek G, no.4, bt Brondgeest, f.50; Gijsbert Verstolk van Soelen; his sale, Amsterdam, de Vries, Brondgeest and Roos, 22 March, 1847, perhaps lot 28: ‘Une femme à mi-corps assise. Beau dessin à la plume, et lavé en partie’, bt A. Roos, f.285; Gerard Leembruggen; his sale, Amsterdam, 5 March, 1866, lot 469, ‘La nourrice du fils de Rembrandt. . .’, bt Robinson for Malcolm, f.200;[5] John Malcolm of Poltalloch; purchased with his collection, 1895.
[1] According to Simon Honig Jansz. of the Nederlands Openlucht Museum, Arnhem (see Exh. Berlin-Amsterdam-London, 1991-2, p.352) and confirmed by De Winkel, 2006 (see Literature).
[2] Without denying the similarity of the pose in the two drawings, the ingenious theory that a mirror was used and the figure drawn twice from a single vantage-point, proposed by Konstam, 1977/78, p.92/28, seems to go too far and is contradicted by the position of the table in the present sheet (which, if it were a reflection, should be on the spectator’s left), of the sitter’s right hand and left arm (the hand of which would p[robably be visible; only the cloth is in the correct hand), by the position of the artist seen beyond the table in the Haarlem sheet and of the shadow behind the figure in the British Museum's drawing. Objections have already been raised by Borssum Buisman, 1984. The dress is not necessarily the same one (or if it is, then probably not worn at the same sitting) because in the British Museum drawing the collar seems to be wider and the fur travels over the outer edge of the shoulders rather than the inner part; the cap also seems to be lower. When the two drawings were exhibited together (in Exh. Edinburgh-London, 2001, nos.80 and 81), the Haarlem drawing looked browner overall in the paper, while the ink looked somewhat warmer and less dark (sadly the illustration of Benesch 0314 came out much too warm, so that in the catalogue they look more similar).
[3] Strauss and van der Meulen, 1979, p.209, no.1641/4. The inscription on the Haarlem sheet, usually described as seventeenth century, is assigned to the eighteenth in Exh. Amsterdam, 1969, p.146, under no.51.
[4] Strauss and van der Meulen, 1979, pp.270-73, no.1649/6: '… zij t soontge van den voorn: Rembrandt genaemt van Rhijn jonger sijnde hadde droogh gemint...'.
[5] The price was f.200 to Lord Hertford, according to Vosmaer, 1868/77, p.517/601. The annotated copy of Robinson, 1876, in the British Museum (Department of Prints and Drawings) states that the drawing was acquired at the Leembruggen sale for Malcolm at a cost of £19-1-4.
Subject: A Woman Wearing Dutch National Costume, seen from behind
Medium: Pen and brown ink with brown wash; ruled framing lines in pen and brown ink (mostly trimmed away), with traces of a gold line along top edge.
Inscribed lower left in pen and brown ink with Esdaile’s collector’s mark: “ WE” (L.2617) and on verso, lower right, in red chalk: “de minnemoer / van Titus soon / van Rembrand”, and lower left, in pen and brown ink, in the hand of J.Pz. Zomer: “keer om” [turn over].
222 x 154. Chain lines: 28-29h.
COMMENTS: See under Benesch 0314 for the main discussion. As there stated, there are objections to identifying the model as Geertje Dircx, who was the dry-nurse of Titus rather than the ‘wet-nurse’ (“minnemoer”) mentioned in the inscription on the verso. The drawing was traditionally often dated in the 1640s in order to accommodate the idea that Geertje Dircx was the model, as she was unlikely to have entered Rembrandt’s household until after Titus’ birth in 1641, and perhaps not until after Saskia’s death in 1642. This idea still has its appeal – and its hold – on the imaginations of the drawing’s cataloguers, but as argued under Benesch 0314, stylistically the drawing appears to be rather earlier and the identification, therefore, falls aside.[1]
The posed model by the table is here joined by a second figure beyond, probably another artist sketching the figure, wearing a flat cap, looking back (seated not far from the position from which Benesch 0314 was drawn). Thus it appears that a life-drawing class has been assembled, although one which left no further traces than these two drawings. The delineation of the torso and arms of the woman in both drawings is more detailed than in most of Rembrandt’s pen sketches and this is instructive when assessing other works in which he scrutinised his model in depth. At the same time, the loose indications of part of an archway in pen and with the tip of the brush in the present drawing reveal Rembrandt at his most cursory.
Two copies of the drawing are known.[2]
Condition: generally good; a small repaired hole upper right; some general staining and discolouration of the sheet and perhaps some fading of the ink (see remarks under Benesch 0314, end of n.2).
COLLECTION: NL Haarlem, Teyler Museum (inv.O* 51, formerly O* 76 a [added]).
FURTHER LITERATURE/REMARKS: Exh. London, 1835, no.68; Vosmaer, 1868, p.511; Vosmaer, 1877, p.596; Havard, 1879-81, I, repr.; Bredius and De Roever, 1995, p.95; Michel, 1893, p.592 and pop.387 and 389, repr.; Von Seidlitz, 1894, p.121 (1640s); Haarlem, 1904, p.107; Valentiner, 1905, pp.36-37 and 40, repr. fig.1 (c.1643); Hofstede de Groot, 1906, no.1327 (c.1635); Lippmann, IV, no.166; Kleinmann, I, pl.24; London, 1915, under no.52; Exh. Paris, 1921, no.46; Buisman, 1924, pl.14; Exh. London, 1929, no.636 (Commemorative Catalogue, 1930, p.213, repr.); Exh. Amsterdam, 1932, no.266 (c.1642); Valentiner, II, 1934, p.704 (c.1642); Hind, 1932, p.15; Benesch, 1935, p.24 (c.1636); van Gelder, 1946, p.18 (c.1642); Rosenberg, 1948, 14; Hamann, 1948, p.89 (c.1642); Exh. Haarlem, 1951, no.170; Benesch, II, 1954/73, no.315, repr. fig.367/383 (c.1636; Zeeland costume; compares Benesch 0313 and Benesch 0327); Exh. Rotterdam-Amsterdam, 1956, no.105, repr. (c.1641-44); Frerichs, 1956, p.72, repr.; Rosenberg, 1956.I, p.69 (early 1640s); Roger-Marx, 1960, p.244, no.86, repr. (c.1642-45); Haverkamp Begemann, 1961, p.25 (early 1640s); Moskowitz, 1962, no.576 (c.1635); Eisler, 1964, p.102, repr. pl.71; Rosenberg, 1964, p.26, repr. fig.25; White, 1964 pp.82-83, repr (c.1645); Slive, 1965, I, no.176 (c.1642); Brion, 1965, pp.22 and 25, repr. fig.17; Descarques, 1965, p.188; Vis, 1965, pp.84-85; Rosenberg, 1966, pp.24 and 26, repr. fig.25; Erpel, 1967, p.227, no.135; Gerson, 1968, p.480, repr. fig.b; Haak, 1968, p.141, repr.; Wijnman, 1968, p.103; Exh. Amsterdam, 1969, no.51, repr.; Exh. London, 1970, no.24, repr.; Konstam, 1977, p.97, repr. fig.50 (mirror image of Benesch 0314); Chaet, 1978, p.61, repr. fig.56; Exh. Haarlem, 1978, no.70, repr.; Konstam, 1978, pp.28-30, repr. fig.9; Van Borssum Buisman, 1984, pp.5-7, repr. (c.1642); White, 1984, pp.126-27, repr. fig.105 (c.1645); Exh. Amsterdam, 1984-85, no.13, repr.; Tümpel, 1986, p.261, repr.; Exh. Berlin-Amsterdam, 1991-92, p.352 (costume from Waterland); Exh. London, 1992, under no.20, repr. fig.20a (c.1638; not Geertje Dircx); Schatborn, 1994, p.21 (following Röver inventory, believes could have been part of same sheet as Benesch 0314); Haarlem, 1997, no.327, repr. pl.xxi (c.1640s; shows Geertje Dircx; compares Benesch 0688 and Benesch 0759); Royalton-Kisch, 1998.II, p.689 (c.1638); Exh. Edinburgh-London, 2001, no.81, repr.; Schwartz, 2006, p.101, repr. fig.180 (Zeeland costume; supporting Konstam, 1977); London, 2010 (online), under no.16 (c.1638; probably not Geertje Dircx); Schatborn, 2019, no.293 and p.143, repr. (c.1637; carefully composed study sheet made for future reference).
PROVENANCE: J. Pz. Zomer (1641-1724); Jonathan Richardson, sen. (L.2183); probably his sale, London, Cock, 22 January, 1747; Benjamin West (L.419); his sale, London, Christie’s, 10 June, 1820, lot 54, “One, his own child’s nurse”, bt Woodburn, £21; Thomas Dimsdale; bt with his collection by Samuel Woodburn in 1823; Thomas Lawrence; his collection acquired by Woodburn and the Rembrandt’s all purchased by William Esdaile (L.2617); his sale, London, Christie’s, 17 June, 1840, lot 85, bt Lee, £13; Mendes de Leon; his sale, Amsterdam, 20 November, 1843, G3, bt Brondgeest, f.132; J.G. Baron Verstolk van Soelen; his sale, Amsterdam, 22 March, 1847, lot B 27, bt Roos, f.326; Gerard Leembruggen Jz.; his sale, Amsterdam, 5 March, 1866, lot 468, bt Van der Vlugt, f.420, for the present repository.
[1] If it is presumed that the drawing was made in the present Rembrandthuis, which Rembrandt acquired in 1639, the height of the room suggests that the class must have take place on the ground floor.
[2] One in Paris, Fondation Custodia (Exh. Amsterdam, 1984-85, no.134, repr.; another sold London, Sotheby's, 15 December, 1937, lot 16A.
First posted 11 January 2017.
Subject: A Young Woman in an Elaborate Costume, full-length, walking to left
Verso: Blank.
Medium: Pen and brown ink with brown wash, heightened with white; ruled framing lines in pen and black ink. Inscribed lower right in graphite: “Rembrand” and on verso, lower left, in pen and brown ink: “Rembrant”
184 x 139. Watermark: the top of a shield, with three circles in the curved upper rim as commonly seen in watermarks with a Strasburg Lily.
COMMENTS: This elaborately costumed woman with a Phrygian hat resembles Rembrandt’s own studies of figures from the theatre (see under Benesch 0120).[1] Yet in style she could have stepped out of Benesch 0147, which makes an attribution to Gerbrand van den Eeckhout highly likely. Rebecca’s costume in that drawing is also similar, though viewed from behind. Compare also the penwork in Benesch 0294 and Benesch 0204a. Also characteristic of Van den Eeckout is the ‘tramline’ nose (see Benesch 0108, though this is not unknown in Rembrandt) and the simple division of the oval of the face – as all the old drawing manuals show - with a line across for the eyebrows bisected by another delineating the nose. Finally, the soft brushwork for the features in the right background (a child varying the woman’s train near a balustrade?) is another passage typical of Van den Eeckhout. It is instructive to compare the drawing of a Seated Old Man, to right, of c.1638-39 now in the Lugt Collection (Not in Benesch): executed in the same technique, Rembrandt’s style seems less jagged, drawn with less haste (though perhaps similar speed) and the tip of the brush is more decisively descriptive.
The closest Rembrandt drawing to the present work is perhaps Benesch 0313 but there are significant differences in the variety of touch, in the hatching, the overall sense of structure and the use of wash, whether within the figure - where in Benesch 0316 it seems merely to fill in the outlines – or in the background. Further costume studies of this type have been justifiably attributed to Van den Eeckhout, including Benesch 0122, 0123, 0312, 0318 and 0319.
COLLECTION: D Berlin, Staatliche Museen Berlin, Kupferstichkabinett (inv. KdZ.3115; formerly 168-1885).
FURTHER LITERATURE/REMARKS: Berlin, 1930, p.236, inv. 3115 (c.1635; some doubt expressed; compares Benesch 0317 and 0318); Lugt, 1931, pp.59-60; Benesch, 1935, p.23; Benesch, II, 1954/73, no.316, repr. (c.1636; compares Benesch 0313); Exh. Berlin, 1956, no.53 (c.1635); Sumowski, 1956/57, p.258 (later than 1639-40); Haverkamp-Begemann, 1961, p.25; Van de Waal, 1969, p.147; Exh. Paris-Antwerp-London-New York, 1979–80, under no.70 (compares Benesch 0318); Bernhard, 1976, p.181 (c.1636); Exh. Edinburgh-London, 2001, under no.66; Bevers, 2005, p.482 (Van den Eeckhout); Berlin, 2006, p.197, repr. p.196 (Van den Eeckhout, c.1635-40; compares Benesch 0122, Benesch 0123, Benesch 0312 and Benesch 0318); Exh. Amsterdam-Paris, 2007, pp.120-21/124-25 (Eeckhout); Giltaij, 2007, n.p. (more probably Rembrandt than Eeckhout); Exh. Los Angeles, 2009-10, no.16.2, repr. (Van den Eeckhout, c.1638); Bevers, 2010, pp.61-63, repr. fig.34 (Eeckhout; even and consistent pen-lines and flatter modelling than Rembrandt relate to other drawings now ascribed to this artist); The Present Catalogue online, 2017 (probably Eeckhout, c.1638-40); Berlin, 2018, no.61, repr. (Eeckhout, c.1638); [Not in Schatborn, 2019]; Sluijter and Sluijter-Seiffert, 2020, p.294 (unaware of the present catalogue; not Van den Eeckhout).
PROVENANCE: Hebig (according to the Berlin inventory); Barthold Suermondt, Aachen (according to the Berlin inventory); Alexander Emil Posonyi (cf. Lugt 2040); whose collection presented by Julius Guttentag to the present repository in 1885.
First posted 2 April 2017.
Subject: Woman Wearing a Veil with a Cap with a Heron’s Feather
Medium: Etching after a lost drawing presumably in pen and brown ink. Inscribed lower left: “Rt:” (compare Laurentz's etching after Benesch 0273a)
COMMENTS: Benesch considered that this etching, by Johann Daniel Laurentz (1729-1810), copied a lost drawing by Rembrandt, relating it to Benesch 0316-18. The original drawing resurfaced in 2018 and might be by Gerbrand van den Eeckhout. That it was Laurentz's model is clear, as the etcher tried to imitate the later touches of wash on the cheek and nose in the drawing. The graphite underdrawing (hard to discern but visible to the right of the head) is of a type commonly found on copies after Rembrandt, which could also be the case here.
Summary attribution: etching by Johann Daniel Laurentz after Gerbrand van den Eeckhout?? possibly after Rembrandt??
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.316a (vide supra); [Not in Schatborn, 2019].
[1] Koller, 23 March 2018, lot 3429, repr.; 81 x 70mm; pen and brown ink over graphite, with touches of later wash in the nose and cheek.
Subject: Young Woman in Rich Costume with an Oriental Headdress, full-length, turned to right
Medium: Pen and brown ink, touched with brown wash lower right and also with white bodycolour.
139 x 95.
COMMENTS: The drawing has been taken to represent an actress (or an actor in a female role) which, while possible, is not necessarily the case as the costume could have originated in Rembrandt’s collection of exotica (see also under Benesch 0316). If the figure is an actor, it remains uncertain whether she is Badeloch, from Joost van den Vondel’s play Gijsbrecht van Aemstel, as has been suggested (see Literature below).
In style the penwork closely resembles that of Benesch 0316, now generally ascribed to Gerbrand van den Eeckhout: the sense of haste alongside boldness; the rather jagged outlines, the less fully grasped drapery around the feet; the somewhat even, undifferentiated thickness of the outlines; the delineation of the hands, etc.. Yet there are also links with Benesch 0129, particularly in the zigzag hatching and the wash, although the structure of the figure in Benesch 0317 seems more secure and nearer Van den Eeckhout's work.[1]
Rembrandt’s style at this period (cf. the documentary drawing, Benesch 0292, or Benesch 0293 recto and verso, a figure study by Rembrandt at his most zestful) is in most of these respects wholly distinct.
Condition: Some stains in corners and at top but generally good.
COLLECTION: D Berlin, Staatliche Museen Berlin (inv.2685)
FURTHER LITERATURE/REMARKS: Amtliche Berichte, 1886,p.vii; Michel, 1893, p.573; Von Seidlitz, 1900, p.488; Hofstede de Groot, 1906, no.130 (c.1634); Lippmann, II, 38B; Saxl, 1908, p.338 (perhaps same woman as in Schoolmaster etching, Bartsch 128; NH 191); Freise, Lilienfeld and Wichmann, 1914, no.117 (De Gelder?); Lilienfeld, 1918-19, p.134 (De Gelder) Benesch, 1923, p.2 (school work, later 1630s; perhaps same hand as Benesch 0293); Van Dyke, 1927, p.82, repr. pl.xviii.71 (De Gelder); Berlin, 1930, p.233, inv.2685 (uncertain if by Rembrandt); Lugt, 1931, p.59 (compares Benesch 0316); Benesch, 1935, p.23; Benesch, II, 1954/73, no.317, repr. (c.1636; follows Lugt, 1931); Exh. Berlin, 1956, no.54 (c.1635); Sumowski, 1956/57, p.258 (after 1639/40); Van Regteren Altena, 1957, pp.135-37 (represents Badeloch, wife of Gijsbrecht van Amstel in Vondel’s play, according to H. van de Waal’s researches); Haverkamp-Begemann, 1961, p.25; V. Volskaya, 1961, pp.54-60 (Badeloch); Slive, 1965, no.261 (c.1636-38); Fuchs, 1968, p.37, repr. fig.61 (c.1636-38; possibly represents Badeloch); Van de Waal, 1969, pp.146-47 and 149, n.22, repr. (represents Badeloch); Exh. Paris-Antwerp-London-New York, 1979–80, no.69 (compares Benesch 0318); Sumowski, 1979 etc., II, under no.784 (not De Gelder); Von Moltke, 1994, pp.36 and 74, under no.29, and p.79, under no.41 (drawing was used by De Gelder for his painting of Esther); De Winkel in Exh. Dordrecht-Cologne, 1998–99, p.92 (not De Gelder but influenced him); Berlin, 2006, p.196 (by Van den Eeckhout); New York, 2006, under no.214 (compares Benesch 0318 in Morgan Library); Exh. Los Angeles, 2009-10, p.118 and n.5 (not Rembrandt); Bevers, 2010, p.60 and n.66 (part of a group of costume drawings some of which are no longer regarded as by Rembrandt); The Present Catalogue online, 2017 (probably Van den Eeckhout; compares Benesch 0316); Berlin, 2018, no.107, repr. (attributed to Jan Victors, c.1638; based on graphic precedents rather than on life; compares figure of Lot in Benesch 0129, also attributed to Victors by Bevers; and drawing of Hamann Begging Ahasuerus for Mercy in a private collection, Sumowski 2330xx as attributed to Victors); [Not in Schatborn, 2019].
PROVENANCE: John Thane (L.1544); William Esdaile (L.2617); Alexander Emil Posonyi (L.159; cf. Lugt 2040), from whose collection presented by Julius Guttentag to the present repository in 1885.
[1] Bevers, in Berlin, 2018, no.107, argues that the drawing was not made from life, but I am not convinced that this is the case - the lively characterisation and individuality of the face alone would argue otherwise.
Subject: An Actor in Elaborate Costume, in the Role of Badeloch (?), full-length, profile to left
Medium: Pen and brown ink with brown wash, heightened with white, with later additions in grey ink (in the veil to left of the face, below the raised hand and in the floor to left and right); ruled framing lines in pen and brown ink.
Inscribed by Jan van Rijmsdijk, lower right, in pen and brown ink: “Rymsdyk’s [crossed out] Museum” (L.2167) and on the old mount, centre, in pen and brown ink: “Rembrandt / disciple of Lastman” and below this: “Rembrandt’s manner of Etching was as remarkable as his Painting. There are about 80 / Prints which he published 4 or 5 times by retouching the Plates=”; at left, in another hand, in pen and brown ink: “Born near Leyden 1606” and at right: “Dies at Amsterdam in 167[?]” [last digit cut away]; on the verso of the mount, upper centre, inscribed by Rijmsdijk in pen and brown ink: ”BXIX’ / Rymsdyk. [crossed out]”; below this: “Rembrandt’s manner / of Etching, was as remarkable as his Painting, / there are about Four score of his Prints, / which He Publish’t 4 or 5 times; by Retouching / the Plates overagain. Born 1606. Died 1669[or “1668”?]. /Aet 62”[1], and at lower right, in another hand, in graphite: “£ S D / 3.3.0” (the £ S D above the relevant numbers – i.e. £3-3s-0d or three guineas).
COMMENTS: The drawing belongs to the group of figure studies that have been associated with actors performing in Joost van den Vondel’s play, Gijsbrecht van Aemstel (see under Benesch 0120 and Literature below). However, the connection with the play is far from certain, as there is insufficient action in the image to connect with its narrative. (The character would have been played by a man, which is perhaps not impossible in the case of the present drawing.) Benesch 0319 and a drawing formerly in the Strölin collection and now in the Ulmer Museum show the same or similar costumes.[2]
The style seems close to Benesch 0122, although here the figure is isolated and wash has been added. Yet, for example, in the details of the patterned drapery, as well as in the hands and the too-short arms, the two drawings have much in common, as also in the lack of certainty in the area around the feet. There are links with Benesch 0312 as well as with the style of the above-mentioned Benesch 0319 and, especially in the wash, with the drawing of a Woman in a Rich Costume, now in the Ulmer Museum.[2] All these works have been ascribed to Gerbrand van den Eeckhout, although there seems to my eye to be some doubt, here expressed by a question mark, not least because of the stylistic deviation from drawings such as Benesch 0316, with its generally more vigorous, bolder approach to outline.
It is instructive to compare – and especially to contrast – the style of Benesch 0217 and 0217a, which could have inspired Benesch 0318 to some degree; but the style seems quite distinct, especially in the outlines, proportions and lack of “fuss” over details.
A copy after the drawing was made by Andreas van Rijmsdijk (d.1786), the son of the collector who owned the drawing, Jan van Rijmsdijk.[3] Interestingly, it includes the later additions in grey ink in the original, which must therefore be earlier in date.
COLLECTION: USA, New York, Morgan Library (inv.I, 177)
FURTHER LITERATURE/REMARKS: Fairfax Murray, 1905-12, I, no.177, repr.; Exh. Paris, 1908, no.410, repr. (“The Jewish Bride”); Exh. New York, 1918, no.26; Berlin, 1930, I, pp.233 and 236, under nos.2685 and 3115; Valentiner, 1932, p.211, repr. fig.4 (drawing formed the basis for figure of Salome in C. Fabritius’s painting of the Beheading of the Baptist); Benesch, 1935, p.23; Amsterdam, 1942, under no.12; Benesch, II, 1954/73, no.318, repr. fig.358/384 (c.1636; compares Benesch 0313 and 0316; sees Valentiner, 1932 connection with C. Fabritius but feels that the latter was inspired by Rembrandt’s drawings); van de Waal, 1956, p.204; Regteren Altena, 1957, pp.135-37 (Badeloch, suggested by van de Waal); Exh. New York-Cambridge, 1960, no.32, repr. (c.1638; compares Benesch 0122 and the gown in the etching, La Preciosa, Bartsch 120, NH 205; awkward arms; quotes letter of 14 Nov. 1959 from H. van de Waal stating that there was no irrefutable connection with Badeloch in the play Gijsbrecht van Aemstel); Haverkamp-Begemann, 1961, p.25, under nos.316-21; Volskaya, 1961, p.59, repr. (Badeloch); Slive, 1965, under no.261; Exh. Minneapolis, 1965-66, n.p.; van de Waal, 1969, pp.146-47, repr. fig.4 (reprinted Van de Waal and Fuchs, 1974, p.76, repr. fig.4); Held, 1972, p.10, repr. fig.4; Bernhard, 1976, II, p.193, repr.; Sumowski, 1979 etc., III, 1980, under no.555x; Exhibition, Paris-Antwerp-London-New York, 1979–80, (ex. catalogue); Dudok van Heel, 1980, p.3, repr. fig.4; Schatborn, 1981.I, p.27, repr. fig.26; Exh. Paris, 1993, under no.52; Gordenker, 1995, p.25, repr. fig.1; Exh. New York, 1996 (no catalogue); Exh. Edinburgh-London, 2001, no.66, repr. and under no.67; Exh. Dresden, 2004, under nos 104 and 107 (attribution to Rembrandt questioned by Schatborn); Tonkovich, 2005, pp.155-71; New York, 2006, no.214, repr. (compares Benesch 0122; notes copy in Lugt Collection); Bevers, 2010, p.63, repr. fig.37 (Gerbrand van den Eeckhout); [Not in Schatborn, 2019].
PROVENANCE: Jan van Rijmsdijk (c.1730-1788/9; L.2167); William Tighe (according to Fairfax Murray); Charles Fairfax Murray, from whom purchased in 1909 through Galerie Alexandre Imbert, Rome, by Pierpont Morgan; his son, J. Pierpont Morgan Jr., by whom presented to the present repository, 1924.
[1] For examples of an “8” resembling a “9” on its side, as here, see, for example, the drawings by Jean de La Chambre the Younger published by Royalton-Kisch, 1998.I. In the eighteenth century, there was a common belief that Rembrandt had died in a year other than 1669. Roger de Piles thought he died in 1668, while Houbraken believed the date to be 1674.
[2] Repr. Bevers, 2010, p.54, fig. 36.
[3] Fondation Custodia, Paris, inv.8548, as pointed out in New York, 2006, no.214.
First posted 11 April 2017.
Subject: A Woman in a Rich Costume, seen from behind, full-length
Medium: Pen and brown ink, touched with white, with some later retouching in black ink (in the index and little finger of the left hand and in the thumb on the right); ruled framing line in pen and brown ink.
194 x 155. Watermark: coat-of-arms with the letters WR
COMMENTS: See the notes to Benesch 0318, which appears to be by the same hand and belong to the same ‘series’ of drawings. It is also worth comparing Benesch 0321, which again shows a figure from behind in a comparably rich costume; but the style there is more economical, whether in the use of the pen or the brush.
Like Benesch 0318, the identification of the figure as an actor in a play is uncertain although probable (see also under Benesch 0120). If so, it remains uncertain whether she is Badeloch, from Vondel’s play Gijsbrecht van Aemstel, as has been suggested (see Literature below).
The minor retouchings noted under Medium above have not generally been remarked before; there is also a pentimento in the left hand, which had a thumb, subsequently erased.
Condition: a tear near right edge; some stains and minor discolouration.
COLLECTION: D Dresden, Kupferstich-Kabinett (L.1647; inv. C 1980-494)
FURTHER LITERATURE/REMARKS: Heucher, 1738, p.116 (Bureau XV); Valentiner, 1932, p.200, repr. fig.3 (workshop; relates to figure Beheading of Baptist, Rijksmuseum, then often attributed to C. Fabritius); Gerson, 1936, no.Z LXXXVI (not by P. Koninck, to whom originally attributed in Dresden collection); Benesch, II, 1954/73, no.319, repr. fig. 361/389 (Rembrandt, c.1636; compares Benesch 0318 and the pose to Benesch 0321); Sumowski, 1956-57, p.258; Exh. Dresden, 1960, no.15; Haverkamp-Begemann, 1961, p.25 (male, not female actor); Albach, 1979, p.22, repr. fig.22; Van de Waal, Van de Waal, 1969, p.147, repr. (represents Badeloch [as reported by VRA on basis Waal’s research [Kunstchronik, 1957, pp.135-37]); V. Volskaya, in Isskustvo, 4, 1961, pp.54-60 (Badeloch); Sumowski, 1979 etc., IV, p.1877, under no.12 (not Fabritius [see Valentiner, 1932 above]);[1] Exh. Edinburgh-London, 2001, no.67, repr.; Exh. Dresden, 2004, no.107, repr. (c.1638; ); Bevers, 2005, p.481 (Flinck?); Exh. Paris, 2006, no.70, repr. (Rembrandt?; second half of the 1630s); Bevers, 2010, p.63, repr. fig.35 (Eeckhout); [Not in Schatborn, 2019].
PROVENANCE: Gottfried Wagner (d.1725), Leipzig; from whose collection acquired by the present repository in 1728.
[1] In an old annotation on the mount (which I saw in 1992), Sumowski suggested an attribution to Fabritius.
Subject: A Weeping Woman in Rich Attire, full-length, profile to left
Verso: collectors’ marks only.
188 x 132. Watermark: uncertain, but with letters “WR”
COMMENTS: The costume is similar to that in Benesch 0316 and the drawing seems to belong to the same group. In style, too, there are analogies in the bold wash and the zigzag hatching in the sleeve to the drawings of actors now thought to be by Gerbrand van den Eeckhout (see Benesch 0316-19 and under Benesch 120). However, the wash here tends sometimes to flatten rather than enhance the underlying forms. When in the Koenigs collection the drawing was ascribed to Nicolaes Maes and first attributed to Rembrandt by Benesch. Govert Flinck has also been suggested as its author, not unreasonably.[1]
The drawings may depict an actor in a female role, but it remains uncertain whether she is Badeloch, from Vondel’s play Gijsbrecht van Aemstel, as has been suggested (see Literature below). The gesture with the kerchief resembles the woman in Rembrandt’s - perhaps later - painting of Christ and the Woman Taken in Adultery, of 1644, now in the National Gallery, London.[2]
Condition: generally good; some foxing or spotting upper right.
COLLECTION: NL Rotterdam, Museum Boijmans Van Beuningen (inv. R 53)
FURTHER LITERATURE/REMARKS: Exh. Dordrecht, 1934, no.11; Benesch, 1947, p.22, under no.69; Benesch, II, 1954/73, no.320, repr. fig.364/390 (c.1636; headdress of ostrich and heron feathers; compares Benesch 0316-17); Sumowski, 1956-57, p.258 (associated by Bredius with the Woman Taken in Adultery painting in London, Bredius 566; Corpus, V, 3; Corpus, VI, 196); Van Gelder, 1957, p.119; Haverkamp-Begemann, 1961, pp.25-26 (male actor in female role); Sumowski, 1961, p.4, under no.122; Volskaya, 1961, pp.54-60, repr. p.59 (represents Badeloch); Rotterdam, 1969, p.23, repr. fig.16; Van de Waal, 1969, pp.145-49, repr. fig.6 (represents Badeloch [as reported by VRA on basis Waal’s research in Kunstchronik, 1957, pp.135-37]); Haverkamp-Begemann, 1971, p.98; Exh. Paris, 1974, no.76, repr. fig.21; Exh. Leningrad-Moscow-Kiev, 1974, no.85, repr.; Van de Waal, 1974, pp.74 and 76, repr. fig.6; Bernard, 1976, p.192; Rotterdam, 1988, no.77, repr. (Flinck, comparing Copenhagen Soldier, Sumowski 953x); Exh. Bremen, 2000, p.116, n.4, repr. fig b;Exh. Rotterdam, 2005-2006, no.60, repr.; Exh. Istanbul, 2006, no.60, repr.; Exh. Cleves, 2015, no.??. [Not in Schatborn, 2019].
PROVENANCE: Earl of Dalhousie (L.717a, with letters “JG”, L.1460d); P. & D. Colnaghi; Paul Cassirer; acquired in 1923 by Franz Koenigs (L.1023a); D.G. van Beuningen, by whom given to the present repository in 1940.
[1] By Giltaij in Rotterdam, 1988, no.77.
[2] As noted by Sumowski, 1956-57, p.258, who thought the drawing might be Rembrandt’s study for the figure (for the painting, see Bredius 566; Corpus, V, 3; Corpus, VI, 196).
Subject: An Actor or Woman in Rich Costume, full-length, moving away to right in profil perdu
Medium: Pen and brown ink with brown wash on paper prepared pinkish pale brown; ruled framing line in pen and dark brown ink.
205 x 140. Chain lines vertical.
COMMENTS: The drawing has long been associated with the many drawings of actors and with Joost van den Vondel’s play, Gijsbrecht van Aemstel (see under Benesch 0120 and Literature below) but considerable uncertainty remains about the identification. The costume differs from the others that are likewise often thought to represent the character of Badeloch (see Benesch 0317, 0318, 0319 and 0320).
Yet the attribution to Rembrandt seems more convincing than in the other cases. Among the documentary drawings, there are links with the iron-gall ink drawings of c.1638-38 (cf. Benesch 0157, 0161 recto, and 0423 recto and verso), as well as with the study for the 1638 etching of Adam and Eve, especially in the handling of the wash (Benesch 0164). Compare also, for example, Benesch 0239, Benesch 0250, Benesch 0296 and Benesch 0314-15, which similarly combine clarity and subtlety of penmanship with lively yet delicate brushwork.
Condition: Mediocre, with overall fading and discolouration of both the ink and the paper; small repaired tears top left and centre left edge; small nicks down right edge; an original horizontal paper crease across the bottom.
COLLECTION: D Leipzig, Museum der bildenden Künste (L.1669; inv. NI. 470)
FURTHER LITERATURE/REMARKS: Leipzig, 1913, no.118; Voss, 1913-14, p.223; Benesch, II, 1954/73, no.321, repr. (c.1636; connects with etching of Death Appearing to a Young Couple); Volskaya, 1961, pp.54-60 (represents Badeloch); Scheidig, 1962, p.46, fig.46; Exh. Budapest, 1969, no.112; Van de Waal, 1969, pp.145-49, repr. fig.6 (represents Badeloch [as reported by Van Regteren Altena on basis Waal’s research in Kunstchronik, 1957, pp.135-37]; but actor appears to be male, as expected, while other ‘Badeloch’ drawings appear to show a female; agrees with Benesch’s placement of the drawing with his second group of actor drawings, Benesch 0316-22); Albach, 1979, pp.2-32, repr. fig.18; Exh. Kiev, 1979, pp.42, 47, repr. p.43; Exh. Yokohama-Sapporo-Hiroshima, 1985-6, no.106, repr. p.134; Leipzig, 1987, p.114, repr. p.119; Leipzig, 1990, no.43 (entry by Karl-Heinz Mehnert; c.1638-40; follows Benesch and the 'Badeloch' theory); Exh. Los Angeles, 2009-10, no.16.1, repr. (c.1638; not related to Vondel's play [as de Winkel, 2006, pp.244-46]); Bevers, 2010, p.61, repr. fig.33 (the last of the drawings perhaps related to Vondel’s Gijsbrecht van Aemstel that is still considered to be by Rembrandt); Schatborn, 2019, no.253, repr. (c.1636).
First posted 4 February 2018.
Subject: Half-Length Study of a Woman or Actor in a Plumed Hat, turned to left
Inscribed verso in pen and brown ink: “PL” (in ligature) and in a 20th-century hand in graphite: “780 […] some paper […]”
COMMENTS: The drawing has been grouped among the sketches that appear to be based on actors (see under Benesch 0120) and was compared by Benesch with Benesch 0316 and 0318. Yet the facial characterisation here is far more incisive, convincing and securely drawn, comparable to Benesch 0273 in this regard, and appears to suggest a male actor in female garb.[1]
However, apart from the face, the drawing has many points in common with figure drawings that include drapery by Govert Flinck, such as Benesch 0069, 0119 and 0124. In the clothes, the line seems unusually even-tempered for Rembrandt as also somewhat hesitant or confused in the rendition of the details, not least the hands. For this reason the attribution to Flinck should be preferred to that to Rembrandt. But as noted elsewhere, the master and his pupils almost certainly drew such figures together and at the same time, and on this occasion the pupil succeeded in emulating his master more closely than usual.
Condition: presumably trimmed from a larger sheet; some surface discolouration.
Summary attribution: Govert Flinck?
Date: c.1638
COLLECTION: CH, Geneva, Private Collection (Jean Bonna)
FURTHER LITERATURE/REMARKS: Robinson, 1869, no.780; Gathorne-Hardy, 1902, no.98; Hofstede de Groot, 1906, no.981 (1635-40); Benesch, II, 1956/73, no.322, repr. (c,1636; groups with drawings of actors; style closest to Benesch 0316 and Benesch 0318); Van de Waal, 1969, p.147, repr. fig.8; Exh. London-Oxford, , 1971-2, no.45; Exh. Geneva, 2006; De Winkel, 2006, p.245; Exh. Paris, 2008, no.27; Strasser, 2013, no.44, repr. (c.1638-40; compares face to that of young Tobias in Benesch 0547; the figure in every sense masculine; tempting to retain the drawing for Rembrandt himself); [Not in Schatborn, 2019].
PROVENANCE: J.C. Robinson (L.1433, almost completely erased); John Malcolm of Poltalloch; The Hon. Alfred Erskine Gathorne Hardy; The Hon. Robert Gathorne-Hardy; his sale, Amsterdam, Sotheby Mak van Waay, 21 March, 1977, lot 77; British Rail Pension Fund; with Richard Day, London.
[1] See Strasser, 2013, no.44, who believes the costume is also male. However, compare Benesch 0316a, not least for the plumed cap.
Subject: A Woman Kneeling on a Step, turned to right
Medium: Pen and brown ink with brown wash, corrected with white; ruled framing lines in pen and brown ink.
COMMENTS: Although described as a school work in Frédéric Reiset’s later nineteenth-century inventory of drawings in the Louvre (1869-1900), the sketch found favour as a Rembrandt with Frits Lugt (Paris, 1933), followed by Benesch.[1] The latter rightly compared the kneeling figure in Benesch 0121, and the style accords with many works now ascribed like that drawing more reasonably to Govert Flinck, and placed at the end of his apprenticeship with Rembrandt in c.1636. The somewhat loose modelling and the even pressure of the pen seem wholly characteristic of Flinck. The kneeling woman was probably intended for a biblical illustration from the Old Testament.
The drawing was originally mounted together with four other drawings when it entered the Louvre in 1796 (inventory numbers 22962A-D, which include Benesch 0268, 0269, 0333 and what is clearly a school work, Paris, 1933, no.1324).
Condition: generally good.
COLLECTION: F Paris, Musée du Louvre (L.1955; inv.22962, formerly NIII8637 and MA8157)
FURTHER LITERATURE/REMARKS: Paris, 1933, no.1173 (attributed to Rembrandt; c.1635); Benesch, 1935, p.22; Benesch, II, 1954/73, no.323, repr. (c.1636, follows Lugt for the attribution, which has “much probability”; compares the kneeling figure in Benesch 0121; states that the base or step is a later addition); [Not in Schatborn, 2019].
PROVENANCE: Jonathan Richardson, sen. (L.2184, barely visible); Charles-Paul-Jean-Baptiste Bourgevin Vialart, comte de Saint-Morys; seized by the Revolutionary Government, 1793; entered the Louvre in 1796. [2]
[1] Benesch suggested that the lower section – the “base”, as he called it – was added by a later hand, but this does not appear to be the case.
[2] In the MS Inventaire du Musée Napoleon (the following from the Louvre website, 5 February 2018): Dessins. Vol.6, p.1039, chap. : Ecole hollandaise, Carton 83. (...) Numéro: 8157. Nom du maître: Idem [[ Rembrandt /&. Numéro d'ordre dans l'oeuvre du maître: 21. Désignation des sujets: Sur le même carton cinq dessins: l'un à la plume et lavé, représente une femme agenoux ; les autres sont faits à la plume, et représentent des têtes. Dimensions: H. 10,5 x L. 9,5 cm [[la femme agenoux]] ; H. 7 x L. 11,5 cm [[le plus grand des autres]]. Origine: Idem & Collection nouvelle /&. Emplacement actuel: Idem & Calcographie du Musée Napoléon /&. Observations: Idem & [Remis au Musée pour être relié] [[à l'encre]] ]]. Signe de recollement: [Vu] [[au crayon]] [Vu] [[au crayon]] [Vu] [[au crayon]] [Vu] [[au crayon]] [Vu] [[au crayon]] [[trait oblique / au crayon / sur le n° d'ordre]]. Cote: 1DD38
Subject: A Man Seated on a Step, wearing a flat cap
Verso: blank (apart from Inscriptions, qv)
Medium: Pen and brown ink with brown wash and corrections in white bodycolour (the paper now appearing pinkish-brown overall on the recto only); ruled framing lines in pen and greyish-brown ink.
Inscribed verso in graphite at top: “Hellegers=¼ 020=” and in Esdaile’s hand in pen and brown ink: “1835 WE”
147 x 138. Watermark: Strasburg lily in a crowned shield, the letters “WR” below; chain lines: 26h (c.16 laid lines per cm)
COMMENTS: Long regarded as a fine Rembrandt drawing of the 1630s, with time various reasons have emerged for revising this opinion. Iconographically, the drawing is related to those associated with the actor, Willem Barthelsz. Ruyter (see under Benesch 0120). See also the similar figures in Benesch 0264 and Benesch 0299. A considerable number of them are now assigned with some confidence to Gerbrand van den Eeckhout, including Benesch 0122, the first of the comparisons made by Benesch to support the attribution to Rembrandt of the present sheet. Benesch 0299 is comparable in style, as also Benesch 0312. The use of the wash, always one of van den Eeckhout’s fortes, including the man’s shadow, is comparable to Benesch 0267.
The distinction from Rembrandt’s own style is clear from the less firm or fluent, more interrupted outlines, as well as from the treatment of the drapery, as may be seen by comparing, for example, Benesch 0293 recto, Benesch 0315, Benesch 0321, Benesch 0405 and Benesch 0407. The documentary drawings by Rembrandt undermine the attribution to him still further.
Condition: Somewhat discoloured.
Summary attribution: Gerbrand van den Eeckhout?[1]
COLLECTION: USA New York, Metropolitan Museum of Art (inv. 29.100.935).
FURTHER LITERATURE/REMARKS: Michel, 1893, p.457; Lippmann, I, no.148b; Valentiner, 1930-31, p.140, repr. fig.5; Benesch, 1935, p.24; Ivins, 1942, repr. pl.31; Ivins, 1942.I, p.13, repr.; New York, 1943, no.8, repr.; Benesch, 1947, no.72, repr.; New York, 1952, pp.72 and 222, cat. no. 66, repr.; Benesch, II, 1954/73, no.324, repr. (c.1636; compares Benesch 0120, 0339 and 0340); Exh. New York-Cambridge, 1960, no.25, repr. pl.21 (c.1636-38; compares light contrasts and portal to etching of Dismissal of Hagar, Bartsch 30; NH 166; resembles the man in Benesch 0120, an actor, and seated young man in the Hundred Guilder Print; also compares Benesch 0299); New York, 1964, no.87, repr.; Slive, 1965, no.154, repr.; Van de Waal, 1969, p.146, n.11 (same sitter as Benesch 0120); Exh. New York, 1985 (no cat.); Mules, 1985, p. 19, repr.; Exh. New York, 1995-96, no.68 (“Rembrandt?”, 1635-40; relates to actor, Ruyters, and to Benesch 0120; Royalton-Kisch suggested [letter 17 March 1995] the mouth similar to Benesch 0292 Jewish Bride of 1635; some qualities reminiscent of Bol); Exh. New York, 2006 (no cat.); [Not in Schatborn, 2019].
PROVENANCE: Joshua Reynolds (L.2364); Thomas Lawrence (L.2445); S. Woodburn; William Esdaile; his sale, London, Christie’s, 17 June, 1840, lot 13c (£3 5s to Geddes); Andrew Geddes; Francis Seymour Haden (L.227 on former backing); his sale, London, Sotheby’s, 15-19 June, 1891, lot 584 (£29 to Durand-Ruel); Galerie Durand-Ruel; Mr and Mrs H.O. Havemeyer; bequeathed by the latter (Louisine W. Havemeyer) to the present repository, 1929.
[1] My annotated copy of Benesch shows that I first doubted this drawing as a Rembrandt in 1987.
First posted 27 February 2018.
Subject: A Woman Seated, to right, wearing an exotic costume
Medium: Pen and brown (iron-gall) ink with brown wash, heightened with white, on paper prepared with pale brown wash.
COMMENTS: The exotic garb worn by the woman portrayed has led to the drawing’s association with the etching, the Great Jewish Bride of 1635 (Bartsch 340; NH 154). It may be that the iconography of Esther was again intended here, but the use of iron-gall ink places the drawing later, c.1638-39 (see under Benesch 0157), the period to which the drawings of actors belong (see under Benesch 120), hence the date c.1638-39 suggested here. Many of the latter have now been assigned to Rembrandt’s pupils of the 1630s and a similar assessment of quality has been made of the present drawing.[1]
The iron-gall ink connects the drawing with some of the documentary drawings of the period c.1638-39 (see under Benesch 0157). Iron-gall ink and white heightening are here combined as in Benesch 0168 and 0442, yet the style here is wilder and the effect less coherent. The even tempo, pressure and width of the lines in pen, which are thinner, scratchier and less variegated than is usual for Rembrandt, is also troubling. Of the non-documentary drawings, one might compare Benesch 0158 in the Louvre, but the relative lack of discipline, restraint and overall structure in the Berlin drawing is unsettling. The Louvre drawing is closest in its use of thick, white heightening in the hanging section of the turban with its scratchy ornamentation; the wash in the lower right corner also compares well with that seen in and below the knees in Benesch 0325. There are also analogies with the Portrait of Titia van Uylenburgh of 1639 (Benesch 0441), which in the hair, shoulders, chest and the ruff or shawl occasionally exhibit similarly scratchy and hesitant lines and zigzags. The degree to which the background of Benesch 0325 is almost fully blocked in with wash, though unusual, fully succeeds in conveying a sense of impenetrable depth. There are comparisons to be had in this respect with Benesch 0406 and 0423 recto.
Are these similarities and qualities sufficient to retain the drawing under Rembrandt’s name? The penwork does seem too timid and scratchy for Rembrandt, while the wash and white heightening have stronger links with the master’s own work. Perhaps a somewhat mechanical drawing by a pupil, possibly a copy, was here reworked extensively by Rembrandt himself with the brush in brown wash and white bodycolour. Of his pupils, the name of Gerbrand van den Eeckhout has been invoked, and his interest in rich costumes during the 1630s makes the idea plausible, though stylistic comparisons that convince are lacking.[2]
Condition: Good apart from acidic effects of iron-gall ink, tending to flatten the image.
Summary attribution: School of Rembrandt [Gerbrand van den Eeckhout??], reworked by Rembrandt?
FURTHER LITERATURE/REMARKS: Amtliche Berichte, 1888, col.xliv (probably a study for the Great Jewish Bride etching, Bartsch 340; NH 154); Exh. Berlin, 1881, no.13 (as Amtliche Berichte); Lippmann, I, 7; Michel, 1893, p.573; Seidlitz, 1894, p.121 (1640s) Bode and Valentiner, 1906, p.70, repr. (c.1635; related to etching, Great Jewish Bride, Bartsch 340; NH 154); Hofstede de Groot, 1906, no.129 (c.1635; as Bode and Valentiner, 1906); Freise, Lilienfeld and Wichmann, 1914, no.116a (as HdG); Benesch, 1925, p.121 (c.1636); Berlin, 1930, p.233, Inv.1558 (as Bode and Valentiner, 1906); Exh. Berlin, 1930, no.238 (as Berlin, 1930); Lugt, 1931, p.59; Von Alte n, 1947, no.24 (early 1640s; model Geertje Dircx?); Benesch, 1947, no.76 (c.1636; not for the etching Bartsch 340; NH154); Benesch, II, 1954/73, no.325, repr. (c.1636; as Benesch, 1947); Exh. Berlin, 1956, no.55 (as Berlin, 1930); Slive, 1965, no.7 (c.1635); Exh. Berlin, 1968, no.4 (c.1635-36; motif relates to etching Bartsch 340; NH 154) Bernhard, 1976, p.180 (c.1636); Sumowski, 1979 etc., I, under no.96; (not in Berlin 2006); The Present Catalogue, 2018 (as School of Rembrandt, c.1638-39); Berlin, 2018, no.62, repr. (Van den Eeckhout, c.1638-39; compares Benesch 0171, a late work by Van den Eeckhout in Warsaw [Sumowski 649] and other Eeckhout drawings including later wash drawings); The Present Catalogue online, updated 2018 (‘School of Rembrandt [Gerbrand van den Eeckhout??] reworked by Rembrandt’, c.1638-39); [Not in Schatborn, 2019].
PROVENANCE: Thomas Dimsdale (L.2426); J.C. Robinson (L.1433) from whom acquired by the present repository in 1880.
[1] The drawing was omitted from Berlin, 2006 and included in Berlin, 2018, no.62 as by Gerbrand van den Eeckhout.
[2] The stylistic evidence for an attribution to Van den Eeckhout is assembled by Bevers in Berlin, 2018, no.62
First posted 2 March 2018; revised to the present attribution from ‘School of Rembrandt’ soon after re-examining the original, 26 November 2018.
Subject: A Bearded Man, half-length, in exotic costume
Verso: laid down.
Medium: Pen and brown (iron-gall) ink on paper prepared pale brown; ruled framing lines in pen and brown ink.
Inscribed by a later (18th-19th century) hand on the old blue card mat in pen and brown ink: “Rembrandt”
85 x 89. Watermark: none. Chain lines apparently horizontal.
COMMENTS: The figure was described by Benesch as a “Priest (?)” and his Sarastro-like appearance and costume might well link the drawing with the many other sketches by Rembrandt and his pupils of theatrical types (see under Benesch 0120); and the character appears to be caught in mid-declamation.
Most of these drawings are now ascribed to Rembrandt pupils, including Govert Flinck and Gerbrand van den Eeckhout, and in the present case the former seems marginally more probable than the latter. Despite the fact that in 1983 I already rejected the drawing (MS notes), the connections in style with documentary Rembrandt drawings in the same (or a comparable) medium, including especially Benesch 0161 and Benesch 0168, argue in favour of retaining the attribution to Rembrandt himself. Perhaps closer still is the Sketch for Joseph Interpreting the Dreams of the Butler and Baker, now in the J. Paul Getty Museum (inv. 95.GA.18; Not in Benesch), and there are stylistic links with Benesch 0245. As an iron-gall ink drawing, a date c.1637-39 is probable, but the likely association with the theatre makes a date c.1638 acceptable.
However – and arguing against an attribution to either Rembrandt or his pupils - the ink appears more ‘sticky’ or resinous than is usually the case. And this same ink appears to have been used not only for the framing lines, which partly extend onto the surrounding blue, card mat, but also for the inscription on the mat. These characteristics point to a later imitation, and I believe this is primarily what made me hesitant when I first studied the drawing in 1983. But for the reasons described above, I cannot wholly discount the possibility that the drawing is indeed by Rembrandt, in which case the framing-lines and inscription, which are clearly later, must have been made in a deceptively similar ink.
Summary attribution: Rembrandt??
COLLECTION: D Hannover, Landesmuseum (Kestner Museum inv.N.205)
FURTHER LITERATURE/REMARKS: Benesch, 1935, p.23; Benesch, II, 1954/73 no.326, repr. (c.1636; compares Benesch 0325); Hannover, 1960, p.53, no.98, repr. pl.30; [Not in Schatborn, 2019].
PROVENANCE: H. Lempertz, sen., Cologne (L.1337 verso); August Nitzschner (1856-1929) bequest to Kestner-Museum, Hannover, in 1929; transferred to the present repository in 1979.[1]
[1] I am grateful to Antje-Fee Köllermann of the Landesmuseum for help with the provenance of the drawing (email correspondence, March 2018).
First posted 3 March 2018.
Subject: Three Studies of a Bearded Man on Crutches and a Woman, the man wearing a high cap and long cloak, at left holding his hand out to the woman giving alms
Verso: see Inscriptions.
Inscribed with a mark or number (resembles ‘ō’) in pen and brown ink, lower left, probably cut from a longer number such as 200 or 210 – cf. Benesch 0688, also in the British Museum; Cracherode’s initials (see Provenance below) [lower right]* verso, in graphite: ‘43’ [in a circle].
* The ‘ō’ seems to be in the same ink as the framing lines. The ink of the drawing is a little warmer in tone, while the ink of Cracherode’s mark is different again – rather thin and more liquid.
152 x 185. Watermark: none; chain lines: 28/29v.
COMMENTS: This well-known drawing may belong to the beginning of Rembrandt's Amsterdam period, c.1632-5, a time when the chronology of his pen and ink sketches is difficult to reconstruct as no securely datable example is preserved before c.1634. In favour of such a date is its stylistic proximity to several etchings of this period, including the 'Blind Fiddler' of 1631 (Bartsch 138, NH 77).[1] To a lesser extent the drawing is comparable to the silver-point 'Portrait of Saskia' in Berlin of 1633 (Benesch 0427), which exhibits a similarly dense hatching for the shadows. This, and the exceptional degree of detail in the head and hat of the nearest figure, are not paralleled in Rembrandt's later work, although the style of his drawings in the period c.1635-8 sometimes remains superficially analogous. For example, the cursory sketch of a woman on the left of the present sheet resembles her counterpart on the left of the Berlin drawing, 'The Naughty Boy', usually dated c.1635 (Benesch 0401),[2] and similarities exist with the Berlin studies (Benesch 0140-0141) for the 'St John the Baptist preaching' of c.1633-34 (Bredius 555, Corpus A106, Vol. VI, no.110). In a study in New York (Benesch 0336) for the same painting, it seems that the same model was employed. Yet all these drawings are more fluid in style and less concerned with detail than the present sheet, which should therefore probably be dated before them, c.1632-4. The possibility that it was made as early as the Leiden period, admitted by several previous writers (see Literature below), should however be rejected on the basis of comparisons with drawings that were certainly made prior to the artist's move to Amsterdam.[3] A recent proposal that the drawing must date from c.1636-40, because Ferdinand Bol made Benesch 0688 and was in Rembrandt’s studio at this period, fails to take the above arguments into account and also that Rembrandt’s pupils were often inspired by his works of an earlier period. Furthermore, Benesch 0688 is in any case likely to be by Rembrandt himself.
The purpose of the drawing is uncertain, beyond potentially forming raw material for his paintings and etchings. The varied poses of the same model, the rapid notation of the alms-giving woman on the left and the incisive details suggest that it was made from life,[4] as Rembrandt observed the man with his crutches of different sizes either receiving alms and pocketing the proceeds, or else fishing a coin from his pocket in order to pay the woman. In a general way, the study can be related to Rembrandt's many etchings of beggars made at the beginning of the 1630s, which may have been inspired by Jacques Callot.[5] A pupil's drawing in the Rijksmuseum (Benesch 0328) of a figure resembling that on the right of the present sheet is presumably based on it or on another similar study, now lost.[6]
The two figures on the left (the beggar and woman) were etched by Cecilia Lucy Brightwell, in reverse.
Condition: good; a few very small nicks and tears in the borderline, two on the right side, two on the left, and a slim repair along the top edge; a few residual fox-marks; a small, accidental mark in black chalk below the second figure from the right; perhaps a little trimmed: a few lines at the extreme right edge do not belong to the figure on the right and the woman on the left may also have been cut, while at the top a trial of the pen is partly trimmed away. The drawing was presumably once laid down on a washed eighteenth-century mat of the type found on other drawings from Cracherode’s collection, all now in the British Museum.
COLLECTION: GB London, British Museum (Gg,2.252)
FURTHER LITERATURE/REMARKS: Bürger, 1858, p.401 (early); Vosmaer, 1877, p.602 (possibly by Eeckhout); Michel, 1893, p.581, repr. p.533; Seidlitz, 1894, p.122 (early); Exh. 1899, London, no.A7 (c.1631-6); Lippmann, I, no.111; Kleinmann, III, no.35; Hofstede de Groot, 1906, no.919 (c.1631; compares etching and painting of this year, 'The Blind Fiddler', Bartsch 138, NH 77, and the onlookers in the 'Simeon in the Temple' in The Hague, Bredius 543; Corpus, I, no.A34, vol.VI, no.47); Baldwin Brown, 1907, pp.26 and 117, repr. pl.3; Exh. Paris, 1908, p.52, under no.122 (quotes Hofstede de Groot's 'rapprochement' with Bartsch 138, NH 77); Saxl, 1908, pp.233-4 (woman possibly Saskia; compares 'Peasant in high Cap, Bartsch 133, NH 178, of 1639); Wurzbach, 1910, p.418 (as Hofstede de Groot, 1906); Hind, 1912, I, p.55, repr. pl.XV; London, 1915, no.22 (c.1630-35); Stockholm, 1920, p.29, repr. fig.32 (compares HdG.1609 in Stockholm [not in Benesch]); Hell, 1930, p.21, repr. fig.4 (early 1630s); Hind, 1932, p.49, repr. pl.XXV; Benesch, 1935, p.24 (c.1636; with reminiscences of earlier period); Exh. London, 1938, no.22 (c.1630-35); Amsterdam, 1942, p.42, under no.82 (see n.6 below); Poortenaar, 1943, no.82, repr. (c.1630); Poortenaar, 1943[I], repr. p.63; Rosenberg, 1948/64, I, p.149/250-51, repr. fig.212 (Leiden period; beggar subjects inspired by Callot); Benesch, II, 1954/73, no.327, repr. fig.367/ 401 (c.1636); Exh. London, 1956, p. 15, no.2; Rosenberg, 1956.I, p.69 (early 1630s); White, 1962, pl.17 (c.1636); Slive, 1965, I, no.113, repr. (c.1633); Haak, 1976/74, no.19, repr. (c.1636); Bernhard, 1976, II, repr. p.163; Exh. London, 1984, no 3; Amsterdam, 1985, p.106, under no.48, n.7 and pp.211-12, under no.104, repr. fig.104a (c.1636; notes other studies of old men and beggars from all stages of Rembrandt's career; see n.6 below); Exh. London, 1992, no.8, repr.; Schatborn, 1994, p.22 (a model sheet of varied poses, possibly drawn 'uit het hooft'); Schatborn, 1996, p.222 (second half of 1630s); New York, 1999, p.212, under no.67, repr. fig.67.1 (compares Lehmann collection drawing, Benesch 260); Rosand, 2002, p.230, repr. fig.215 (momentum of graphic creation visible in the relationship between the figures); Exh. Vienna, 2004, no.36, repr.; Berlin, 2006, p.180, under no.53 (sees compositional analogies with later drawing in Berlin, Benesch 1141); Exh. London, 2006 (no catalogue); Exh. Los Angeles, 2009-10, no.10.1 (c.1636-40; narrative of same man seen three times); London, 2010 (online), no.7, repr.; Exh. Amsterdam, 2014, under no.3, repr. fig.3a (c.1636-40, datable because Bol made Benesch 0688 and in Rembrandt’s studio at this period); Schatborn, 2019, no.239, repr. (c.1636).
PROVENANCE: Probably Neyman sale, Paris, 8 July, 1776, lot 685 (with Benesch 0688, also in the British Museum): ‘Deux feuilles contenant chacune trois études de différents vieillards avec bâtons, exécutées de même’ [i.e. in pen and bistre], sold for 18 francs; bequeathed by the Rev. C. M. Cracherode to the present repository, 1799 (L.6O6).
[1] As first noted by Hofstede de Groot in 1906 (see Lit. above).
[2] Benesch justifiably compared the woman in the present drawing with the head of one of Lot's daughters in a drawing in Weimar (Benesch 0128), which he dated c.1636 but which may also be earlier.
[3] See the sheets referred to under cat. nos.1, 2 and 3 (Gg,2.253; T,14.8 and Oo,9.95).
[4] Perhaps surprisingly, Schatborn, 1994, p.22 suggests that the drawing was made from the imagination rather than from life.
[5] E.g. Bartsch/NH nos.164/45, 173/44, 163/46, 160/32, 174/50, 179/49, 165/51, 151/48, 162/41, 172/47, 327/36, 138/77, 302/38, 366/33). The pose of the central figure is comparable to that of Tobit in the etching of c.1629, Bartsch 153/31.
[6] Rejected by Henkel (Amsterdam, 1942, no.82) and Schatborn (Amsterdam, 1985, no.104). Described as a pupil's copy of c.1636 by Loevinson-Lessing, 1971, under no.28.
Subject: An Old Man in a Tall Hat, full-length, leaning on a stick
Medium: Pen and brown ink on paper prepared yellowish-brown.
Inscribed verso, vertically, in graphite: “ex collection Chevalier Claussin, cat.82.219, coll Desperet, W. Mayor, Rembrandt, 128”
135 x 68. Watermark: none; chain lines: 25h
COMMENTS: This is a somewhat feeble attempt by a pupil to emulate Rembrandt, such as the figure on the right of Benesch 0327. The lines in the lower half and especially the feet are lifeless and despite imitating a pentimento, reveal the drawing rather clearly to be an imitation or copy, lacking all spontaneity, while the more lively handling in the hat, head, torso and arms is incoherent. The drawing was similarly assessed by several earlier writers.
Condition: some foxing and minor staining, otherwise good.
Summary attribution: School of Rembrandt
COLLECTION: NL Amsterdam, Rijksmuseum, Rijksprentenkabinet (L.2228, inv.RP-T-1930-36).
FURTHER LITERATURE/REMARKS: Mayor, 1871, no.361; Hogarth, 1875, no.639; Exh. Leiden, 1903, no.31; Exh. Leiden, 1906, no.61; Hofstede de Groot, 1906, no.1282 (early); Exh. Paris, 1908, no.40; Exh. Amsterdam, 1913, no.52; Exh. Leiden, 1916, no.9 (c.1635); Von Seidlitz, 1917, p.253; Exh. The Hague, 1930, no.40 (c.1635); Amsterdam, 1942, no.82, repr. pl.65 (follower of Rembrandt, early); Benesch, II, 1954/73, no.328 (c.1636-37; disagrees with Henkel in Amsterdam, 1942); Amsterdam, 1985, no.104, repr. (school work, c.1635-39); [Not in Schatborn, 2019].
PROVENANCE: J.J. de Claussin (see verso inscription; not mentioned in his sale, Paris, Schroth, 2 December, 1844); E. Desperet (L.721 – the mark was lower left but removed by the Rijksmuseum); his sale, Paris, Clément, 12-13 June, 1865, part of lot 278; William Mayor (L.2799 – the mark was at lower right but removed by the Rijksmuseum; see also Mayor, 1871 and Hogarth, 1875 in Literature above); Max Freiherr von Heyl zu Herrnsheim (L.2870); his sale, Stuttgart, Gutekunst, 25-26 May, 1903, no.2490, sold for 205 Marks; Cornelis Hofstede de Groot, by whom given in 1906 with usufruct till 14 April 1930.
Subject: Head of a Bearded Man in a High Cap, profile to left
Medium: Pen and brown ink on paper prepared light brown; ruled framing lines in pen and brown ink.
66 x 53. Watermark: none.
COMMENTS: This drawing and Benesch 0330, 0331, 0336 and 1082 have apparently been mounted together on one mat since at least 1908, when they were exhibited together in Paris; they apparently featured in the same lot in the Richardson sale of 1747, together with another drawing in the Morgan Library (not in Benesch; New York, 2006 no.71, inv. I, 194 - see Provenance). Benesch related the present drawing especially to the first two of these and also grouped them close to Benesch 0332-35. Of the latter, Benesch 0333 has already been rejected and a critical analysis of the works in the group is therefore required.
Of the drawings referred to above, the paper here is certainly very similar to that of Benesch 0330 and Benesch 0331. That these three drawings are all by the same hand seems self-evident. But the attribution to Rembrandt seems precarious once a comparison is made between the present work (for example) and the heads of the male figures on the left and right of Benesch 0327 of c.1632-35, or with the head on the right of the documentary drawing, Benesch 0336 of c.1634-35. These are both comparable types and likely to have been drawn at around the same time. The comparatively pedestrian though neat quality of Benesch 0329 becomes readily apparent, as does the more hesitant modelling of the cap and collar. There is a slip by the tip of the nose and the evenness of the execution throughout seems comparable to a copy rather than an original sketch. Thus the drawing might be an emulation by a highly competent pupil, such as Ferdinand Bol or Gerbrand van den Eeckhout (cf. the head in Benesch 0318). Rembrandt’s many etchings as well as his drawings of beggars of the Leiden years and later could have provided the inspiration.
However, the above arguments are at least partly undermined if one takes the relative size of the drawings into account: the heads, especially in Benesch 0329 and Benesch 0330 are minuscule, about half the size of the head on the right of Benesch 0336. Yet a high degree of quality is maintained nevertheless. For this reason, the possibility that these drawings are by Rembrandt is here retained, although it has to be said that the fussiness of the shading in Benesch 0330 and 0331 does seem somewhat uncharacteristic of Rembrandt as a draughtsman. Yet his etchings, including the Blind Fiddler of 1631 (Bartsch 138; NH 77) and the rare Study Sheet with Men's Heads of c.1630-31 (Bartsch 366; NH 33) replicate this characteristic to a satisfactory degree. Sceptics will latch onto these anomalies, while others will regard these drawings as a slightly special case, as though Rembrandt were challenging himself to draw on an exceptionally small scale. The above comparisons with the etchings suggests that they may be earlier than has generally been assumed. See further the comparison made under Benesch 0332, Fig.a, which provides some further support for the attribution to Rembrandt.
Condition: generally good, with a few minor and mostly peripheral brown stains.
Summary attribution: Rembrandt?
COLLECTION: USA New York, Morgan Library (inv. I, 174d)
FURTHER LITERATURE/REMARKS: Exh. Paris, 1908, no.496; Exh. New York, 1919 (no catalogue); Exh. San Francisco, 1920, no.365; Benesch, II, 1954/73, no.329, repr. fig.368/398 (c.1636; relates to Benesch 0330, 0331, 0332, 0334 and 0335, forming a repertoire for Rembrandt’s biblical paintings); Exh. New York-Cambridge, 1960, no.16, repr. pl.14; Exh. Minneapolis, 1965-66, n.p.; Bernhard, 1976, II, p.190, repr.; Sumowski, 1979 etc., I, under no.165x; Exh. New York, 1996 (no catalogue); New York, 2006, no.206, repr. (c.1632-34; see under Benesch 0330); [Not in Schatborn, 2019].
PROVENANCE: ?Jonathan Richardson, sen.; possibly his sale, London, Cock’s, 23 January- 11 February, 1747, 10th night (2 February), lot 22 (one of six, see main text above), bt Chauncey, 3s-4d; possibly William Esdaile; Edward J. Riggall; his sale, London, Sotheby's, 6-8 June, 1901, one of five in lot 527 (with Benesch 0330, 0331, 0336 and 1082: "Rembrandt van Rijn. Studies of Heads, pen and ink, from the Esdaile and other collections", bt Fairfax Murray, £42.0.0; Charles Fairfax Murray, from whom purchased in 1909 through Galerie Alexandre Imbert, Rome, by Pierpont Morgan; inherited by his son, J. Pierpont Morgan, by whom given to the present repository, 1924.
First posted 17 March 2018.
Subject: Bust of a Bearded Man in a Fur-Trimmed Hat, turned in profile to right
Medium: Pen and brown ink on pinkish light brown paper; ruled framing line in pen and brown ink; the lower left area made up.
COMMENTS: See under Benesch 0329. The scale here is again unusually small and comparisons are therefore difficult.
The stronger accents in the fur trim may be compared with the hat of the beggar on the left of Benesch 0327. The trailing zigzag across the back of the shoulders is somewhat unusual but compare, for example, the similar touches in the lower parts of Benesch 0205.
Condition: good apart from the repaired area lower left; slight overall discolouration.
COLLECTION: USA New York, Morgan Library (inv. I,174b)
FURTHER LITERATURE/REMARKS: Exh. Paris, 1908, no.496/2; Exh. New York, 1919 (no catalogue); Exh. San Francisco, 1920, no.365; Benesch, II, 1954/73, no.330, repr. fig.369/396 (c.1636; refers to his entry on Benesch 0329; relates to Benesch 0333-34); Exh. New York-Cambridge, 1960, no.15, repr. pl.14; Exh. Minneapolis, 1965-66, n.p.; Bernhard, 1976, II, p.190, repr.; Exh. New York, 1996 (no catalogue); New York, 2006, no.203, repr. (c.1632-34; compares Benesch 0087, Benesch 0327; stronger touches have led, verbally, to the autograph status of the drawing being questioned); [Not in Schatborn, 2019].
PROVENANCE: ?Jonathan Richardson, sen.; possibly his sale, London, Cock’s, 23 January- 11 February, 1747, 10th night (2 February), lot 22 (one of five, presumably with Benesch 0329, 0331, 0336 and 1082), bt Chauncey, 3s-4d; possibly William Esdaile; Edward J. Riggall; his sale, London, Sotheby's, 6-8 June, 1901, one of five in lot 527 (with Benesch 0329, 0331, 0336 and 1082: "Rembrandt van Rijn. Studies of Heads, pen and ink, from the Esdaile and other collections", bt Fairfax Murray, £42.0.0; Charles Fairfax Murray, from whom purchased in 1909 through Galerie Alexandre Imbert, Rome, by Pierpont Morgan; inherited by his son, J. Pierpont Morgan, by whom given to the present repository, 1924.
Subject: Bust of a Bearded Old Man in a High, Fur-Trimmed Cap, profile to right
Medium: Pen and brown ink, with traces of corrections in white bodycolour at back of fur trim on the cap; traces of ruled framing lines in pen and brown ink.
COMMENTS: See the note to Benesch 0329. The comparison there made with the rare etched Study Sheet with Men’s Heads of c.1630-31 (Bartsch 366; NH 33)[1] is particularly apposite for the present drawing, especially with the head on the left edge of the print. Yet it has to be said that the much-interrupted outlines and rather scratchy handling almost throughout the drawing give cause for hesitation despite the highly persuasive and effective characterisation - a notable achievement on such a small scale. Few of Rembrandt’s pen drawings are datable to the first years of the Amsterdam period, before 1634, which exacerbates the already significant problems in assessing works that may date to this period.[2]
There are some broader and slightly more liquid lines in the lower parts of the figure’s collar and chest as well as at the point where the shadow begins in the hat (and just under the brim) which look to have been made with a different pen, perhaps at a later moment. Similar heads appear in the etched Sheet of Studies with Figures and Saskia in Bed of c.1640-41 (Bartsch 369; NH 177).[3]
Condition: some minor stains but generally good.
COLLECTION: USA New York, Morgan Library (inv. I, 174e).
FURTHER LITERATURE/REMARKS: Exh. Paris, 1908, no.496/5; Exh. New York, 1919 (no catalogue); Exh. San Francisco, 1920, no.365; Benesch, II, 1954/73, no.331, repr. fig.370/399 (c.1636; compares Benesch 0329 and the etched Sheet of Studies, Bartsch 369; NH 177); Exh. New York-Cambridge, 1960, no.17, repr. pl.14 (c.1634-36); Exh. Minneapolis, 1965-66, n.p.; Bernhard, 1976, II, p.191, repr.; White, 1969, I, p.159, repr. II, fig.233 (as Benesch); Sumowski, 1979 etc., I, under no.165x; Exh. New York, 1996 (no catalogue); White, 1999, p.179, repr. fig.242; Exh. Amsterdam-London, 2000-2001, under no.38, repr. fig.a (see n.3 below); Exh. Rome, 2002-3, under no.38, repr. fig.a; New York, 2006, no.205, repr. (c.1632-34; compares etching Studies of Men’s Heads of c.1631, Bartsch 366; NH 33, and Benesch 0327, 0329 and 0330); [Not in Schatborn, 2019].
PROVENANCE: Jonathan Richardson, sen. (L.2184);[4] possibly his sale, London, Cock’s, 23 January-11 February, 1747, 10th night (2 February), lot 22 (one of five, presumably with Benesch 0329, 0330, 0336 and 1082), bt Chauncey, 3s-4d; William Esdaile (L.2617); his sale, London, Christie’s, 18-25 June, 1840, probably one of two in lot 1054 (both as Rembrandt): "The Annunciation; from Sir J. Reynolds’s Collection; and head of an old man" bt Henry Graves with lot 1053, £1-11-6); Edward J. Riggall; his sale, London, Sotheby's, 6-8 June, 1901, one of five in lot 527 (with Benesch 0329, 0330, 0336 and 1082): "Rembrandt van Rijn. Studies of Heads, pen and ink, from the Esdaile and other collections", bt Fairfax Murray, £42.0.0; Charles Fairfax Murray, from whom purchased in 1909 through Galerie Alexandre Imbert, Rome, by Pierpont Morgan; inherited by his son, J. Pierpont Morgan, by whom given to the present repository, 1924.
[1] Made by Jane Shoaf Turner in New York, 2006, no.205.
[2] The Bust of an Old Man of 1634 in the Grossmann Album (Benesch 0257) is the first documentary pen drawing of the Amsterdam period.
[3] The comparison made by Ger Luijten in Exh. Amsterdam-London, 2000-2001 (see Literature).
[4] According to New York, 2006, on the old backing, now removed, is what may be a fragment of Richardson sen.’s pressmark (cf. L.2983-84).
Subject: Head of a Bearded Man in a Flat Cap, profile to left
Verso: blank
Medium: Pen and brown ink, touched with white; inscribed verso in graphite: “g.g.” [?]
54 x 31; chain lines: not measurable.
COMMENTS: Comparable to Benesch 0329-0331. Like Benesch 0331 (qv), parts of the drawing – this time in the centre of the head - appear to have be in a different ink but this may be due to a chemical reaction. Most of the drawing seems plausible for Rembrandt, with the provisos of scale and other anomalies mentioned under Benesch 0329 and Benesch 0331. Compare the underdrawing of the head of the Prodigal Son in Benesch 0519 (see Fig.a; in particular, note the eye and eyebrow) and the bearded, profile heads to left and right in Benesch 0667.
Condition: Restored (see Comments).
COLLECTION: F Bayonne, Musée Bonnat-Helleu (inv.1478 [1465]).
FURTHER LITERATURE/REMARKS: Exh. Paris, 1908, no.422; Benesch, II, 1954/73, no.332, repr. (c.1636); Exh. Bayonne, 1968-1969, no.25 ; Exh. Bayonne, 1975, no. 25. [Not in Schatborn, 2019].
PROVENANCE: Léon Bonnat (L.1714), by whom presented to the present repository in 1919.
Benesch 0332A (Benesch Addenda 8)
Subject: Bust of a Young Man with a High Barret
Verso: Laid down
Inscribed lower right in pen and brown ink, perhaps by Pierre-Jean Mariette for the sale of Pierre Crozat: “222”[1]
COMMENTS: Although of quality, it is not possible to link the drawing very closely with any of Rembrandt’s documentary, or indeed other drawings (compare Benesch 0340, for example). Nor do the many figurative etchings of the 1630s lend support. Yet the links with Benesch 0332 are almost tangible in the frizzy calligraphy in the hair. However, cf. also the head in Benesch 0362, which is suggestive of Govert Flinck.[2]
Condition: generally good – a little faded.
COLLECTION: Private Collection, New York
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.332A (Add 8), repr. (c.1636; life study; compares Benesch 0327-0336); [Not in Schatborn, 2019].
PROVENANCE: Possibly Pierre Crozat (see Inscriptions above); Leo Franklyn; Schaeffer Galleries; Kate Schaeffer and by decent.
[1] See Schatborn, 1981, pp.41-46.
[2] Last sentence added 1 December 2020 (see under Benesch 0362, n.2)
Subject: Head of a Man in a Fur Cap, profile to right
Medium: Pen and brown ink; ruled framing lines in pen and black ink.
Inscribed verso: “G 11/ 7/ Y1/ G5/ Y7/ Z”
COMMENTS: Formerly attributed to the school of Rembrandt, the drawing was accepted by Hofstede de Groot in 1906[1] and subsequently, until rejected by Starcky in Exhibition, Paris, 1988-89 (see Literature below). The latter stated that the drawing is derived from two prints (‘gravures’) but does not specify which. In fact the lively execution gives no reason for suggesting it is a copy or derivation; but like Benesch 0329-0331 (qqv), with which it has much in common in style, the scale makes a judgment difficult and the links with Rembrandt’s documentary or other drawings remain unsatisfactory. However, the sharp characterisation and crisp details make an attribution to Rembrandt possible.
Condition: top right corner repaired; brown stain lower right and some overall discolouration.
COLLECTION: F Paris, Musée du Louvre (L.1955; inv.22962.B, recto; formerly NIII8637; MA8157)[2]
FURTHER LITERATURE/REMARKS: Morel d'Arleux (Inv. ms.); Hofstede de Groot, 1906, no.645/3 (noting current attribution to school of Rembrandt);[3] Paris, 1933, no.1166 (c.1631-34; Benesch, 1935, p.24; Benesch, II, 1954/73, no.333, repr. (c.1636; sompares Benesch 0331 and 0334); Arquié, Labbé and Bicart-Sée, 1987, p.453; Exh. Paris, 1988-89, under no.9 (rejected as Rembrandt); [Not in Schatborn, 2019].
PROVENANCE: Jonathan Richardson, sen; Charles-Paul-Jean-Baptiste Bourgevin Vialart, comte de Saint-Morys; seized by the Revolutionary government, 1793, and transferred to the present repository in 1796-97.
[1] Hofstede de Groot’s statement “Der Schule Rembrandts zugeschrieben”, has been interpreted as meaning that he himself attributed the drawing to the school of Rembrandt. But the drawing’s inclusion in his 1906 catalogue suggests that he was going against received opinion and including it as by Rembrandt himself.
[2] In the MS inventory, vol. 9, p. 403. Also the Inventaire du Musée Napoléon. Dessins. Vol.6, p.1039, chap. : Ecole hollandaise, Carton 83. (...) Numéro : 8157. Nom du maître : Idem [[ Rembrandt /&. Numéro d'ordre dans l'oeuvre du maître : 21. Désignation des sujets : Sur le même carton cinq dessins : l'un à la plume et lavé, représente une femme agenoux ; les autres sont faits à la plume, et représentent des têtes. Dimensions : H. 10,5 x L. 9,5 cm [[la femme agenoux]] ; H. 7 x L. 11,5 cm [[le plus grand des autres]]. Origine : Idem & Collection nouvelle /&. Emplacement actuel : Idem & Calcographie du Musée Napoléon /&. Observations : Idem & [Remis au Musée pour être relié] [[à l'encre]] ]]. Signe de recollement : [Vu] [[au crayon]] [Vu] [[au crayon]] [Vu] [[au crayon]] [Vu] [[au crayon]] [Vu] [[au crayon]] [[trait oblique / au crayon / sur le n° d'ordre]]. Cote : 1DD38
[3] Hofstede de Groot’s description is somewhat confused, saying the figure is in profile to left, and giving the inventory number as 22962a.
Subject: Bust of Old Man in a Fur Hat, profile to right
C.92 x 70.
COMMENTS: To judge from Benesch’s illustration (the drawing has not been seen or published since), the scratchy, spikey style, especially in the seam of the sleeve, relates closely to Benesch 0331 and there are also links in the head with Benesch 0330 (qqv). Benesch records that the attribution to Rembrandt was supported by Max J. Friedländer.
Condition: uncertain.
COLLECTION: D Berlin, Wennerscheid Collection [according to Benesch]
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.334, repr. (c.1636; compares Benesch 0330 and 0333); [Not in Schatborn, 2019].
PROVENANCE: unknown.
Subject: Bust of a Bearded Man in a Barret, full face
Inscribed lower right with a paraphe similar to that on the drawings mentioned under Benesch 0113 (see further under Comments below).
COMMENTS: Although connected by Benesch with Benesch 0329, the style here is distinct, although there is again some connection with Rembrandt’s early etchings (cf. For example the 1630 Self-Portrait, Bartsch 24, NH 72, and the 1631 Bust of an Old Man, Bartsch 312, NH 82). The face is quite extraordinarily detailed and the whole head is worked up with a gossamer-fine web of delicate lines and cross hatching. This is unlike Rembrandt, much fussier, with lines that are rather unvaried in the pressure exerted on the pen. And for all the labour, the grip on the forms is not fully convincing.
The way the hat is drawn, with thin, scalloped, nervous lines throughout (which cannot be parallelled in the etchings, such as the two mentioned above), reminds me of Govert Flinck in his landscapes of 1642 in the collections of the British Museum, Lugt and the Museum Boijmans-Van Beuningen (Sumowski 902-904; see especially the passage on the top of the bridge in the Lugt drawing and the background trees to the right of the Boijmans drawing). The comparatively slack style of zig-zag shading in the drapery left and right, combined with liquid darker accents, also resembles Flinck’s work, even at a much later date (cf. Sumowski 889 of 1656 in The Hague).[1] If by him, the drawing is likely to have been made early in Flinck’s career, while he was in Rembrandt’s workshop, and shows a degree of detail and refinement that he was later to abandon.
The paraphe or inscription at the lower right is possibly related to that seen in Benesch 113 (qv, where other similarly inscribed drawings are listed).
Condition: last seen by the compiler in 2002 (at Sotheby's), since when cleaned to remove some unsightly spotting, leaving the ink a little paler than usual. There seems to have been an earlier attempt to wash the drawing, leaving a 'halo' near the collector’s mark. There is also an accidental splodge lower left and a vertical cut or score through the paper towards the right.
COLLECTION: Private Collection, France
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.335, repr. (c.1636; groups with drawings around Benesch 0329); [Not in Schatborn, 2019].
PROVENANCE: Frederick Leverton Harris according to Benesch;[2] A.G.B. Russell (L. Suppl. 2770a); his sale, London, Sotheby’s, 22 May, 1928, lot 130, bt Mellaert, £10; sale, London, Sotheby's, 10 July, 2002, lot 178; subsequently private collection, France, and by descent.
[1] Peter Schatborn (correspondence with the compiler, 8 April 2017), thought the drawing by Willem Drost. He was told by the present owner that Frits Lugt believed it to be by Rembrandt.
[2] Benesch apparently only knew the drawing from a photograph in the Witt Library. He erroneously thought the drawing was from the collection of Frederick Leverton Harris, which was dispersed at the same sale as that of A.G.B. Russell.
Subject: A Bearded Elder and a Self-Portrait, with a sketch of his eye
Medium: Pen and brown ink; ruled framing lines in pen and a warmer brown ink.
Inscribed verso, top in pen and brown ink (similar to the framing lines on the recto): “15 . R – N 12 5= [cancelled] ]ǀ”; top left in graphite: “5355/5”; centre in graphite: “Z . 2” [?]
COMMENTS: See under Benesch 0329 regarding the mounting and provenance.
Like Benesch 0140-0142A, this is a documentary drawing, being a sketch for the grisaille of St John the Baptist Preaching, now in Berlin, of c.1633-34 (Bredius 555; Corpus A106; Corpus, VI, 110). The figure on the right of the drawing appears as the central figure in the group of elders in the middle foreground. In the oil, the figure's beard is somewhat shorter (or at least cut more squarely) and he looks down and frowns in concentration at the arguments being put to him by the rabbi in front of him. His nose - perhaps to add a more semitic appearance - is also much larger. The headdress is also adorned with a hanging pearl.
The figure already appears in Benesch 0141 and 0142 (recto and verso, qqv) but in the present drawing his head-dress is closer to the oil-sketch, so it was presumably made later in the process of developing the details of the composition. Indeed, as the X-radiograph of the painting does not seem to anticipate the headdress (for which there was no 'reserve' prepared in the underpaint), it may be that the present sketch - and indeed some of the other preparatory drawings for the picture - was made only after work on the oil had been begun. The X-radiograph shows that Rembrandt altered and added figures in the composition as he worked on it.[1] It appears likely that the oil-sketch was created with the intention of making a print.
The small self-portrait on the left, more accurately a drawing in which Rembrandt used his own face for a character study (his scrawny neck would be more appropriate for an older man than Rembrandt, then around 28 years old), may have been made in the same context, towards one of the elder’s interlocutors or one of the many listeners, but in the event it was apparently abandoned: one, more youthful face, towards the upper left of Benesch 0140, adopts a comparable expression.[2] The artist’s left eye is repeated above on the same small scale.
Condition: slightly foxed and faded, generally good. The lines in the lower edge show that the drawing was once part of a larger sheet.
Summary attribution: Rembrandt*
COLLECTION: USA New York, Morgan Library (inv. I, 174a)
FURTHER LITERATURE/REMARKS: Exh. Paris, 1908, no.496/1; Exh. New York, 1919 (no catalogue); Exh. San Francisco, 1920, no.365; Benesch, II, 1954/73, no.336, repr. fig.380/406 (c.1636, for Baptist Preaching; compares Benesch 0327 and 0329, and the self-portrait to painting in Norton Simon Museum, Pasadena, Bredius 32 , Corpus C97, vol.VI, no.172); Exh. New York-Cambridge, 1960, no.14, repr. pl.14 (c.1634-35); London, 1961, under no.182; Exh. Minneapolis, 1965-66, n.p.; Erpel, 1967, no.61, repr.; Exh. Paris-Antwerp-London-New York, 1979–80, no.66, repr.; Bruyn, 1983, p.54, n.13; Bonafoux, 1985, pp.48 and 145, repr. p.48; Corpus, III, 1989, pp.84-85, repr.fig.17; Exh. Berlin-Amsterdam-London, 1991-92, under no.7, n.3; Exh. London, 1992, under nos.7 and 8, n.3; Exh. New York, 1996 (no catalogue); Exh. London-The Hague, 1999-2000, p.142, repr. fig.31; Chatsworth, 2002, III, under no.1465; New York, 2006, cat. no. 204, repr. (also compares Self-Portrait in The Hague, Bredius 24; Corpus C98, vol.VI, no.157); London, 2010 (online), under nos.7 and 98 (seemingly the same model as the nearest beggar in Benesch 0327; headdress resembles drawing in British Museum, inv. T,14.26); Royalton-Kisch and Schatborn, 2011, p.331, no.25, repr. (documentary drawing); Exh. New York, 2016, p.46, repr. fig.44 (made during work in progress on the related painting); Exh. Washington-Paris, 2016-17, p.166, repr. figs.7-8 (1634-35); Schatborn, 2019, no.25 and p.17, repr. (c.1635; example of a drawing made during the search for a final composition).
PROVENANCE: Possibly Jonathan Richardson, sen.; perhaps his sale, London, Cock’s, 22 January-11 February, 1747, tenth night (2 February), lot 22 (with four others, presumably Benesch 0229, 0330, 0331 and 1082), bt Chauncey, 3s-4d; possibly William Esdaile; Dr. Edward Riggall; his sale, London, Sotheby’s, 6-8 June, 1901, one of five in lot 527: "Rembrandt van Rijn. Studies of Heads, pen and ink, from the Esdaile and other collections" (to Fairfax Murray for £42.0.0); Charles Fairfax Murray, from whom purchased through Galerie Alexandre Imbert, Rome, in 1909 by Pierpont Morgan; inherited by his son, J. Pierpont Morgan, by whom given to the present repository, 1924.
[1] See Corpus, III, pp.76-7 in particular. They rightly argue (p.83), again on the basis of the X-radiograph, that the red chalk study of St John (Benesch 0142a, qv) was executed before the oil, as the underpaint suggests that his pose was never altered.
[2] The head’s attitude also bears some resemblance to the head immediately behind the headdress of the right-hand figure of the central group of three elders. Corpus, III, 1989, p.71, note that the seated man who looks out at the spectator from a position almost directly beneath St John's outstretched hand is sometimes considered to be a self-portrait.
Subject: Bust of a Man in Kingly Costume, wearing a diadem, looking up
Medium: Pen and brown ink with (later?) brown wash; ruled framing lines in pen and brown ink.
COMMENTS: Benesch 0338 is in exactly the same style and depicts the same figure, perhaps an actor (see under Benesch 0120). Neither the penwork nor the wash is truly commensurate with Rembrandt’s own drawings (compare such documentary sheets as Benesch 0168 or Benesch 0336) and indeed the wash appears to be a later addition. There are links with Govert Flinck (cf. Benesch 0121, Benesch 0528 and Benesch 0656) and an attribution to him for these drawings is plausible.
Condition: somewhat stained and light-struck.
COLLECTION: D Munich, Staatliche Graphische Sammlung (inv.1702)
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.446 (as showing a woman…); Benesch, 1935, p.24; Benesch, II, 1954/73, no.337, repr. (c.1636; relates to Benesch 0338 and style to Benesch 0340); Munich, 1973, no.1126; [Not in Schatborn, 2019].
PROVENANCE: Counts Palatine?
Subject: Bust of a Man in Kingly Costume, wearing a diadem, profile to left
COMMENTS: See the note to Benesch 0337
Condition: somewhat stained (especially top left) and light-struck.
FURTHER LITERATURE/REMARKS: Munich, 1884-93, no.68a; Hofstede de Groot, 1906, no.428; Benesch, 1935, p.24; Benesch, II, 1954/73, no.338, repr. (c.1636; relates to Benesch 0337 and style to Benesch 0340); Munich, 1973, no.1365; [Not in Schatborn, 2019].
Subject: Four Studies of Male Heads
Verso: blank (apart from L.3306); until recently (c.2008) laid down on Richardson’s mat
Medium: Pen and brown ink with brown wash on pale buff-brown paper; ruled framing line in graphite down left side only.
Inscribed on the front of the mat in pen and brown ink, below, by Richardson, sen.: “Rembrandt”; lower right in graphite: “no.I IV / From Richardson and Bale Collections”; on verso of mat in pen and brown ink: “Rembrandt / pen and ink sketch of a number of heads / from the Houlditch / Richardson / Knight & / Bale Collections”; below this, in a paler ink, erased: “Bought June 1902 / Colnaghi & Co, London” [followed by an illegible price]; to right, with an arrow from the name of Houlditch, in graphite: “dit is niet juist, het stempeltje / TH is dat van Thom Hudson. / De volgorde der collecties is / Jonathan Richardson Sr. 1746 / Thomas Hudson 1779 / Knight? / C.S. Bale 1880”; top, in pen and brown ink: “D.20 / n”; and top left, four dots forming a square; in graphite, centre: “16483” [followed by a tick]; below, in graphite: “Knights Sale / CSB”
126 x 158. Watermark: none; chain lines: vertical (distance apart uncertain; c.13 laid lines/cm)
COMMENTS: The drawing resembles other informal sketch-sheets by Rembrandt, though is somewhat unusual in combining two everyday characters (left and right) with beturbaned oriental types (might they be actors?)[1]. The varied degrees of finish the characters exhibit has led to the suggestion that Rembrandt here consciously drew a model sheet for the education of his students.
In style the links with Benesch 0340 (which also includes heads of orientals) have often been highlighted. Among the documentary drawings, the sketches for the grisaille of St John the Baptist Preaching of c.1633-34, Benesch 0140-0142 and Benesch 0336, appear a little tighter and perhaps earlier, which seems to be confirmed by the 1636 etching of Studies of the Head of Saskia and others, which includes a comparable oriental head and has a similar mise-en-page.[2]
An etching based on the drawing was made in 1799 by Chevalier de Claussin. An anonymous etching, perhaps of a similar date, copies the three heads that have no wash (in reverse) together with Benesch 0240a and Benesch 0687. Although probably based on prints by De Claussin, it also reproduces a Rembrandt signature with the date 1637, but it is uncertain which, if any, of the heads the date refers to and it may not be trustworthy (it was inscribed on the plate in reverse).[3]
Condition: generally good; a small tear top right near corner; some spots of blueish-grey wash to left; somewhat trimmed (see lines below and stamp to right).
COLLECTION: USA Cambridge (Mass.), Fogg Art Museum, Harvard University Art Museums, Maida and George Abrams Collection.
FURTHER LITERATURE/REMARKS: Lippmann, III, 89; Hofstede de Groot, 1906, no.1363 (c.1630-35); Benesch, II, 1954/73, no.339, repr. (c.1636; compares Benesch 0340); Exh. London, 1960 (Colnaghi’s), no.30; Sumowski, Drawings, I, 1979, under no.225x; Exh. New Haven, 1983, p.118; Exh. London-Paris-Cambridge, 2002-3, no.46, repr. as Benesch, compares mise-en-page to Benesch 0360; model-sheet tradition, for use in instructing pupils); Exh. Boston-Chicago, 2003-4, no.34, repr; Exh. Cambridge (MA), 2006 (unpublished checklist); Exh. Greenwich, 2009, no.3, repr.; Exh. Boston, 2010-11, no.3, repr.; Exh. Denver, 2018-19, no.9, repr.; Schatborn, 2019, no.290, repr. (c.1637).
PROVENANCE: Jonathan Richardson, sen. (L.2183 and on his mat); Thomas Hudson (L.2432); John Knight (according to the title-page of his sale catalogue, most of his collection was acquired “during the latter part of the last [i.e. 18th] century”; his sale, London, Phillips, 19 July, 1841, lot 120; Charles Sackville Bale; his sale, London, Christie’s, 10 June, 1881, lot 2427, bt Whitehead; P. & D. Colnaghi & Co., London; Jhr H. Teixeira de Mattos; Franz Koenigs; Paul Cassirer; his sale, London, Sotheby’s, 20 November, 1957, lot 70; P. & D. Colnaghi & Co.; Mrs Donald Methuen; her sale, London, Christie’s 7 April, 1970, lot 124; P. & D. Colnaghi; sale, New York, Christie’s, 11 January, 1994, lot 385, bt Maida and George Abrams (L.3306); presented by the latter (with part of his collection) to the present repository, 2017.
[1] For drawings that represent (or may represent) actors, see under Benesch 0120.
[2] As proposed by Robinson in Exh. London-Paris-Cambridge, 2002-3, no.46.
[3] I am grateful to William W. Robinson for knowledge of the anonymous etching, a photograph of which was owned by Seymour Slive.
First posted 6 April 2018
Subject: Four Studies of Men, a three-quarter-length, two busts and a head
Verso: Sketch of a Hat
Medium: Pen and brown ink with brown wash; the verso in pen and brown ink, but cancelled in brush and brown wash. Inscribed verso in graphite: " No 47.3"
141 x 155; Chain lines: 26h.
COMMENTS: The figure at the upper left, who wears tassels at his collar, is likely to be the same person portrayed in Rembrandt’s Portrait of a Seated Elderly Man of c.1639 (Paris art market in 2016, - see under the Not in Benesch tab), and the two drawings are probably contemporaneous.
Benesch placed the drawing close to Benesch 0340, in which especially the turbaned head at the upper left is stylistically comparable (though more securely modelled)), and in which the adjacent heads also have the, for Rembrandt, typical, fine, near-vertical hatching lines above the eyes, also encountered here at the upper left. Yet overall there is a slackness in the details of the drapery and a loose fluidity which makes the attribution to Rembrandt problematic. The wash seems tentative and the lines unusually even in pressure, although this effect could have been caused by a particularly thin, liquid ink. Comparable effects are encountered in Benesch 0145, the authenticity of which is bolstered by Rembrandt’s inscription, and the documentary drawings, Benesch 0188 and Benesch 0257, but again, the modelling seems less secure and for the reasons stated some uncertainty concerning the attribution remains. However, the drawing does not appear to be a copy.
Condition: Somewhat faded and stained, the verso especially mottled with fox marks; the tTop 2mm strip more freshly preserved, as it must have been protected by a former mount, and something of this also visible at the right edge and below.
COLLECTION: GB Oxford, Ashmolean Museum (inv. WA1960.48).
FURTHER LITERATURE/REMARKS: Parker, 1960, pp.56-57, repr. pl.xiv; Benesch, 1964, p.117, repr. fig.14 (reprinted Benesch, 1970, p.253, repr. fig.221); Benesch, II, 1973, no.339A, repr. fig.411 (c.1636); [Not in Schatborn, 2019].
PROVENANCE: Henry Stephen Olivier (L.1373); Mrs Helen Sidall; acquired by the present repository from E.M. Siddal in 1960.[1].
[1] I am grateful to An van Camp for amplifying the provenance details (email to the compiler, 28 April 2018).
Subject: Sheet of Studies, Mostly Male Heads, and with a woman cradling her child studied three times
Medium: Pen and brown ink with brown wash and red chalk.
COMMENTS: Many of Rembrandt’s drawings have been cut by dealers and collectors into smaller, separate drawings, but the present sheet is the finest surviving work not to have suffered such depredations. Compare also Benesch 0339 and the Berlin drawings, Benesch 0218-9, the latter of which has been largely reconstituted.
It has been suggested that rather than a random series of sketches, Rembrandt here consciously followed or referred in some way to the venerable tradition of the model-book, a medieval practice in which artists assembled studies on the same page in albums as material for future reference.[1] But the sheer variety of characters assembled on this single sheet, from women with children at their breasts to men in barrets as well as oriental types with turbans (top left), makes the link more than a little tenuous, as does the varying degree of finish, from the incipient sketch at centre right, of just the middle section of a child asleep at its mother’s bosom, to the highly resolved male figures on different scales that dominate the left half of the sheet. There are two studies that stand apart not only in style but in technique, the youth lower right edge leaning on a flat surface, and another figure, hitherto unremarked, of a head of a man wearing a barret in profil perdu (turned to the right) that has been erased using the brush to form little more than a patch of red wash under the arm and hand holding the kerchief at the centre of the drawing.[2] All these sketches appear to have been made from life, with the possible exception of the women and children.[3]
So rather than referring back in time, the drawing is more readily understood as a modern sketchbook page, on which various ideas were tried out and characters sketched, probably drawn opportunistically to capture the characters and also sketched for pleasure, as much as with any potential future practical use in mind.[4] It should be dated c.1634-35 for a number of reasons: the use in two figures of red chalk, a medium little used by Rembrandt after the Leiden period, recalls the exceptions he made in the documentary drawing of c.1633-34 in the Courtauld of St John the Baptist Preaching (Benesch 0142a), the studies after Leonardo in 1635 (Benesch 0443-45) and the sketches of the Magdalene and the Virgin Mary for the Entombment (Benesch 0152) which probably date from the same year;[5] the oriental’s head at the top left and the man with a barret immediately below him reveal links in style with Benesch 0257 of 1634 (rom the Burchard Grossmann album); the women and children on the right compare well with the documentary drawings of c.1633-34 for the St John the Baptist Preaching (especially Benesch 0140-42) – perhaps especially, compare the small profile sketch on the right of Benesch 0142 recto with the oriental head at the top left and the delineation of the same figure’s arms with those of the women on the right; the fine hatching lines at the upper right corner of the Birmingham sheet, with splintery zig-zags running in more than one direction, resemble the shading on the right in the silverpoint Portrait of Saskia in Berlin of 1633 (Benesch 0427).
While none of the figures appears to have been directly employed in any other work by Rembrandt, the style suggests that the sketches were made contemporaneously with those for the Berlin grisaille. Thus the idea that they may have formed part of the background of research studies made in preparation for that composition seems plausible. The cast of characters in the picture contains many women with children, sometimes at their breast (for example the woman immediately to the left of and behind the three elders in the centre) as well as men in oriental costume, a figure leaning on his arm and looking out (like the red chalk figure lower right) and heads turned in every direction, including in strict profile as for the figure at lower left here and in the prominent central group of the grisaille, are features that might lend support to this contention.
The largest figure, at upper centre, has been described as wearing a plumed hat, but he began by wearing a barret. Then a conical shape (cf. the central figure in Benesch 0209) was tried out with the tip of the brush but finally scrubbed or interrupted by a double loop, again made with the brush, which gives a plume-like appearance, though this was probably not the intention (see further under note 7 below). His broad, jowly face and overweight appearance give him a superficial resemblance to the actor, Willem Barthelsz. Ruyter (see under Benesch 0120 and compare the later – c.1639 - Rijksmuseum portrait of the actor in iron-gall ink, not in Benesch).[6]
A drawn copy after one of the heads is in Berlin,[7] and an etching of the whole sheet was made by Chevalier I. J. de Claussin. François Basan made an etching after the main head at upper centre.[8]
Condition: generally good; slightly trimmed at the right
COLLECTION: GB Birmingham, Barber Institute of Fine Arts (inv.49.10).
FURTHER LITERATURE/REMARKS: Exh. London, 1878-79, no.309; Exh. London, 1899, no.117; Lippmann, I, 85; Bode and Valentiner, 1906, p.28, repr. (c.1635); Hofstede de Groot, 1906, no.1024 (c.1635; compares sketch-sheet style etchings Bartsch 365 and 369; NH 157 and 177); Heseltine Drawings, 1907, no.63; Saxl, 1908, p.231; Neumann, 1918.I, no.46; Stockholm, 1920, p.55, repr. fig.63; Exh. London, 1929, no.583 (1930, p.199); Berlin, 1930, I, p.246, under inv.13748; Benesch, 1935, p.24; Benesch, 1947, no.73, repr.; Birmingham, 1952, pp.188-89; Exh. London, 1953, no.302; Benesch, II, 1954/73, no.340, repr. (c.1636; compares Benesch 0339 and 0355 and the women and children with Benesch 0258 and 0360; also the etching Bartsch 365; NH 157); Exh. Rotterdam-Amsterdam, 1956, no.42; Exh. London, 1967, no.53; Exh. Amsterdam, 1969, no.37; Sumowski, Drawings, I, 1979, under no.225x; Birmingham, 1983, p.47; Bruyn, 1983, pp.55 and 58, n.33, repr. fig.4 (model-book type of drawing); Amsterdam, 1985, under no.100, repr. p.207 (mid-1630s); Birmingham, 1986, no.12, repr. twice, once in colour; Exh. London, 1986, no.12; Exh. Berlin-Amsterdam-London, 1991-92.I, cat. no.8, repr. (mid-1630s; model sheet); Exh. London, 1998, no.96; Birmingham, 1999, p.79, repr.; Exh. Vienna, 2004, p.45, repr. fig. 10 with detail on p.40 (as Bruyn, 1983); Berlin, 2006, under no.22 (as Bruyn, 1983); Schatborn, 2019, no. 293, repr. (c.1637).
PROVENANCE: R.P. Roupell (L.2234); his sale, London, Christie’s, 6th day, 13 July, 1887, lot 1109, bt Heseltine; J.P. Heseltine (L.1507); Henry Oppenheimer by 1929; passed in 1932 by inheritance to his brother, O. F. Oppenheimer; his sale, London, Christie’s, 17 June, 1949, lot 27, when acquired by the present repository.
[1] See Bruyn, 1983 (as per Literature above). It should be remembered that Bruyn was primarily a medievalist before he joined the Rembrandt Research Project.
[2] Described even in Exh. Berlin-Amsterdam-London, 1991-92.I, cat. no.8, nonsensically as follows: “The underside of the pen-drawn arm of the man in the middle is heightened with red chalk”.
[3] See Birmingham, 2005.
[4] The idea that people, including professional artists, might draw and also paint for pleasure seems to have wholly escaped modern art historians. In the days when curators were all artists (in some museums till the 20th century), it was self-evident.
[5] Benesch 154 of c.1634-35 also contains red chalk.
[6] Gary Schwartz (<http://www.garyschwartzarthistorian.nl/323-the-r-k-czy-identity/> retrieved 8 April 2018) believes the head at the lower left portrays the figure seen in an etching after Rembrandt by Johannes van Vliet (Hollstein 26), which in a later state is said to represent George I Rákóczy, Prince of Transylvania, but the much flatter nose and curled eyebrow in the print makes the identification most unlikely.
[7] See Berlin, 1930, p.246, inv.13748.
[8] An impression is in the British Museum, in the Recueil Basan, inv. 1941,0327.11.8. It carries a ‘signature’ with the date 1639, and shows the figure with ‘plumes’.
Subject: Bust of an Elderly Man Wearing a Sixteenth-Century Style Cap, and with a medal on a chain around his neck.
Medium: Reed (?) pen and brown ink, with a ruled pen framing line (to judge from the etched reproduction).
Inscribed: in the copper plate below: “Rembrandt del” and “Laurentz fec. 1769”
125 x 118 (the etching).
COMMENTS: Benesch included a number of etched reproductions by Johann Daniel Laurentz (1729-1810) after ‘lost’ Rembrandt drawings, which he believed were copied from authentic originals. In the present case, the broad lines suggest an affinity with Rembandt’s drawings in reed pen from the 1650s rather than from the mid-1630s as Benesch proposed. But until or unless the original drawing resurfaces an open verdict must remain not only concerning the date but also as to whether it was indeed by Rembrandt himself.
Summary attribution: Johann Daniel Laurentz, after Rembrandt?
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.0340a (c.1635-36 on the basis of the etched reproduction; compares Benesch 0337-40 and Benesch 0261-63); [Not in Schatborn, 2019].
Subject: Five Studies of Heads
Verso: Two Cottages
Medium: Silverpoint on prepared parchment; recto with ruled framing lines in pen and grey ink, partly gone over in graphite.
Inscribed verso, lower right, in graphite: “4110”
134 x 80. Watermark: none (parchment)
COMMENTS: See under Benesch 0427 (concerning the date, the medium and whether the artist used a silverpoint, ‘tafelet’-sketchbook). This is one of three small sheets containing silverpoint drawings by Rembrandt (the third being Benesch 0466, qv also). All were probably made on a trip to Sint Annaparochie in Friesland, where Saskia attended the baptism of her niece, Sophie, on 2 June, 1633.[1]
It has been suggested that Saskia may have modelled for the figure in exotic, sixteenth-century garb in the centre of the sheet. On the basis of a comparison with Benesch 0427, the identification must remain conjectural.[2] The other figures, apparently drawn from life, presumably depict characters encountered on the journey, perhaps also in Friesland. These are informal sketchbook jottings with a potential for future reference and should not be viewed - as they sometimes have been – as part of the model-book tradition.
The verso also appears to have been sketched from nature and the type of cottage accords with those to the north east of the former Zuiderzee - the area around Sint Annaparochie.[3] Those shown in Benesch 0466 appear to be of the same type (the verso of Benesch 0466 probably depicts Sint Annaparochie itself). These are the earliest known landscape drawings by Rembrandt (not counting the "townscape", Benesch 0057a).
The drawing has been cut down, probably removing the remainder of the cottage on the left, as well as some figures on the recto. It is reasonable to assume that the dimensions of the sheet were originally at least equal to the largest of the three silverpoint drawings, i.e. 109 x 192, the size of Benesch 0466.[4]
As Benesch noted, a comparable cottage appears in Rembrandt's painting, The Mill, now in Washington (not in Bredius; Corpus, VI, no.205), but the connection is not direct.[5] Under Benesch 0466 it is suggested that Rembrandt could have made the landscape drawings on silverpoint while seated in a barge, owing to the ultra-low viewpoint. If so, the leaning figure on the lower right of the recto here might (is this too fanciful?) portray a bargeman,[6] though his companions on the recto might suggest characters from a group of mummers.
Condition: As noted above, cut down; some rubbing, scuffing and discolouration but generally good.
COLLECTION: NL Rotterdam, Museum Boijmans Van Beuningen (inv. R 25).
FURTHER LITERATURE/REMARKS: Lippmann, I, 48 and 49; Michel, 1893, p.582; Seidlitz, 1894, pp.121 and 123; Exh. London, 1899, no.204; Hofstede de Groot, 1906, nos.1023 and verso repeated as no.1043; Heseltine, 1907, no.2, repr.; Benesch, 1925, p.121 (c.1632-33); Exh. Berlin, 1930, no.325; Exh. Amsterdam, 1932, no.244; Exh. Rotterdam, 1934, no.76; Benesch, 1935, p.15; Wimmer, 1935, pp.15, 16, 26, 30, 47; Benesch, 1947, p.16, under no.21; Benesch, II, 1954/73, no.341, repr, figs 388/413 and 390/415 (c.1637; links to other silverpoint drawings and verso to the cottage by the mill in The Windmill, Washington, Corpus, VI, 206, which he believes should be dated as the drawing); Exh. Rotterdam-Amsterdam, 1956, no.47 (c.1636-37; top right figure a portrait of Saskia, as also central figure); Rosenberg, 1956.I, p.69 (verso c.1637); Haverkamp Begemann, 1961, p.286; Slive, 1965, I, nos.48-49; Rotterdam, 1969, p.23, repr. figs 17-18 (attribution not fully convincing); Benesch, 1970, p.47; Amsterdam, 1985, under no.32, n.3 (c.1633); Rotterdam, 1988, no.11, repr. (c.1636-37; top right figure likely a man; modelbook sheet); Exh. Washington, 1990, pp.70-72, under no.1, repr. fig.1 (c.1633; Bakker dates to 1633 and suggests cottages not typical of Amsterdam but of area to the south of the city, or else further north, N.E. of the Zuiderzee or - 'a more fanciful hypothesis' - Friesland [an idea proposed by Bakker in same catalogue, pp.54-55]); Royalton-Kisch, 1990, p.135 (all Rembrandt’s silverpoint drawings should be dated 1633 as per date on Benesch 0427); Schneider, 1990, pp.33-34 (c.1633-34); Van de Wetering, 1991, pp. 221, and 226, n.39 (use of a ‘tafelet’); Exh. Berlin-Amsterdam, 1991-92, pp.29-30, repr. fig.36 (made in Friesland); Exh. Amsterdam, 1998, p.17, verso repr. fig.12 and p.65 (drawn out of doors and different in style to most of Rembrandt's landscapes); Broos, 2005, pp.85-86, repr. figs.4 [verso] and 5 [recto] (1633; associates silverpoint sketches with Rembrandt and Saskia’s visit to Sint Annaparochie that year; doubts that a ‘tafelet’ was used [agreeing with a letter he received from Bevers to this effect]); Exh. Rotterdam, 2005-6, p.xiii and no.5, repr.; Exh. Istanbul, 2006, no.5, repr.; Slive, 2009, p.??; Exh. Washington-London 2015, no.??; This Catalogue online, 16 April 2018 (c.1633); Schatborn, 2019, nos 223 and 480, and pp. 19 and 305, repr. (c.1635); Exh. Leiden-Oxford, 2019-20, pp.70 and 72-73, and no.149, repr. (c.1633); Exh. Mettingen 2019-20, pp.22-23, repr. fig.2.
PROVENANCE: Sir W.W. Knighton (according to Hofstede de Groot, 1906, no.1023); J.P. Heseltine (L.1507; not in his sale, Amsterdam, 27 May, 1913); Franz Koenigs; D.G. van Beuningen, by whom given to the to the Boijmans Museum Foundation in 1940.
[1] Broos, 2005, passim. He convincingly suggests that Rembrandt accompanied his wife-to-be, whose portrait he drew on 8th June, six days after Sophie's baptism. He was to return the following year, 1634, for his wedding to Saskia on 22 June, and again in 1635 when Saskia witnessed the baptism on 12 July of Hiskia, the daughter of Titia van Uylenburgh (Saskia's sister) and Gerrit van Loo.
[2] Haverkamp-Begemann, in Exh. Rotterdam-Amsterdam, 1956, no.47, thought the figure at the top right might also portray her while Broos believed that figure to be male.
[3] See Bakker in Exh. Washington, 1990, pp.53-55, and Broos, 2005; as here noted under Benesch 0466, the cottage in the background of the 1632 etching, The Ratcatcher (Bartsch 121; NH 111; as noted under Benesch 0466) resembles those in the two silverpoint drawings.
[4] Broos, 2005, p.86.
[5] Benesch, II, 1954/73, no.341. Reading his text ("the cottage, much obscured by dark varnish, stands in the shadow of the large bastion"), it appears that he thought the similar cottage was not the one next to the mill itself, but another shape in the lower centre of the painting, which since cleaning has emerged as part of the bastion itself.
[6] Compare, for example, his counterparts on ff.63 and 65 of Adriaen van de Venne's album in the British Museum (Royalton-Kisch, 1988, no.63 and 65, repr.); many bargemen also appear in works by other artists who painted river scenes, such as Esaias van de Velde, Jan van Goyen and Salomon van Ruisdael.
Subject: A Young Woman Carrying a Child, three-quarter-length, turned to right
Medium: Pen and brown ink; remnants of ruled framing lines in pen and brown ink.
COMMENTS: The drawing is inseparable in style and motif from Benesch 0343 (qv), in which the same woman in a similar pose and wearing probably the same headdress appears towards the upper left (the other women have different headgear). Benesch 0251 may represent the same individual. The style seems to accord with Rembrandt’s in the mid-1630s, although it cannot be related to any of the documentary drawings entirely satisfactorily. The details are less precise than in the documentary sketches of c.1633-34 for the Berlin grisaille of St John the Baptist Preaching (Benesch 0140-42 and 0336) and the sweeping articulation of the arms both here and in Benesch 0343, with the double lines in the shoulder, anticipate his iron-gall ink sketches of c.1637-39 (cf. Benesch 0659). Thus a date c.1636-37 seems probable.[1] For the motif, compare Benesch 0194, Benesch 0226 and Benesch 0228.
It has been suggested that the child was one of the six children (recorded in 1634) of Hendrick van Uylenburgh and his wife Maria van Eck, in whose home Rembrandt lodged at the beginning of the Amsterdam period.[2] See further under Benesch 0194 for Rembrandt’s drawings of women and children.
An etching by Chevalier I.J. de Claussin copies this on the same plate as Benesch 0340.[3]
Condition: somewhat stained especially near the edges (probably mat burn) but otherwise good.
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1020 (as from Rob. Dumesnil and Jac. de Vos jnr collections); Heseltine, 1907, no.3; Rembrandthuis, 1931, no.3; Amsterdam, 1931, no.3; Exh. Amsterdam, 1932, no.243 (1637); Benesch, 1935, p.28; Benesch, II, 1954/73, no.342, repr. (c.1636; same model in Benesch 0343; compares Benesch 0403); Sumowski, 1956-57 (copied with Benesch 0340 in etching by De Claussin); Haverkamp Begemann, 1961, p.13 (compares Benesch 0251-2); Amsterdam, 1972, no.III, repr. (as Benesch, 1954/73); Amsterdam, 1991, no.1, repr. (mid-1630s; probably once part of a larger sheet; perhaps child of Uylenburgh [see above]; otherwise as Benesch, 1954/73); Exh. Munich-Amsterdam, 2001-2, no.23, repr. (c.1636); Paris, 2010, under no.4 (could have been made around the same time as Benesch 0343, which dated c.1637-38); Schatborn, 2019, no.231, repr. (c.1635).
PROVENANCE: Sir W.W. Knighton (according to Hofstede de Groot, 1906 and Heseltine, 1907; see also under Hofstede de Groot, 1906, in Literature above); R. Dumesnil (according to De Vos sale and Hofstede de Groot, 1906); J. de Vos; his sale, Amsterdam, Roos, Roos, Muller, van Pappelendam and Schouten, 22 May, 1883, lot 420, with one other, a sketch of two men; J.P. Heseltine (L.1507); his sale, Amsterdam, Muller, 27 May, 1913, lot 9; donated to the present repository by a group of benefactors, 1913.
[1] In Paris, 2010, Schatborn also compares the Adam and Eve (Benesch 0164) of c.1638.
[2] Suggested in Amsterdam, 1991, no.1. Rembrandt’s and Saskia’s own children died too young to be the infant depicted here, with the exception of Titus, born in 1641. But the style suggests a significantly earlier date. The 1634 document mentioning the Uylenburgh children (Gerrit, Sara, Anna, Suzanna, Isaack and Lyntgen) on 15 July 1634 is online at http://remdoc.huygens.knaw.nl/#/document/remdoc/e15021 (consulted 17 April 2018). See also for this document, Broos, 2012, p. 121.
[3] According to Sumowski, 1956-57, though I have not yet found evidence of an impression.
Subject: Three Studies of Women Carrying a Child, with another child playing peek-a-boo and an outline of a head and cap upper right
Medium: Pen and ink, with some rubbing with the finger.
Inscribed lower left, in pen and brown ink: “Remb” [?] (see under Benesch 0113); verso, in pen and brown ink, lower left: “L2696”
187 x 153. Watermark: part of a shield with Strasbourg lily; chain lines: 27/28h
COMMENTS: See the related drawing, Benesch 0342, which appears to have been made from the same model as seen here at the upper left, and at the same time. The other woman, who wears a bowl-like hat with a strap under her chin, was sketched twice and seems older. Perhaps neither is the mother of the child, but rather a nurse and an older relative.
Benesch 0194 shows a comparable figure of a woman carrying child in her arms, as do Benesch 0226 and 0228, while Benesch 0251 possibly shows the same woman seen here at the upper left and in Benesch 0342. At least some of Rembrandt’s drawings of women and children were brought together in an album that later belonged to Jan van de Cappelle (see under Benesch 0194).
Presumably drawn from direct observation, the movement of the figures is expressed in the pentimenti in the nearer arm of the uppermost and lowest women. Yet the freedom of the drawing is tempered by the precision of the vertical hatching, especially in the upper part of the face of the woman in the two lower studies. Also highly refined is the face of the wonderfully characterised child playing peek-a-boo at the upper left. The ‘false start’ of a head at the upper right seems to be an initial outline for a head resembling that of the woman at the upper left (to jusge by the loop at the back of the head).
Such drawings may have been kept for future reference although as in this instance they tend not to reappear in recognisable form in Rembrandt’s paintings, etchings or other drawings.
Condition: generally good; a 20mm horizontal stain to left of the lower figure, and minor damages at the lower right corner and lower centre.
COLLECTION: F Paris, Fondation Custodia, Frits Lugt Collection (inv. 4904)
FURTHER LITERATURE/REMARKS: Exh. Amsterdam, 1935, no.44 (c.1637; then in the collection of “N.N.”); Lugt MS notes in RKD (‘R., goed c.1636’); Exh. Haarlem, 1951, no.152 (c.1635-40); Benesch, II, 1954/73, no.343, repr. fig.395/416 (c.1636; compares ‘same model’ in Benesch 0342 and the figures to the right of Benesch 0340); Exh. Paris, 1957 (no catalogue); Haverkamp-Begemann, 1961, pp.24 and 26 (1634 or 1636); Exh. Paris, 1965, no.91; Exh. Paris, 1970, no.156 (c.1635-40); Amsterdam, 1972, under no.III (c.1635-40); Haverkamp-Begemann, 1976, p.362, repr. fig.5; Schatborn, 1981.I, pp.1 and 3, no.22, repr. (c.1636); Vogel-Köhn, 1981, p.214, no.28, repr (c.1635-38); Broos, 1996, p.161; Van Berge-Gerbaud, 1997, p.70, repr. (c.1639); Exh. Paris-Haarlem, 1997-98, p.xx/xxi[Dutch or French edition], and no.7, repr. (late 1630s); Starcky, 1999, pp.115 and 118, repr (c.1636-38); Exh. Edinburgh-London, 2001, no.58, repr. (c.1635-37; exh. only in Edinburgh); Van Eck, 2001, p.586; Exh. Munich-Amsterdam, 2001-2, under no.23, repr. fig.1 (c.1636); Exh. Brussels, 2005, under no.9, p.35, repr. fig.2; Exh. Dresden, 2006, pp.23-24, repr. fig.6; Exh. Paris, 2006, p.15, no.16, repr. (second half of 1630s); Exh. Paris, 2006-7 (no catalogue); Paris, 2010, no.4, repr. (c.1637-38, as also Benesch 0342; pentimenti under right arm of upper and lower woman; compares Eve in Benesch 164); Exh. New York, 2011, p.88, repr.; Schatborn, 2019, no.230, repr. (c.1635).
PROVENANCE: A.C. von Frey, c.1930; “N.N.” (according to Exh. Amsterdam, 1935, no.44); acquired 18 June 1935, by Frits Lugt (L.1028).
Subject: A Woman Holding a Child in her Arms
COMMENTS: In style, an unusual drawing. The somewhat fragmented movements of the pen – in the foreground shadow exaggeratedly, nay wilfully calligraphic – is reminiscent of the style of the Leiden period, in drawings such as Benesch 0010 and Benesch 0027. Benesch 0034 has comparable downward loops of the pen in the lower drapery that then turn to the left, seen again, for example, in Benesch 0300, a later drawing, and the shadows in the former are not entirely incommensurate with what we see here; but the medium in Benesch 0034 is chalk, while here we have pen, which gives the drawing a very different quality. On the other hand, the face of the child seems reasonably consistent with Rembrandt’s works of the mid-1630s and the abstracted, triangular, nearer foot links with the documentary drawings, Benesch 0141 and Benesch 0292.
The unusually pronounced and heavily-executed pentimenti, through which the figure was adjusted from a near-profile stance to look instead down towards her basket, is an un-Rembrandtesque aspect of the drawing. Yet in the absence of an alternative attribution I cannot completely discount that it might be by him, perhaps made in around 1632-35, although such an eventuality seems unlikely.
Condition: generally good; some spotting and surface dirt; stained by an old mount[er]? along the top edge.
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1460; Benesch, 1935, p.28; Benesch, II, 1954/73, no.344, repr. (c.1636; compares Benesch 0342); Exh. Vienna, 1956, no. 21; Exh. Vienna, 1969-70, no.10, repr.; [Not in Schatborn, 2019].
PROVENANCE: Albert von Sachsen-Teschen (Lugt 174).
Subject: A Seated Man Feeding a Child, with two further sketches of children (“The Widower”)
Medium: Pen and greyish brown ink and wash.
Inscribed on the former mat by "S.W.", presumably Samuel Woodburn: “The Widower”
COMMENTS: The novelty of the alluring and unusual subject, dubbed “The Widower”, perhaps by the dealer Samuel Woodburn in his inscription on the old mat, led owners and scholars to associate the drawing with Rembrandt’s personal life, to the extent of identifying the man depicted as the artist himself feeding his son, Titus. Thus the attribution seemed to be secured by Rembrandt’s biography. Dates were suggested that fell soon after the death of Saskia. But already in 1917, Seidlitz rejected the attribution and he was certainly correct: no drawing convincingly ascribed to Rembrandt resembles the formulations here, whether in the style, structure or the rendition of details.[1]
An alternative attribution to Heijman Dullaert has been suggested, but the scarce evidence of his draughtsmanship (Sumowski 570xx) makes this appear speculative.[2] The regular hatching also has some points in common with Willem Drost but insufficiently close to warrant an attribution to him. Nevertheless, the drawing does seem to belong in the wider orbit of Rembrandt’s influence in Amsterdam in the early 1650s.
Condition: Faded.
COLLECTION: DK Copenhagen, Statens Museum For Kunst (inv.18011).
FURTHER LITERATURE/REMARKS: Lippmann, I, 45 (c.1650); Michel, 1893, p.297; Exh. Amsterdam, 1898; Hofstede de Groot, 1906, no.1013 (1643-45); Heseltine, 1907, no.30, repr. (on cardboard mat inscribed “The Widower”); Exh. Paris, 1908, no.377; Hind, 1912, p.66, repr. pl.33 [not in 1924 ed.]; Exh. Amsterdam, 1913, no.46; Exh. Leiden, 1916, no.59; Hirschmann, 1917, p.12; Seidlitz, 1917, p.252 (as Lippmann, but not Rembrandt); Stockholm, 1920, p.57, repr. fig.65 (suggests not by Rembrandt; assumes the man depicted is Rembrandt and rejects the dating to the mid-1640s); Becker, 1923, p.11, no.37, repr.; Weisbach, 1926, p.158, repr. fig.29; Exh. The Hague, 1930, no.90; Exh. Ny Carlsberg Foundation, no.426 (c.1655-60); Exh. Copenhagen, 1953, p.109, repr. p.55 (c.1650); Benesch, II, 1954/73, no.345, repr. fig.401/420 (c.1636-37; refutes Seidlitz, 1917; states without reference that Saxl though it represented Rembrandt and dated it c.1634; compares Benesch 0436 and the hand to Benesch 0438); Rosenberg, 1956.I, p.69 (c.1643 to be preferred); Scheidig, 1962, pp.41 and 77, cat. 31, repr.; White, 1964, p.82, repr. (c.1643); Slive, 1965, no.45 (Rembrandt not depicted); Vogel-Köhn, 1974, no.81, repr. p.230 (1644-45; as Slive, 1965); Bernhard, II, 1976, p.202 (c.1636-37); Tümpel, 1977, p.91 (school work, c.1643); Exh. Copenhagen, 1996, pp.55-57, repr. (not Rembrandt, as Royalton-Kisch and Schatborn stated verbally in 1995; Schatborn’s alternative suggestion, Heijman Dullaert, rejected); [Not in Schatborn, 2019].
PROVENANCE: Samuel Woodburn; Barron Grahame; his sale, London, 1878; J.P. Heseltine (L.1507); his sale, Amsterdam, F. Muller, 27 May 1913, lot 18 (c.1655-60); C. Hofstede de Groot (L.561); his sale, Leipzig, Boerner, 4 November, 1931, lot 169, bt Gustav Falck; presented to the present repository by the Ny [New] Carlsberg Foundation, July, 1948.
[1] Jan Garff, in Exh. Copenhagen, 1996, hoped to re-dub the drawing “Pater familias”, like the etching by Adriaen van Ostade (Bartsch 33).
[2] Op. cit., 1996, p.55, recording Schatborn’s oral opinion.
Subject: Bust of a Bearded Man in a Fur Hat
Medium: Red chalk on light brown paper; ruled framing lines in pen and pale brown ink.
COMMENTS: The drawing has been related to Rembrandt’s etching, dated 1640, of an Old Man with a Divided Fur Cap (Bartsch 265; NH 182).[1] The scale is much smaller here and presumably the etching - like the drawing - was made from life. Yet the drawing does at least adumbrate the print to come: the costume, pose and bust length are all comparable in general terms, and the model could have been the same in both. It therefore seems likely that the drawing predates the more finished print.
For style one might compare the red chalk Self-Portrait (Benesch 0437 recto), with its similar treatment of the upper chest with spaced, near-vertical lines, though the scale there is again larger. There are also links with Rembrandt’s copies after Pieter Lastman of c.1636-37 (perhaps especially Benesch 0448, which is also in red chalk). The somewhat geometric underlying structure of the torso looks forward to the 1650s, but the degree of detail in the head and hat, despite the chalk’s being less than sharp, seems to anchor the drawing more firmly in the late 1630s - or in 1640 itself, the date of the British Museum’s study of Cornelis Claesz. Anslo (Benesch 0758), which exhibits the same softness of the chalk and blocked-out construction.
Negative assessments of the drawing (see Literature) were perhaps unduly influenced by the drawing’s condition.
The costume appears to be Polish, the hat apparently belonging generically to the type called the “kuchma”.[2]
Condition: rather worn/rubbed; the light-brown paper tone could well be discolouration due to exposure.
Date: c.1639-1640.
COLLECTION: NL Amsterdam, Amsterdam Museum [Fodor Collection, L.1036] (inv. TA 10274).
FURTHER LITERATURE/REMARKS: Amsterdam, 1863, p.37, no.159 (one of seven ‘studiehoofden’); Gram, 1863, p.340; Vosmaer, 1868, p.511, no.d of e (‘têtes de vieillards’); Gower, 1875, p.126; Vosmaer, 1877, p.596, no.d (as Vosmaer, 1868); Dutuit, 1885, p.92; Michel, 1893, p.591; Kleinmann, III, 2; Hofstede de Groot, 1906, no.1220 (doubtful); Wurzbach, 1910, p.415 (compares Man with Divided Fur Cap, Bartsch 265; NH 182); Honderd Tekeningen, 1934, no.80; Benesch, 1935, pp.27-28 (c.1637; compares Benesch 0142); Münz, 1952, II, p.64, under no.59 (as Wurzbach, 1910 - 'same model in a similar pose’); Benesch, II, 1954/73, no.346, repr fig.383/418 (c.1637; compares bearded man at upper left of Benesch 0141 and Benesch 0370); Exh. Cologne-Bremen, 1955, no.72; Exh. Assen, 1956, no.28; Exh. Warsaw, 1956, p.32, no.27; Exh. Belgrade-Zagreb, 1960, p.17, no.60; Exh. Jerusalem, 1960, p.14, no.60; Exh. Budapest, 1962, p.17, no.60; Exh. Amsterdam, 1963, no.25c; Amsterdam, 1972, p.138, under no.B265 compares etching as Wurzbach, 1910); Amsterdam, 1981, no.7, repr. (c.1635-40; similar, though not directly related, to the etching, Man with Divided Fur Cap, Bartsch 265; NH 182); Schatborn, 2019, no.434, repr. (c.1652).
PROVENANCE: Willem Baartz; his sale, Rotterdam, Lamme, 6-8 June 1860, lot 100: 'Rembrandt van Rijn. Six têtes d'études. Crayon noir, sanguine et bistre', bt Lamme, f 7; C.J. Fodor, by whom bequeathed to the Museum Fodor (L.1036), 1860; acquired by exchange by the present repository in 1937.[3]
[1] Since Wurzbach, 1910 and followed by Münz, 1952 and Filedt Kok in Amsterdam, 1972. Broos, in Amsterdam, 1981, acknowledges the similarity without seeing a direct relationship.
[2] See Broos, 1974, p.200.
[3] The provenance is the same as Benesch 0372.
Subject: A Seated Man, Listening, profile to right
Medium: Pen and brown ink; ruled framing lines in pen and grey-brown ink.
COMMENTS: For style, compare the figure of Jacob in Benesch 0095, both in the vigour of the outlines (not least in the arms) and in the detail of the hatching in the neck. The upper figure of Adam in the documentary drawing, Benesch 0164 of 1638, is also analogous and suggestive for the date. These comparisons suggest that the Courtauld sheet is later than the grisaille of St John the Baptist Preaching (Bredius 555, Corpus A106, vol. VI no.110), with which it has sometimes been linked in the past.
In c.1652, Rembrandt was to use a comparable figure in his etching of Christ Preaching [‘La Petite Tombe’] (Bartsch 67; NH 298).
Condition: generally good though somewhat discoloured; presumably a fragment of a larger sheet; the mounter responsible for the framing lines allowed their ink to spread at upper right.
COLLECTION: GB London, Courtauld Institute (Seilern Collection, inv.D.1978.PG.407).
FURTHER LITERATURE/REMARKS: Valentiner (unpublished 3rd volume) 1337; Benesch, II, 1954/73, no.347, repr. (c.1637; relates to listeners in Benesch 0138 and grisaille of Baptist preaching, Bredius 555, Corpus A106, vol. VI, no.110 and related sketch, Benesch 0141; for style also compares Benesch 0348); London, 1971, no.407 (c.1640); Exh. London, 1983, no.15 (fragment; for a scene of a biblical sermon); [Not in Schatborn, 2019].
PROVENANCE: F. Kleinberger; acquired in 1961 by Count Antoine Seilern (Princes Gate Collection), by whom bequeathed to the present repository, 1978.
Subject: Two Men Listening (after Raphael), one standing, one seated
Inscribed lower right, by a later hand, in pen and brown ink: “”Rembrandt”
Measurements uncertain.
COMMENTS: Benesch’s cryptic comment on the drawing links it (by association with his comments on Benesch 0347) with the Berlin grisaille of St John the Baptist Preaching (Bredius 555; Wetering 110). In fact the figures are a critique of two of the listeners in Raphael's tapestry design of St Paul Preaching at Athens, probably known to Rembrandt through the engraving by Marcantonio Raimondi.[1] Both figures are adjusted, the younger, seated man turns his head more towards us and the older man, lowered in relation to the nearer figure, now wears a cap and his cloak is differently configured.
Whether the drawing is at all connected with the grisaille of c.1634 is uncertain, but the date is not impossible (compare Benesch 0336). The group on the left of Rembrandt’s documentary drawing of the Lamentation (Benesch 0154) and the related oil in the National Gallery, London (Bredius 554; Corpus A105, vol.VI, no.114), both of the same period, seems to echo the arrangement more than anything in the St John. The style of Benesch 0154 is also comparable.
Raphael’s seated figure may lie behind the pensive young man towards the left of the etching of Christ Preaching (The Hundred Guilder Print) of c.1648 (Bartsch 74; NH 239). His tapestry designs influenced Rembrandt, and his teacher, Pieter Lastman, on many other occasions (see, for example, Benesch 0449). In 1639, Rembrandt made his sketch after Raphael's Portrait of Baldassare Castiglione (Benesch 0451), while the 1656 inventory of Rembrandt's possessions mentions works by or after Raphael six times, as follows, further revealing his esteem for the Italian painter: [item 67] "Een tronie van Raefel Urbijn" (A head (tronie) by Raphael of Urbino); [item 114] "Een Maria beeltie van Raefel Urbijn" (A figure of [the Virgin] Mary by Raphael of Urbino); [item 196] "Een dito [kunstboeck] met kopere printen van Raefel Urbijn" (One ditto [art album] with copperplate prints by Raphael of Urbino); [item 205] "Een dito [kunstboeck] met printen van Raefel Urbijn" (One ditto [art album] with prints by Raphael of Urbino); [item 214] "Een dito [kunstboeck] van Raefel de Urbijn, seer schoonen druck" (One ditto [art album] by Raphael of Urbino, with very fine impressions [of prints]); [item 232] "Een dito [kunstboeck] met de bouleringe van Raefel, Roes, Hanibal Crats en Julio Bonasoni" (One ditto with the erotica by Raphael, Rosa, Annibale Carracci and Giulio Bonasone).[2]
Condition: Presumably cut from a larger sheet; the top right section made up.
Summary attribution: Rembrandt (after Raphael).
COLLECTION: Whereabouts unknown.
FURTHER LITERATURE/REMARKS: Valentiner, III (unpublished) 1198; Benesch, II, 1954/73, no.348, repr. (c.1637; compares Benesch 0347); Schatborn, 2019, no.663, repr. (c.1636).
PROVENANCE: Dr van Lucius, The Hague (in 1920).[3]
[1] First noticed by the compiler 1 February, 1989. See Bartsch, XI, p.50, no.44.
[2] For the inventory, see Strauss and van der Meulen, 1979, no.1656/12.
[3] According to Benesch.
First posted 1 May 2018.
Subject: A Bearded Old Man in a Fur Cap, leaning on a stick, half-length to right
Medium: Pen and wash in greyish-brown ink; ruled framing lines in pen and brown ink (partly covered in gold by the mounter).
78 x 68. Watermark: none visible (laid down)
COMMENTS: A characteristic school drawing that emulates Rembrandt closely but has a neat, nimby-pimby approach that is entirely alien to his draughtsmanship. As noted by Benesch, the figure’s hands resemble those of the foreground woman in Benesch 0140, but the style is different. In the evenness of the touch, which rather suggests that it was not made from life, one might conjecture that it could be by the young Ferdinand Bol, whose drawings often display this characteristic. If so, the present work was likely to have been made soon after Bol joined Rembrandt’s studio in c.1636.
One curious aspect of the drawing – which must be a fragment of a larger sheet - is the way the man’s stick stops just short of the edge of the paper below, while his right sleeve goes down beyond it. This suggests the drawing might be a copy, which would explain both the evenness of the outlines and the similarity of the hands in Benesch 0140; for if a copy, it may be based on a lost sketch by Rembrandt, perhaps one made, like Benesch 0140, in the context of the grisaille of St John the Baptist Preaching of c.1633-34 (Bredius 555; Corpus A106, vol. VI, no.110) or at around the same time.
Condition: Generally good though with some surface dirt and discolouration; almost certainly a fragment of a larger sheet.
Summary attribution: School of Rembrandt (Ferdinand Bol??).
COLLECTION: NL Amsterdam, Rijksmuseum (L.2228 on verso of the backing; De Bruijn-van der Leeuw Bequest, inv. RP-T-1961-78).
FURTHER LITERATURE/REMARKS: Hind, 1913-14, no.18, repr. (c.1628-35); Benesch, 1935, p.28 (c.1637); Exh. Bern, 1937, no.184 (c.1632); Exh. Basel, 1948, no.4 (c.1632); Benesch, II, 1954/73, no.349, repr. fig.384/422 (c.1637; compares Benesch 0140); Van Gelder, 1961, p.151, n.24; Van Regteren Altena, 1961, pp.69 and 85, no.34; Amsterdam, 1985, no.100, repr. (school of Rembrandt, comparing Benesch 0340; probably mid-1630s; cut from a larger sheet); [Not in Schatborn, 2019].
PROVENANCE: Richard Houlditch (L.2214); his sale, London, Langford’s, 12-14 February, 1760; The Duke of Marlborough; his sale, London, Sotheby’s, 19 February, 1930, lot 73, bt Colnaghi, £30; I. de Bruijn-van der Leeuw; by whom given to the present repository, 1949, with usufruct until 28 November, 1960.
First posted 17 May 2018.
Subject: Bust of an Elderly Man in a Flat Cap, facing right
Verso: some recent inscriptions in graphite.
Medium: Pen and brown ink; remnants of framing lines in pen and brown ink at top and lower edges.
Inscribed top right in pen and brown ink with a paraphe “RH –" [?] (see under Benesch 0113)
84 x 69. Watermark: none; chain lines: 24/25v
COMMENTS: With his large earrings (if that is what they are) and oversized beret, the figure appears exotic and could be an actor (see under Benesch 0120).
For style, the obvious comparison is with the two figures with flat caps on the left of Benesch 0340. This leaves the present drawing wanting – it seems to be made up of parts: cap, face, band across the chest, hand and drapery, and the echoing zigzags for the profiles of the lower front and the lower back. The lack of flow and coherence between these parts is troubling. Then there is the hatching in the face, which lacks the precision or subtlety of the heads in Benesch 0340. In the present sketch it appears overly dense and at an somewhat uncharacteristic angle for a Rembrandt face. Comparable conclusions are to be drawn from a comparison with the Seated Old Man of c.1638-39 from the Lugt Collection (Not in Benesch; Paris, Fondation Custodia inv.4502),[1] who wears a similar headgear. The Standing Woman on the verso of that drawing is stylistically related in a more convincing manner, though again the figure there is moderately more coherent. Yet the congruities cannot be ignored and allowance should be made for the small scale in Benesch 0350. For these reasons I retain the possibility that Rembrandt made it, although its distance in style from any of the documentary sheets should also be remarked. No convincing alternative attribution has been forthcoming.
The paraphe at the top right, which appears on a number of drawings (see under Benesch 0113) is presumably an early collector’s mark, although it has every appearance of being in the same ink as the drawing – another reason for caution, perhaps.
Etched by Johann Daniel Laurenz.
Condition: slight spotting and discolouration but generally good.
COLLECTION: USA Washington, National Gallery of Art (Widener Collection, inv.1942.9.677).
FURTHER LITERATURE/REMARKS: Benesch, 1935, p.28; Benesch, II, 1954/73, no. 350, repr. (c.1637; compares Benesch 0349 and Benesch 0142); Exh. Washington, 1969, no. 31, repr.; Exh. Washington, 2006 [no numeration]; [Not in Schatborn, 2019].
PROVENANCE: K.E. von Liphart (L.1687); by descent to R. von Liphart (L.1758); Marsden J. Perry (L.1880); J.E. Widener, by whom bequeathed to the present repository in 1942.
[1] Repr. Paris, 2010, no.8, as well as in the present publication.
Subject: Studies of Five Figures
Verso: Composition Sketch with Figures in Movement Near an Entrance (The Massacre of the Innocents?)
Medium: Pen and brown ink (recto and verso); two ruled framing lines in pen and brown ink. Attached to a blue paper strip with a mottled line in pen and brown ink just outside the edges of the drawing.
Inscribed in pen and brown ink, lower right: “1864” and “217” [the latter crossed out]
152 x 105. Watermark: none; chain lines: 24h.
COMMENTS: The five figures on the recto (with an incipient sixth face near the upper right figure), with their often exotic headgear, compare reasonably well with the types portrayed in the Berlin grisaille of St John the Baptist Preaching of c.1633-34 (Bredius 555; Corpus A106, vol.VI, 110). The verso, with its energetic group of figures, is not easy to read but could depict the Massacre of the Innocents, as Kruse suggested (see Stockholm, 1920). Particularly towards the right there seems to be a woman rushing towards the right and carrying what could be a child, while the other figures stumble and turn all around her.
The style of the recto, though it resembles both sides of the documentary drawing for the Berlin grisaille at Chatsworth (Benesch 0142), is closer to Benesch 0145 in the Morgan Library, not least in the delineation of the frontally posed figures’ faces but also in the passages of deliberate horizontal hatching in the clothes. Although the details are sharper in the Morgan drawing, the hand appears to be the same. A similar congruity is found between the lower figure, seen from behind, and the horsemen at the top right of Benesch 0360 verso.
For the verso perhaps the closest is the area on the right of Benesch 0151, which has a similar energy and calligraphy.
For these reasons I am inclined to accept the drawing and place it c.1634, which makes a connection with the Berlin grisaille quite likely.
Condition: Good, if faded, with a few thin spots, especially in the lower left corner.
COLLECTION: S Stockholm, Nationalmuseum (L.2985; inv.2064/1863).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1608 (c.1630-35); Stockholm, 1920, no.II:7 [verso] and IV.18 [recto] (not Rembrandt; compares Benesch 0138, Benesch 0141 and Benesch 0151; verso represents Massacre of the Innocents); Valentiner, 1924, no.187 (verso); Benesch, 1933-34 (reprinted Benesch, 1970, p.119); Benesch, 1935, p.28; Benesch, II, 1954/73, no.351, repr. figs 403-404/424-425 (c.1637; compares especially Benesch 0141, as well as Benesch 0145, 0152, 0360 verso, 0361 and 0364; the verso with Benesch 0423 verso and Benesch 0144); Exh. Rotterdam-Amsterdam, 1956, no.72; Exh. Vienna, 1956, no.35; Sumowski, 1979 etc., V, 1981, under no.1185x; Exh. Stockholm, 1992-93, no.134, repr. (verso perhaps figures reacting to a heavenly apparition, comparing 1634 etching of Annunciation to the Shepherds, Bartsch 44; NH 125); [Not in Schatborn, 2019].
PROVENANCE: Roger de Piles? [many Crozat Rembrandt drawings were said by Mariette to have been acquired from de Piles]; Pierre Crozat (Mariette, 1741, p.101); his sale, Paris, 10-13 May, 1741 (lot number uncertain), bt Tessin; Carl Gustav Tessin (1695-1770; L.2985; his inventory, 1739-42, f.46 verso; 1749 cat., vol. 15, no.14); presented by him in 1750 to King Adolph Frederik of Sweden; his sale, 1777, where purchased by his successor, Gustav III, for the Swedish Royal Library (cat. 1790, no.1864); whence transferred to the Royal Museum, Stockholm (L.1368) and thence transferred in 1866 to the present repository.
Subject: Bust of a Man in a Turban
Inscribed in graphite, lower left, with a cross in a circle.
101 x 88. Watermark: crowned shield with crozier (only partly visible).
COMMENTS: The drawing appears close in style to Benesch 0682, especially in the tramline nose and somewhat uncertain profiling of the face of the central figure, but also in the rather liquid application of ink from a highly-charged quill. This kind of handling belongs to the 1640s (cf., for example, the documentary drawings Benesch 0183, 0188, 0388 and 0736), but the insecurity of the modelling has led to the drawing’s attribution to Govert Flinck. The connection with drawings such as the Musketeer, now in Copenhagen (Benesch A33, Sumowski 953x) seems undeniable, yet the more varied touch here, from the thin lines of the feather decoration to the almost brush-li ke treatment of parts of the drapery, together with the connection with Rembrandt’s own drawings mentioned above, allows us to retain it among the drawings “attributed to” the master. It may be that the drawing was not made from life but rather a sketch for one of the Magi or another figure from the Bible.[1]
Condition: Cut from a larger sheet with strips made good at both sides; somewhat stained, especially at lower corners and on added strips.
Summary attribution: Rembrandt? or Govert Flinck?
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/72, no.352, repr. fig.391/426 (c.1637; see n.1 below); Benesch, 1964, p.116; Rotterdam, 1969, pp.23-24, repr. fig.19; Benesch, 1970, p.253; Bernhard, 1976, p.222; Rotterdam, 1988, no.76, repr. (by Flinck, with reservations, c.1637; relates to his drawing in Copenhagen, Benesch A33, Sumowski 953x); [Not in Schatborn, 2019].
PROVENANCE: acquired in 1928 by Franz Koenigs (L.1023a); his collection purchased and given in 1940 by D.G. van Beuningen to the Boijmans Museum Foundation (Stichting Museum Boijmans Van Beuningen).
[1] Benesch, 1957, compared the oriental to right in Benesch 0147 and figures in the painting of Samson’s Wedding of 1638 (Bredius 507; Corpus A123, vol. VI, no.160).
Subject: Half-Length Study of a Man in a Turban by a Window, with a Girl Beyond
Verso: Standing Turbaned Oriental, hands clasped before him
Medium: Pen and brown ink, rubbed with the finger; the verso in darker ink and with wash, over black chalk.
Inscribed in pen and brown ink, top left: “138”
COMMENTS: Benesch rightly rejected the verso, which is somewhat reminiscent of the early works of Constantijn Daniël van Renesse of c.1650 and gives the impression of being a copy by an inexpert hand after an unknown prototype.[1] The style of the recto also betokens the 1650s, when Van Renesse was a pupil until his return to his native Eindhoven in 1653. Among Rembrandt's documentary drawings, the broad, sweeping outlines of the recto appear to arrive in his work in c.1647 with the Study for the Portrait of Jan Six (Benesch 0767), continuing through to his last drawings of the 1660s (such as Benesch 1066 and 1178). The parallel hatching in the face resembles that in the curtains in the Minerva in the Six album of 1652 (Benesch 0914), while the somewhat schematic head of the child may be compared with the simplified heads as formulated in the Anatomy Lesson of Dr Deyman of 1656 (Benesch 1175). There are also stylistic links to Benesch 1151 in the broad outlines of the drapery.
Thus the style places the drawing too late to be connected, as earlier writers have suggested, with the painted Still-Life with Dead Peacocks of c.1639 (Bredius 456; Corpus A134, vol, VI, no.165). Rather, the drawing must derive in part from this or a similar composition - there does seem to be a dangling body and neck of one bird below. This derivative quality increases the probability that the drawing is by a pupil. Yet the stylistic connections between the recto and Van Renesse are not persuasive (compare Job with His Friends and His Wife, now in Stockholm, Sumowski 2190xx and the Interior with a Staircase, now in Bayonne, Sumowski 2205xx). On balance, the drawing approaches Rembrandt himself significantly more closely: it is stylistically bolder and more decisive than his pupils' drawings of the period, while the drapery and hatching are close to what is found in the curtain at the tope left of the documentary drawing, Minerva in her Study, of 1652 (Benesch 0914). Why Rembrandt should choose to re-evoke his earlier, painted composition some 13 years later remains a mystery, but cannot be allowed to detract from the analogies with his work.
Condition: Some spotting and staining, mostly near the edges, and somewhat faded.
Summary attribution: Rembrandt (verso: School of Rembrandt, perhaps Constantijn van Renesse).
COLLECTION: D Berlin, Staatliche Museen, Kupferstichkabinett (inv.1110).
FURTHER LITERATURE/REMARKS: Dutuit, 1885, p.80; Hofstede de Groot, 1906, no.147 (1638; represents a Jew; relates to painting, Still-Life with Dead Peacocks of c.1639 , Bredius 456; Corpus A134, vol, VI, no.165, and sees a bird ‘touched out’ where the figure now is); Lippmann, IV, no.35 (as Hofstede de Groot, 1906); Freise, Lilienfeld and Wichmann, 1914, no.139 (recto later than the painting; called School of Rembrandt in the Kupferstichkabinett); Van Dyke, 1927, p.28; Berlin, 1930, p.234, inv.1110 (c.1645-50; otherwise as Hofstede de Groot, 1906); Exh. Berlin, 1930, p.269 (c.1645-50); Benesch, 1935, p.24; Benesch, II, 1954/73, no.353, repr. (c.1637; as Hofstede de Groot, 1906, dating painting c.1637; the figure an independent study from the background; for style compares Benesch 0339, 0340 and Benesch 0412); Exh. Berlin, 1956, no.97 (c.1645-50); Slive, 1965, no.480 (c.1638); Bredius-Gerson, 1969, under no.456 (study for the Amstrdam painting); Bernhard, 1976, p.204 (c.1637); Berlin, 2018, no.56, repr. (Abraham van Dyck; compares Sumowski 576xx, 583xx and 584xx); [Not in Schatborn, 2019].
PROVENANCE: K.F.F. von Nagler (L.2529); acquired by the present repository in 1835.
[1] Bevers, in Berlin, 2018, no.56, attributes both the recto and verso to Daniel van Dyck, but in my view only the verso bears a stylistic connection with his work, which is close in style to the early Van Renesse, so he could be right. Bevers also records the opinion of Frits Lugt in his MS card index of Rembrandt's drawings in 1924 - that the drawing is by Rembrandt but 'unpleasant'.
First posted 26 May 2018; revisited 16 November 2018.
Subject: Full-Length Standing Woman in Exotic Attire; Bust of a Woman in Profile to left; an ornament
Medium: Pen (reed pen?) and brown ink with some brown wash; the bust in red chalk, with some (later) work in graphite; freehand framing lines in pen and grey-brown ink probably drawn by a later hand (the "Munich Forger"?) as also much of the shading beneath the figure and probably the very darkest part of the line that grazes the figure’s forehead (see further below and n.6).
Inscribed in pen and brown ink to right, by Rembrandt: “gesp”; to lower left, an old inventory number: “5047.”. Inscribed verso with the letter "R".
201 x 78. Watermark: Basel staff.
COMMENTS: The drawing, inventoried in the nineteenth century as depicting a Vestal Virgin, has more recently been associated with Rembrandt’s drawings of actors, most of which are dated around the time of the first performance of Gijsbrecht van Aemstel in early 1638 (see under Benesch 120).[1] But although the low viewpoint of the main figure does indeed seem like an actor on stage,[2] this liquid drawing appears - at least superficially - to be later in style, its breadth of handling providing links to such documentary drawings as the St Jerome Reading, of 1653 (Benesch 0886). However, the possibility that Rembrandt worked in such a broad style in c.1638 remains open through the figure on the lower left of Benesch 0381, for example. The small red chalk sketch of a girl or young woman at the upper right also seems to belong to the 1630s – possibly even from the mid-1630s. Perhaps the sheet was reused later. To complicate matters, Benesch thought that the inscription (which he could not decipher) and what he called the “bell cord” were later additions, though without stating whether he thought these “later additions” were by Rembrandt (probably, he thought not).
These latter comments fall aside with the decipherment of the inscription (see further below). But there are some later additions, which may in part explain why the attribution to Rembrandt is not always accepted: near the feet of the figure there are some touches in the same grey-brown ink as the framing lines; the darkest part of the line that obliquely touches the figure’s forehead also seems to be an addition; and the red chalk bust has some later elaborations in graphite. Superficially, too, the liquid handling resembles the work of Ferdinand Bol in such drawings as Benesch 0102,[3] but as well as the handwriting (on which see below) , the freedom of touch, the varied strength of the strokes and the strength of the overall characterisation point to Rembrandt.
If the attribution on stylistic grounds is reasonably persuasive, if not watertight, it is rendered well-nigh unassailable by the fact that the redoubtable Amsterdam archivist, the late Isabella van Eeghen, accepted that the inscription at the upper right is in Rembrandt’s own handwriting. Van Eeghen was among the most renowned archivists of recent decades and made a particular study of documents concerning Rembrandt, so her opinions were - and still are - regarded as gospel (despite the fact that she did not generally hold art historians in very high regard). She not only believed she saw Rembrandt's own hand, but also deciphered the word as “gesp” (buckle or clasp).[4] This makes the attribution of the drawing to Rembrandt himself a certainty.
Having checked various documents with Rembrandt's handwriting, there seems little doubt that the handwriting is indeed his and that the word is "gesp". The long-looped "g" (begun at the top with an open loop and ending in a near flourish in the tail towards the left) followed by a separately begun, raised "e" (it does not run on uninterrupted from the "g") are replicated, for example, in the “ge” at the start of the word “gepleeght” at the beginning of the second line of Rembrandt’s third letter to Constantijn Huygens of 12 January 1639.[5] The "p" in this word is also similar. The “ge” may also be compared with its two appearances in the word “geneegentheijt” in the third line of the text of Rembrandt’s fifth letter to Constantijn Huygens.[6]; and with the word “gemoet” appended to Benesch 0257; the “ges” is very comparable to the same combination of characters in “geschie” five lines from the end and “gesondtheijt” in the last main line of the sixth letter to Huygens.[7] The “p” in “gesp”, despite the analogy noted above, is somewhat anomalous: Rembrandt’s “p” usually leans more forward, does not have a second loop behind the letter that mirrors the loop at the front, and has no horizontal tick to the right of the tail. However, the “p” can sometimes be more vertical and there is a double loop in the “p” in “port” on the verso of Rembrandt’s seventh letter to Huygens, where he wrote the recipient’s address.[8]
The iconography is uncertain. Benesch was reminded of the figures to the right in the Departure of Rachel (Benesch 0147), including Rachel herself. One might also think of Pharaoh’s Daughter in a Finding of Moses. Or is she holding a palm, either of martyrdom or to personify Victory or Glory?[9] This seems unlikely, as the strongest part of the line below the headdress, which runs obliquely past the figure's forehead, appears to be a later addition.[10] The belt-like strap with a small bell on the right is probably a more detailed description of the ornament dangling behind the main figure's ear.
Condition: somewhat faded but generally good; probably cut from a larger sheet.
COLLECTION: D Munich, Staatliche Graphische Sammlung (L.2723; inv. 1460).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.459; Saxl, 1908, p.534; Benesch, 1935, p.28; Benesch, II, 1954/73, no.354, repr. fig.394/428 (c.1637; inscription and ‘bell cord’ later additions; compares female figure to right of Benesch 0449, and profile to Benesch 0149; not drawn from life but inspired by another work of art); Exh. Munich, 1957, no.12; Volskaya, 1961, pp.54-60 (identified as possibly Gijsbrecht’s daughter Adelgrund or as the ghost of Badeloch’s dead niece, Machtelt); Exh. Munich, 1966-67, no.19; Van de Waal, 1969, pp.147-49, repr. fig.9 (disagrees with Volskaya, 1961, stating that the text of the play shows that Machtelt did not appear as ‘blessed’ [vv.770-773] and the image is also not in accord with her ‘anguished’ appearance described in vv.760-767; van de Waal agrees [p.148] that the drawing is theatrical, pointing to the foreshortened perspective in this respect; the inscription, according to van de Waal, was read by I. van Eeghen as ‘gesp’ [buckle] and as she thought in Rembrandt’s own handwriting; if Machteld, Benesch’s date of c.1636 for groups II and III of actors [II = Benesch 316-22] must be revised to 1637 [1st edition of the play] or 1638 [1st performance]); Hummelen, 1973, p.155, repr. fig. 105; Munich, 1973, no.1101, repr. pl.306; Schatborn, 1978, p.134 (figure not carrying a palm); Exh. Munich, 1983-84, no.72; Exh. Munich-Amsterdam, 2001, no.74, repr. (c.1637; reads inscription as "STE"; says Schatborn believes the heavy oblique line upper left is a later addition; represents Gloria or Victoria, with a palm frond); [Not in Schatborn, 2019].
PROVENANCE: probably Kurfürst Carl Theodor.
[1] Volskaya, 1961 (see Literature above).
[2] A point made by Van de Waal, 1969 (see Literature above).
[3] As suggested to the compiler by Peter Schatborn (email 4 June 2018), comparing the Study with Two Marys (Wroclaw, Sumowski 98), the Standing High Priest, also in Wroclaw (Benesch 0102; Sumowski 165x), the profile of the angel in the Hagar and the Angel now in Stockholm (Sumowski 175x) and the profile of Hagar in the drawing of the same subject in the Lugt Collection (Sumowski 250x).
[4] As recorded in Van de Waal, 1969. One might imagine that she could have written an article entitled 'Een gesp en de kunsthistorici' along the lines of Van Eeghen, 1969. She was responsible for transcribing all Rembrandt's letters for Gerson, 1961.
[5] Strauss and van der Meulen, 1979, no.1639/2.
[7] Strauss and van der Meulen, 1979, no.1639/5; see also Exh. Amsterdam, 1987-88, no.43, repr..
[8] Repr. Gerson, 1961, p.68 - all the letters are reproduced in Gerson, 1961.
[9] Suggested by Vignau-Wilberg in Exh. Munich-Amsterdam, 2001, p.272.
[10] See Burmester and Renger, 2003, p.56, repr. figs 5-5a, showing the drawing in normal light and under a reflectionspectroscope, in which the later lines in the shadows below and the later parts of the oblique line described above disappear (I confess to believing that the technology may not always be accurate in what it retains as original work - in the shadows below, for example, it seems to take slightly too much away). It might be that the stronger line buries an earlier, lighter one.
Subject: Bust of a Man Wearing a Cap, profile to left
Medium: Pen and brown ink with brown wash; remnants of (badly ruled) framing lines in pen and brown ink brown ink.
Inscribed in pen and dark brown ink, lower left, with the old inventory number: “3058.”
128 x 108. Chain lines: 22v.
COMMENTS: For the most part, the drawing has the rigid quality of a copy. This is particularly the case with the drapery, where all sense of modelling has gone awry. But some parts of the head, especially at the back, are livelier, resembling drawings such as Benesch 0088, Benesch 0273 and Benesch 0339, so that it is possible that an incipient original - perhaps by Van den Eeckhout rather than Rembrandt, to judge from the similarities with Benesch 0088 - has been gone over and elaborated by a later hand (perhaps the “Munich Forger”). Against this theory are the tentative lines at the upper right of the sheet, which one might expect to be livelier but are surprisingly limp (compare those at the lower right of Benesch 0273).
A (photographic?) replica, cut down and in poor condition, was recently on the London art market.[1]
Condition: spotted and stained so that the paper has become brown; small losses at upper corners.
Summary attribution: School of Rembrandt, either partly after Rembrandt or with some incipient work by Rembrandt or Gerbrand van den Eeckhout.
COLLECTION: D Munich, Staatliche Graphische Sammlung (inv. 1603).[1]
FURTHER LITERATURE/REMARKS: Munich, 1884-93, no.8a, repr.; Hofstede de Groot, 1906, no.445 (shows a woman); Benesch, 1935, p.24; Benesch, II, 1954/73, no.355, repr. (c.1637; compares ‘geometrical’ style of Benesch 0148); Munich, 1973, no.1125, repr. pl.316 (compares Benesch 0148); [Not in Schatborn, 2019].
PROVENANCE: Elector (Kurfürst) Carl Theodor (1724-1799), Munich.
[1] Offered at Sotheby's, London, 4th July, 2018, lot 113, repr. (cut horizontally just below the neck, with a patch missing at what had become the lower left corner). The effect of the replica was highly deceptive as it looked like an original drawing.
Subject: An Old Woman Wearing Spectacles, reading
Medium: Pen and dark brown ink (almost black); the nib, probably a quill, has split into 2 lines at times.
99 x 80. Watermark: none; chain lines: 25-26v.
COMMENTS: Benesch compared the verso of Benesch 0419, a drawing that is clearly not by Rembrandt himself. The style (like the subject of an old woman reading) seems to depend on Rembrandt’s Leiden period (cf. Benesch 0028-29) but in the slack detailing throughout, the drawing is surely the work of a pupil or follower. The effect of the nib splitting is unusual.
Condition: generally good (minor spots and stains apart).
COLLECTION: P Wroclaw, Ossolineum (National Ossoliński Institute; inv.8722).
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.356, repr. (c.1637; compares Benesch 0419 verso); Haverkamp-Begemann, 1961, p.26; Scheidig, 1962, p.78, no.38, repr.; Exh. Wroclaw 1998, no.25, repr.; Exh. Warsaw, 2006, no.5, repr. (1640s); Kozak and Tomicka, 2009, no.7, repr. (1640s); [Not in Schatborn, 2019].
PROVENANCE: Prince Henryk Lubomirski; transferred by him in 1823 to the Lubomirski Museum, formerly in Lwow (Lviv; inv.8722).
Subject: A Kneeling Man; Head of a Woman
Medium: Red chalk (perhaps touched with white in the nearer shoulder and a remnant of black chalk at the heel).
183 x 158. Watermark: not visible (laid down); chain lines: 24v
COMMENTS: The figure must have been referred to by Rembrandt when making his etching, The Baptism of the Eunuch, in 1641 (Bartsch 98; NH 186), for which Benesch 0013 is also a study. There are some minor differences (the head more upright; hands fully clasped; the fall of drapery differs lower centre) and the model is given an appropriately African appearance. The ineffable sense of light in the drawing suggests that an outdoor scene was always envisaged.
In both the drawing and etching there are links between the figure and his counterpart in the previous version of the same subject that Rembrandt made during his Leiden period, recorded in prints by Johannes van Vliet and a copyist (Hollstein 12 and 12 copy b).[1] But in style the drawing belongs with Benesch 0447, after Pieter Lastman, which is usually dated c.1637, the year assigned by Benesch to Rembrandt’s other three copies after Lastman (Benesch 0446 and 0448-9). It is conceivable that another figure by Lastman lies behind the present study,[2] although it is not obviously a copy and no prototype is known.[3]
Also regarding the date, the drawing was long mounted together with Benesch 0308, in which the medium and paper look very similar (insofar as one can tell from drawings that are laid down).
The head below has been compared with that (in reverse) in the lower section of the etching, Three Studies of Female Heads; one lightly etched (Bartsch 367; NH 162) which is usually dated to c.1637. In fact the expression is equally close to the lower head (not in reverse) in the etching of Three heads of women, one asleep, which is dated 1637 (Bartsch 368; NH 161). Despite a degree of awkwardness, there seems to be insufficient reason to question the authenticity of this lower head or regard it as a pupil’s sketch, as did both Hofstede de Groot and Benesch.
Condition: Generally good; some old creases; clearly cut below; some smudges of dirt or black chalk, including an accidental near-vertical ‘line’, lower left.
COLLECTION: A Vienna, Albertina (inv.8837).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1435 (Head below perhaps added later); Schönbrunner and Meder, no.859; Benesch, 1935, p.23; Valentiner, II, 1935, no.553, repr. (pace Hofstede de Groot, 1906, the woman below not added later; says Lugt thinks for a Baptism of the Eunuch); Münz, 1952, under no.211 (a study for 1641 etching of Baptism of the Eunuch, Bartsch 98; NH 186); Benesch, II, 1954/73, no.357, repr. fig.385/431 (c.1637; the head below by a pupil, most of whose work cut away; compares Benesch 0447); Exh. Vienna, 1956, no.30; Exh. Rotterdam-Amsterdam, 1956, no.59; Exh. Stockholm, 1956, no.86; Exh. Vienna, 1969-70, no.14, repr.; Exh. Milan, 1970, no.8, repr.; Exh. Vienna, 2004, no.32, repr. (c.1637; perhaps referred to by Rembrandt for the later etching, Bartsch 98; NH 186; head below resembles Bartsch 367; NH 162; resembles in style Benesch 0447); Paris, 2008, under no.256, n.3 (loose connection with the etching, Bartsch 367; NH 162); Schatborn, 2019, no.289, repr. (c.1637).
PROVENANCE: Prince Charles de Ligne; Herzog Albert von Sachsen-Teschen (Lugt 174).
[1] The lost picture is also known through what is thought to be a copy, now in the Kremer Collection (discussed in Corpus, I, p.37, repr. fig.4 and Sumowski, Gem., no.1913; see also http://www.thekremercollection.com/rembrandt-harmensz-van-rijn-the-baptism-of-the-eunuch-copy-of-a-lost-painting/ [consulted 31 May 2018]). Rembrandt also treated the subject in one of his earliest paintings, dated 1626 and now in Utrecht (Corpus A5; vol.VI, no.9). It is perhaps worth remarking in a footnote that Rembrandt’s eunuchs are all bearded, which means that (did he k ow this?) they were castrated after puberty (the biblical account, Acts, XVIII, 26-39, of course makes no mention of a beard).
[2] As suggested by Peter Schatborn to me in conversation when we were at the Albertina studying Rembrandt's drawings together, 29 July 1987.
[3] Lastman is known to have treated the subject several times, including in a painting of 1623 now in Karlsruhe (Seiffert, 2011, repr. fig.37; see also, for other versions by Lastman, figs.23, 216 and 217).
Subject: Sketch-Sheet with Two Women Walking, one carrying a bundle and two dead birds, accompanied by a child
Verso: blank (apart from L.1607 and see Inscriptions)
Medium: Black chalk; ruled framing lines in pen and dark grey ink.
Inscribed in graphite, lower right: “2105” and on verso with the inventory number: “K.d.Z. 2236”
COMMENTS: The drawing was cut from a larger sketchbook sheet, as is revealed not only by the cut-off shading at the lower right but by a few touches of chalk near the upper left corner.
In style and subject the drawing belongs with a number of sketches of figures on the street that stylistically may be grouped around Benesch 0749, a documentary drawing of c.1647 (its verso is a sketch for the etched Portrait of Jan Six of that year, Bartsch 285; NH 238). The shading here, at the lower right and in the drapery of the woman on the left, is especially similar.
It should be noted that the two main figures do not exactly belong with each other, as the scale and perspective/ground-level are different. The older woman on the left is extraordinarily well observed for such a diminutive drawing, with her heavy gait and her right heel lifting from her shoe; the nearer woman is either off to market with her wares (in a sack over her shoulder and two birds tied by their feet to a string held in her right hand),[1] or returning with her purchases (more probably the former as her attire suggests she is from the peasant farming community herself).[2]
In traditional iconography, dead birds can refer to sexual drive or a lack thereof, especially in older people, but whether that jokey concept was even at the back of Rembrandt’s mind it is impossible to say.[3]
Condition: Generally good; cut from a larger sheet.
COLLECTION: D Berlin, Staatliche Museen Berlin, Kupferstichkabinett (L.1607; inv.2236)
FURTHER LITERATURE/REMARKS: Amtliche Berichte, III, 1882, col.IX (acquisition report); Lippmann, II, no.48A; von Seidlitz, 1900, p.488; Hofstede de Groot, 1906, no.142; Freise, Lilienfeld and Wichmann, 1914, no.133 (not Leiden period); Berlin, 1930, p.234 (c.1636-40; with wrong inventory no.1236; compares etching Bartsch 133; NH 178); Benesch, 1935, p.24 (c.1636); Benesch, II, 1954/73, no.358, repr. fig.396/432 (c.1637; compares style of Benesch 0447 and types of figures in Benesch 0417); Exh. Berlin, 1956, no.74 (c.1636-40); Slive, 1965, no.272 (c.1637-40); Exh. London, 1992, under no.50 (c.1647); Berlin, 2006, no.28 (c.1647-48); Schatborn, 2019, no.397 and p.19, repr. (c.1647).
PROVENANCE: Barthold Suermondt, Aachen; his sale, Frankfurt, Prestel, 5 May, 1879, lot 247, with a study of an oriental; purchased by the present repository from Gutekunst in Stuttgart in 1881.
[1] Bevers (in Berlin, 2006) surmises that the birds are ducks, which seems more likely than Benesch’s chickens.
[2] Cf., for example, the drawings on folios 50, 54 and 75 in the Adriaen van de Venne album in the British Museum (Royalton-Kisch, 1988, repr. pp.241, 249 and 291.
[3] This common euphemism was resurrected by De Jongh, 1968-69 but can easily be overplayed, retrospectively, by art historians (see on this topic, Franits 2017).
First posted 2 June 2018.
Subject: A Seated Woman Suckling a Child
Medium: Pen and brown ink with grey and brown wash and red chalk, with white bodycolour; ruled framing lines in pen in brown ink.
Inscribed lower left in pen and brown ink by a later hand: “Rembrandt ft.”
COMMENTS: A study by Ferdinand Bol for his painting of the Flight into Egypt, known through a copy in the San Diego Museum of Art, datable c.1644 (fig.a).[1] In effect, the drawing is a 'documentary' one for Bol. To earlier generations the drawing appeared so Rembrandtesque that it was believed that Bol had referred to a drawing that was by his teacher (see the various opinions recorded under Literature below). Earlier still, the drawing was thought to be Rembrandt’s preparatory sketch, in reverse, for his Louvre Holy Family of 1640 (Bredius 563; Corpus C87, vol.VI, no.173). In Bol’s painting, clearly inspired by Rembrandt’s etching, the child has fallen asleep, which makes the Virgin’s right hand, apparently offering her left breast, somewhat meaningless – another reason adduced in the past to retain the drawing for Rembrandt. However, both the style and the somewhat pictorial finish and technique, which includes red chalk as well and pen and brown ink and different tones of wash, is entirely characteristic of Bol (as noted by Sumowski, comparing his nos.100, 189x and 272x).[2]
For the motif, compare also the British Museum’s drawing by Bol of the Holy Family in an Interior, which includes a similar Virgin and Child seen from a different angle;[3] the drawing was made in preparation for Bol's etching of the same subject dated 1643 (Bartsch 4; TIB 4). In Dresden is another painting of the Rest on the Flight into Egypt by Bol with some similarities to the present work, thought the Virgin rests her head on her left hand while her right is lowered. Bol's drawing of the Holy Family in an Interior, now in Darmstadt, repeats the motif in comparable form (Sumowski 195x).
Condition: Apparently generally good (not seen).
Summary attribution: Ferdinand Bol
COLLECTION: F Paris, Musée du Louvre (L.1886; inv. RF29734).
FURTHER LITERATURE/REMARKS: Smith, 1829, p.201, no.28; Chennevières, 1879, p.26, repr. P.25; Exh. Paris, 1879, no.351; Dutuit, 1885, p.106; Michel, 1893, p.591 (in H. Pereire collection); Hofstede de Groot, 1906, no.813; Exh. Paris, 1908, no.405; Schmidt-Degener, 1908, p.40, repr. pl.48; Stockholm, 1920, p.53 (Bol); Van Regteren Altena, 1925, , pp.336-37 (quotes Falck’s opinion that the drawing is by Bol but in fact sees it as by Rembrandt, though Bol used the drawing for his painting in San Diego); Benesch, 1947, no.95, repr.; Valentiner, 1951, p.347, n.7 (by Bol, for signed painting in San Diego; rejects Benesch’s inclusion of the drawing in Benesch, 1947); Benesch, II, 1954, no.359, repr. fig.402/433 (c.1636-37; compares Benesch 0258-9 and Benesch 0360; the gesture of the hand becomes meaningless in the San Diego painting as it no longer offers the breast, and Bol simply used the drawing, which is by Rembrandt); Van Gelder, 1955, p.396 (Bol); Sumowski, 1956-57,p.264 (Rembrandt); Haverkamp-Begemann, 1961, p.26 (Bol; compares Bol etching, Bartsch 4); Sumowski, 1961, p.6 (Bol); Exh. Paris, 1970, no.157; Sumowski, 1973, p.101, n.76 (Rembrandt); Tsurutani, 1974, p.54 (Bol, late 1630s; San Diego painting a copy); Vogel-Köhn, 1974, p.182, no.19 (Rembrandt, c.1635-38); Bernhard, 1976, p.200, repr. (Rembrandt, c.1636-37); Sumowski, 1979 etc., I, no.96 (Bol, c.1644, for painting of that year known through copy in San Diego); Vogel-Köhn, 1981, no.19; Blankert, 1982, p.165; Brugerolles, 1984, p.13; Paris, 1988, no.211, repr. (Bol); Exh. Paris, 1988-89, no.86, repr. (c.1643-44); [Not in Schatborn, 2019].
PROVENANCE: J. Danser Neyman; his sale, Paris, 8-11 July, 1776, lot 690, bt Fouquet, 26 livres, with lot 692; J. Goll van Franckenstein (with his number 2398 verso; by descent until sale, Amsterdam, 1 July, 1833, Album I, p.38, no.14 bt Hulswit, f.35; Hendrik van Cranenburgh; his sale, Amsterdam, 26 October, 1858, album K, no.239 bt Engelberts, f.100; C.J. Nieuwenhuys; Joseph Eugène Schneider; his sale, Paris, , 6-7 April, 1876, lot 84, bt Armand, F.500; M.A. Armand by whom given to Henri Pereire; André Pereire, by whom bequeathed to the present repository with usufruct until 1974.
[1] The picture, illustrated by Benesch from an old sale catalogue, is mentioned by Blankert, 1982, under no.R26, as a poor copy.
[2] Respectively the Portrait of a Gentleman (Wroclaw, inv. 8724); the Oriental Seated at a Desk (formerly in the Heseltine Collection); and the Woman Playing the Lute (private collection, Holversum).
[3] Sumowski 95; London, 2010 (online) Bol no.3; inv. 1836,0811.337.
Subject: Four Studies of Women, two holding an infant
Verso: Sketches of Men on Horseback
Medium: Pen and brown ink, touched with grey wash, with corrections in white heightening; traces of red chalk over the whole verso.
Inscribed in pen and brown ink by Léon Bonnat, top right: “85” [his album number, L.1714]
200 x 150. Watermark: indistinct coat-of-arms.
COMMENTS: The recto depicts four women, twice (in the sketches to the left of centre) with a baby and twice without. The headdress varies from the cap, like a maid’s, at the top, to the wide-brimmed hat at the bottom, with veils drawn over the head in the two other studies.
There are some analogies with the etchings Rembrandt made in 1636, supposedly of his wife Saskia, especially in the Studies of the Head of Saskia and Others (Bartsch 365; NH 157), which is dated that year. Like the present drawing, the etching shows either Saskia and/or another woman in various headdresses, including another veil (upper right) and wide-brimmed hat (lower left). For this reason, the present drawing has always been described as ‘Four Studies of Saskia’; additionally, by association with the 1636 date of the etching, the drawing is placed in the same year and the child is assumed to be Rembrandt and Saskia’s first (recorded) off-sping, Rumbartus, the infant baptised on 15 December 1635 but who died two months later, on 15 February 1636.
This all seems plausible until careful comparisons are made with the only truly certain portrait of Saskia, the silverpoint drawing of 1633 in Berlin (Benesch 0427). To my mind this discounts the identification of Saskia for the head at the top right which, to judge from her cap, is probably a maid. Her snub nose and broad cheeks are also significantly different. But the comparison with the Berlin drawing is not much more convincing for the identification of the other figures, either. In fact, it seems more likely that none of the figures depicted is Saskia (with the possible exception of the second figure from the top),[1] an argument that is bolstered by discrepancies of style for the putative date of 1636, for three main reasons:
Firstly, the unusually refined hatching at the top right, with descending but separate trails or rows of zigzags, exactly matches the approach seen to the right of the portrait in the Berlin drawing of 1633 (Benesch 0427). A similar approach to shading, albeit using a broader nib, is seen in another documentary drawing, from the Burchard Grossmann album, of 1634 (Benesch 0257), as well as, for example, Benesch 0403 recto. Zigzags rather than parallel lines of shading, are more common in Rembrandt’s work of the years c.1630-34 than later, especially when executed with the tightness seen here.[2] Similar passages are also encountered in etchings of c.1630-32, such as the passage on the right of Bartsch 358 (NH 58) of c.1630, and the lower left corner of Bartsch 152 (NH 110), which is dated 1632.
Secondly, the arms of the lower figure are close to those of the woman at the lower left of another documentary drawing, one of the Berlin studies of c.1633-34 for the grisaille of St John the Baptist Preaching (see Benesch 0140); and the lines below the arms, loosely describing the child, also closely resemble the freer passages of the other Berlin sketch for the grisaille, Benesch 0141. The bent elbows of the two figures to the right of centre are also comparable to those adopting this posture towards the central and lower right of Benesch 0141. The latter drawing includes not only a woman with a broad-brimmed (though more turban-like) headdress but also two women resting their heads on their left hands, so it is possible that they were at least partly inspired by the present sheet – in which case it would have to be earlier.
Thirdly, the verso seems almost inseparable in style from Benesch 0151 (qv), a drawing which, as we have independently argued, is likely to date from not long after the Leiden period (i.e. c.1631-34). The rumps and legs of the horses are especially compatible with the present sheet, not only in the pose and the fall of the light but also in the approach to shading, which although slightly broader in Benesch 0360 also includes some short dashes to add tone. For both drawings Rembrandt appears to have been informed by that Bible of the period for horses, the prints of Antonio Tempesta (1555-1630), in the present case perhaps by his Standing Horse, with Lowered Head, Facing Right, from his series of Horses from Different Lands (Bartsch 943), in which the position of the legs and posterior are similar.
Taking these factors into account, I believe it more likely that the drawing was made in c.1633, perhaps on the trip to Sint Annaparochie in Friesland when Saskia attended the baptism of her niece, Sophie (daughter of her sister, Hiskia) on 2 June, 1633 (see under Benesch 0341 and Benesch 0427, drawn on the journey). The Berlin drawing of Saskia (Benesch 0427) was made on 8th June, six days after Sophie's baptism. If made at this time, the model for the mother in the present drawing is just as or more likely to be Hiskia rather than her sister, Saskia (the resemblance is not closer than a general 'air de la famille'). The child would be Sophie;[3] and the maid would be their maid. It is of course possible that the figures are from another family, such as the six-child household (recorded in 1634) of Hendrick van Uylenburgh and his wife Maria van Eck,[4] in whose home Rembrandt lodged at the beginning of the Amsterdam period (see under Benesch 0342).[5]
If the above surmises are correct, the drawing becomes a key indicator of Rembrandt’s drawing style in the early Amsterdam period, years to which few of his pen drawings may be confidently assigned.
Condition: generally good; some light-staining to recto especially, where the verso also shows through; a scuff near the upper figure’s right eye.
Date: 1633?
COLLECTION: NL Rotterdam, Museum Boijmans van Beuningen (inv. R83).
FURTHER LITERATURE/REMARKS: Lippmann, I, no.173a-b; Von Seidlitz, 1894, p.122; Exh. London, 1899.I, no.176; Exh. Leiden, 1906, no.50; Hofstede de Groot, 1906, no.710 (c.1636; compares etchings, Bartsch 365, 367 and 369; NH 157, 162 and 177); Exh. Paris, 1908, no.414; Saxl, 1908, p.239 (study for etching, Baptism of the Eunuch, Bartsch; Benesch, 1925, p.124; Exh. Düsseldorf, 1929, no.86; Exh. Berlin, 1930, no.326; Benesch, 1933-34, p.301 (reprinted Benesch, 1970, pp.50-51); Exh. Rotterdam, 1934, no.80; Valentiner, II, 1934, nos.678 and 789; Benesch, 1935, p.27; Exh. Rotterdam, 1938, no.316, repr. fig.252; Amsterdam, 1942, p.2, under no.7; Benesch, 1947, under nos.73, 87 and 95; Benesch, II, 1954/73, no.360, repr. figs 410-11/434-45 (c.1636-37; as Hofstede de Groot, 1906; verso compared with Benesch 0151, 0361, 0365, 0367 and 0368); Biörklund and Barnard, 1955, p.66, under no..BB-36b; Exh. Rotterdam-Amsterdam, 1956, no.46; Drost, 1957, p.182; Haverkamp-Begemann, 1961, p.23 (compares Benesch 0151); Slive, 1965, I, nos.184-85; Muller, 1968, p.33, repr. fig.6; White and Boon [Hollstein, XVIII], 1969, under no.B365; Rotterdam, 1969, , pp.22-23, repr. figs 14-15; White, 1969, p.119, repr. fig.155; Sumowski, 1971, p.126; Exh. New York-Boston-Chicago, 1972-73, no.86, repr.; Munich, 1973, p.168, under no.1157; Vogel-Köhn, 1974, pp.2, 27, 29 and 30, no.33, repr.; Schatborn, 1975, pp.9-10, repr. fig.1 (child is Rumbartus, therefore datable Dec 1635-Jan 1636); Exh. Amsterdam, 1983, no.86, repr. fig.xx; Amsterdam, 1985, under no.12; Rotterdam, 1988, no.10, repr. (c.1636; compares etching, Bartsch 365; NH 157; shows Rumbartus; verso perhaps for a composition such as the Baptism of the Eunuch); Exh. Rotterdam, 2005-6, no.7, repr.; Exh. Istanbul, 2006, no.7, repr.; Exh. London-New York, 2012-13, pp.134-135, repr. fig.55; Exh. Hamburg, 2017-18; The Present Catalogue online, 2018; Schatborn, 2019, nos 244 [recto] and 461 [verso], and pp.143 and 285, repr. (c.1636; figures on verso, in contrast to the animals, drawn only cursorily); Exh. Rotterdam, 2019-20 (no cat.).
PROVENANCE: Jonathan Richardson, sen. (L.2184); John Thane (L.1544); R.P. Roupell (L.2234); his sale, London, Christie’s, 12-14 July, 1887, lot 1099; Léon Bonnat (L.1714); acquired in 1927 by Franz Koenigs (L.1023a); D.G. van Beuningen, by whom presented to the present repository (on loan from the Stichting Museum Boijmans Van Beuningen), 1940.
[1] Comparisons with the many other putative portraits of Saskia, whether painted, etched or drawn, are still less similar.
[2] The closest I can find among the later drawings is in the J. Paul Getty Museum's much more broadly drawn Sketch for Joseph Interpreting the Dreams of the Butler and Baker (not in Benesch; inv.95.GA.18).
[3] Rembrandt and Saskia returned to Sint Annaparochie in the following year, 1634, for their wedding on 22 June, and again in 1635 when Saskia witnessed the baptism on 12 July of Hiskia, the daughter of Titia van Uylenburgh (Saskia's other sister) and Gerrit van Loo. See Broos, 2005, passim..
[4] For their children, some of whom appear to have been born around 1633, see Exh. London-Amsterdam, 2006, pp.44-45.
[5] The drawing could also have belonged to the album of drawings of women and children, on which see further under Benesch 0194.
Subject: Two Men Rowing
Verso: laid down on an old mat (cream with ruled border lines in pen and brown ink, two on the drawing (in a double line) one just outside the drawing and two near the edge (in a double line).
Medium: Pen and brown ink (see under Condition); ruled (double) framing lines in pen and brown ink (see under ‘Verso’ above).
COMMENTS: Diminutive drawings such as this pose particular problems of attribution – the amount of stylistic ‘information’ they provide for comparison is limited. On balance, however, the following analogies suggest that it is by Rembrandt, quite apart from the deft description of the figures and their action, with shading to separate them optically:
The connection (already made by Benesch) with the figures at the top right of Benesch 0360 verso, where the quality and spacing of the shading is the same; the ‘spikiness’ of the cap of the further figure replicates the cap of the speaking figure, second from the left in the Chatsworth documentary sketch for the grisaille of St John the Baptist Preaching of c.1633-34 (Benesch 0142 recto); the hands of the nearer rower, abbreviated to a mitten shape, resemble the hand of the figure at lower left in Benesch 0398; the use in the same figure of circles to abbreviate the eyes is found in several other Rembrandt sketches, including the small child in the centre of the Pancake Woman (Benesch 0409).
The drawing may have been referred to by Rembrandt when painting The Mill, now in Washington, (Corpus, VI, no.206): in the lower right corner he included a figure similar to the nearer one in the drawing, with his oar at almost the same angle, but giving him a beard like the further figure in the drawing. The attribution of the painting has, however, proven controversial, but for those who support it, the attribution of the drawing should gain in plausibility by the connection.
Condition: The paper has discoloured to pale brown.
COLLECTION: H Budapest, Szépművészeti Múzeum (inv.1574; formerly 520).
FURTHER LITERATURE/REMARKS: Dutuit, 1883, p.88; Michel, 1893, p.586; Hofstede de Groot, 1906, no.1383; Térey, 1909, , pl.14; Benesch, Ars Una, 1924, p.257 (c.1635-36); Benesch, 1925, p.120/124, repr. fig.7 (reprinted Benesch, 1970, p.50, repr. fig.20); Exh. Budapest, 1932, no.140; Benesch, 1935, p.27; Benesch, II, 1954/73, no.361, repr. fig.405/436 (c.1637; compares Benesch 0360 verso, Benesch 0362 and Benesch 0141); Bernhard, 1976, p.225; Washington, 1995, pp.230-41, repr. fig.6 (1640s; relates to painting The Mill of 1640s, Corpus, VI, no.206; [number wrongly given as Benesch 668]); Budapest, 2005, no.216, repr. (School of Rembrandt); Exh. Kassel-Leiden, 2006-7, p.89, repr. fig.68 (records Wheelock opinion in Washington, 1995); Corpus, VI, 2015, under no.206 (cf. The Mill); Washington, 2014 (online);[1] [Not in Schatborn, 2019]
PROVENANCE: Prince N. Esterházy (inv.28. 17a; L.1965).
[1] An updated online version of Washington, 1995, by Arthur Wheelock, dated 24 April, 2014, at:
https://www.nga.gov/collection/art-object-page.1201.pdf (consulted 7 June 2018).
Subject: Man in a Plumed Hat with a Halberd
COMMENTS: The freedom of touch in the torso of the figure is redolent of Rembrandt’s style in the 1640s, as we know from the documentary drawings (e.g. Benesch 0183, 0188, and 0736). But the motor movements of the hand seem different here, more akin to Govert Flinck, whose drawing of a Musketeer in Copenhagen (Benesch A33; Sumowski 953x) has elements in common in the cap, feather and the abbreviated mouth. Although this kind of figure might have stepped out of The Night Watch, or off the stage of the Amsterdam theatre, it should be remembered that Flinck was also active in both spheres. His civic company group portrait of the Civic Guardsmen of the Company of Captain Joan Huydecoper and Lieutenant Frans van Waveren, of 1648-50 (Amsterdam Museum) includes a comparable figure, third from the left, though shouldering a musket and sporting a moustache.[1] Compare also Benesch 0337-38 and Benesch 0350.
The more Rembrandtesque touch in the face, with its tighter details and firm characterisation, suggest that the drawing dates from not long after Flinck’s apprenticeship to Rembrandt, but overall an attribution to the latter seems unlikely.
Cf. also Benesch 0332A.[2]
Condition: Generally good; presumably cut from a larger sheet.
COLLECTION: CH Basel, Kunstmuseum (inv.1978.563).
FURTHER LITERATURE/REMARKS: Benesch, 1947, no.80, repr.; Benesch, II, 1954/73, no.362, repr. (c.1636-37; compares Benesch 0360 verso); [Not in Schatborn, 2019].
PROVENANCE: Victor Koch, London; acquired by the present repository in 1978.
[1] See Exh. Amsterdam, 2017-18, p.168, repr. fig.217 (detail repr. p.66, fig.79).
[2] This last sentence added 1 December 2020, following a suggestion from Jonathan den Otter (e-mail 30 November 2020).
Subject: A Figure Mounting a Horse, with an assistant
Verso: A Rider with a Quiver on Horseback, seen from behind
Medium: Pen and brown ink; ruled framing lines in pen in brown ink.
Inscribed in pen and brown ink, verso, lower right: “Rembrandt”
142 x 149. Watermark: none; chain lines: 27/28, recto horizontal, verso vertical.
COMMENTS: The recto is clearly a preliminary idea for the foreground horseman and his assistant in the grisaille painting of The Concord of the State, which probably dates from 1637 (Bredius 476; Corpus A135, vol.VI. no.153).[1] For the horse, Rembrandt may have referred back to an earlier sketch, Benesch 0360 verso, in which the animal’s posterior and legs are similarly posed.
Scholars were long hampered in their assessment of the drawing by the consensus dating of the related painting to the early 1640s (see Literature below), which has since been revised. This later date was reinforced by the perceived connection between the verso and Rembrandt’s 1641 etching of The Baptism of the Eunuch (Bartsch 98; NH 186). But the latter connection is far from close and it seems more logical – if one believes that both recto and verso are by Rembrandt – to date the recto and verso to 1637.
The somewhat liquid handling of the recto, with its flurry of pentimenti as Rembrandt grappled with the pose and sought to revise it with ever thicker lines (resulting in near-incomprehensibility), conforms reasonably well with two documentary drawings, the Ganymede of 1635 (Benesch 0092) and the Adam and Eve of c.1638 (Benesch 0164), bolstering the date of c.1637; closer still is the sketch of Two Butchers at Work, which is inscribed by Rembrandt and usually dated to the same years (Benesch 0400) – the passage to the right, with its diagonal shading, is especially close.
The verso, showing an exotic, perhaps Polish horseman in a tall divided fur hat, is more problematic and has even been dismissed as a forgery, created in the eighteenth century to enhance the financial value of the rather skimpy drawing on the recto.[2] Although clearly less fluent than the recto, rather pernickety in the details of the fur hat, and at times harsh, as in the figure’s neck, in general the style seems reasonably consonant with a number of drawings by Rembrandt, including Benesch 0368 (especially in the hatching to the right and below). The shading in the bridle is also similar to that in the table at the lower left of Benesch 0282. Finally, the detailed treatment of the fur hat is commensurate with that of the man on the left of Benesch 0327 as well as in those worn – albeit in black chalk - in Benesch 0369-70. Certainly, no more persuasive comparisons have been made to undermine the connection with Rembrandt himself and for this reason the verso is accepted here, albeit with some reservations. The rather stiff handling might be more readily explicable if Rembrandt were basing the drawing on another work of art, thereby giving his drawing some copy-like qualities.
Condition: Some staining and foxing, mostly near the edges (especially on the left) but generally good.
COLLECTION: NL Amsterdam, Rijksmuseum, Rijksprentenkabinet (inv. RP-T-1930-32).
FURTHER LITERATURE/REMARKS: Exh. The Hague, 1902, no.66; Exh. Leiden, 1906, no.58; Hofstede de Groot, 1906, no.1278 (c.1641; connects with etched Baptism of the Eunuch, Bartsch 98; NH 186); Exh. Paris, 1908, no.409, recto (c.1641); Exh. Amsterdam, 1913, no.78, recto; Exh. Leiden, 1916, no.34 (as Exh Paris, 1908); Hirschmann, 1917, p.15 (c.1638-46); Seidlitz, 1917, p.253; Benesch, 1925, p.124 (reprinted Benesch, 1970, p.50); Exh. The Hague, 1930, no.57 (as Exh. Paris, 1908); Paris, 1933, p.16, under no.1144 (before 1641); Valentiner, II, 1934, no.793 (c.1633-35); Benesch, 1935, p.27 (c.1637); Amsterdam, 1942, nos. 7-8, repr. pl.6 (c.1632); Exh. Rome-Florence, 1951, no.69 (verso, c.1641; relates to Concord of the State); Münz, 1952, under no.211; Benesch, II, 1954/73, no.363, repr. figs 408-9/438-9 (c.1637; recto a woman dismounting; compares Benesch 0140-41 and connects with St John the Baptist Preaching, Bredius 555, Corpus A106, vol.VI, no.110); Exh. Rotterdam-Amsterdam, 1956, no.103 and under no.48 (as Exh. Rome-Florence, 1951); Held, 1969, p.69, n.101; Exh. Vienna, 1970-71, under no.141 (1641); Amsterdam, 1972, p.86, under B.98 (1641); Amsterdam, 1985, no.20, repr. (recto related at a distance to Concord of State; verso not by Rembrandt but likely an eighteenth-century addition – see further above); Exh. Amsterdam, 2006, pp.79-80, repr. fig.74 (recto only; c.1640-41); Schatborn, 2017 [online at hdl.handle.net/10934/RM0001.COLLECT.28142, consulted 10 June 2018] (as Amsterdam, 1985); Schatborn, 2019, no.48, repr. [recto only], (c.1637).
PROVENANCE: Art market, Paris (Roblin), 1901; C. Hofstede de Groot, by whom presented to the present repository, with a life interest (d.1930).
[1] For the date of the grisaille, which was intended as a design for a political print, see Kempers, 2000.
[2] Schatborn in Amsterdam, 1985, no.20. Partly for this reason Schatborn and I decided to omit the drawing from the list of documentary drawings (see Royalton-Kisch and Schatborn, 2011).
First posted 12 June 2018.
Subject: A Winged Hussar on Horseback with Two Orientals in Turbans, one mounted
Inscribed top left in pen: “3” and verso: “rimbrant v r f.”
COMMENTS: The ‘Winged Hussars’ of Poland became famous for their victories in the sixteenth century. In battle they wore armour so that – as Benesch surmised – the drawing was probably made in the context of a parade.
The style, with its passages of somewhat rigid parallel hatching (e.g. in the tail of the horse) and somewhat even outlines, connects the drawing with those made by Rembrandt at a parade in 1638 (see under Benesch 0365). Despite some impressive and fluid qualities, however, there are aspects of the drawing that suggest Rembrandt was not himself the draughtsman.[1] Chiefly, the roughly-sketched group on the left, with its somewhat slippery, imprecise modelling, overlarge rider and squat and short-armed foreground figure, seems foreign to Rembrandt’s manner. It has been pointed out that they resemble the biblical figures of Haman and Mordechai.)[2] Yet to judge from the illustration, they are not the work of a second hand, added to the original winged hussar. Also against an attribution to Rembrandt are the analogies with Benesch 0098, Benesch 0111 and Benesch 0179; and, for the squat figure, with Benesch 0102 (with its echoes of Rembrandt’s own drawing, Benesch 0207). Many of these are now attributed to Govert Flinck. The slack passage of shading immediately under the main horse’s belly is also uncharacteristic. On the other hand, there is an authority to the draughtsmanship of the winged horseman that is comparable to Benesch 0145 and the shadow at the lower right has something in common Benesch 0142 recto and immediately under the figures in Benesch 0344.
Overall, on the basis of these comparisons, I would be inclined to argue that the drawing could be by Govert Flinck, but an inspection of the original, should it resurface, might possibly allow for Rembrandt’s name to be retained for the winged hussar himself.
Condition: uncertain (not seen).
Summary attribution: Govert Flinck?? Rembrandt??
COLLECTION: unknown (formerly with J.H. Boehler, Munich, stock no.3360).
FURTHER LITERATURE/REMARKS: Benesch, 1935, p.27; Benesch, II, 1954/73, no.364, repr. (c.1637-38; notes the subject as a Polish winged hussar, comparing etching Bartsch 366; NH 36a; perhaps drawn at a pageant; compares Benesch 0151, 0360 verso, Benesch 0363 recto and verso and Benesch 0365; anticipates painting, ‘The Polish Rider’, Bredius 279; Corpus, V, 20, vol.VI, no.236; J.S. Held suggested that the left-hand group resembles Haman and Mordechai); [Not in Schatborn, 2019].
PROVENANCE: Earl of Dalhousie (according to Benesch, 1954); with J.H. Boehler, Munich.
[1] These comments, it should be understood, are made only on the basis of photographs.
[2] See Literature, Benesch, 1954/73..
Subject: A Black Drummer and Commander Mounted on Mules, riding in profile to right
Verso: Laid down on a remnant of an eighteenth-century, 'Richardson'-style mat, with gilding around the edge of the drawing.
Medium: Pen and brown ink and red chalk with brown wash, touched with white and yellow. The order of the application appears to be (1) pen and brown ink; (2) brown wash (in two tones); (3) yellow (probably oil rather than watercolour); (4) red chalk; (5) white heightening. Benesch, 1954/73 (see Lit. under Comment) noted that the red chalk was applied while the wash was still wet, and he also recorded the presence of oil paint.
230 x 171. Watermark: none visible; chain lines: not visible (though the paper has ‘assumed’ the laid lines from the eighteenth-century mat).
COMMENTS: With Benesch 0366-68, from a homogeneous group of four drawings of related motifs taken from an exotic pageant, with figures in historicising and foreign costumes. All are executed in much the same style and technique, with (unusually for Rembrandt) somewhat rigid outlines. They also all trace their respective provenenaces to Jonathan Richardson, senior.
It seems likely that the pageant represented was that held in The Hague in February, 1638 as part of the festivities surrounding the marriage of Wolfert van Brederode to Louise Christine van Solms, the sister of Amalia, the Princess of Orange.[1] The identification has much to commend it and the published description of the event, a pamphlet of 1638,[2] refers to groups of black musicians, as shown in Benesch 366, and to 'un Tambour à cheval batant de deux Atabales' ('a drummer on horseback striking two kettledrums'). The description of the dress worn in the parade before the tournament also coincides with what is seen in the drawings. Yet some caution is necessary as similar figures may have appeared at other events that Rembrandt could have witnessed, and his rare documented excursions from Amsterdam do not include one at this time.
Although the drawing is often said to represent two black drummers, the further figure, with his elaborate, somewhat Hungarian-style fur cap, is more probably a commander, holding a mace rather than a drumstick.[3] To judge from the background wash, they appear to be entering under an arch.
The date of 1638 coincides with the stylistic evidence: of the documentary pen and ink studies, the most comparable are the Rotterdam drawing of Ruth and Naomi (Benesch 0161), which on the verso has a sketch for the 1638 etching 'Joseph telling his Dreams' (Bartsch 37; NH 167) and the study of 'Adam and Eve' in Leiden (Benesch 0164) for the etching of this subject of the same year (Bartsch 28; NH 168).
Condition: Good; small repair lower left corner and small losses at top corners; probably trimmed – the mule’s nose is ‘cut off’ at the right.
COLLECTION: GB London, British Museum (inv.Oo,10.122)
FURTHER LITERATURE/REMARKS: Bürger, 1858, p.393 (for a 'cortège' in an 'Adoration of the Magi'); Blanc, II, 1861, p.454; Vosmaer, 1877, p.602; Dutuit, IV, 1885, p.86; Michel, 1893, p.581; Hofstede de Groot, 1894, pp. 177-8 (probably influenced by some oriental model); Seidlitz, 1894, p.121 (attribution doubtful); Lippmann, I, no.117; Exh. London, 1899, London, no. A15 (probably early); Exh. London, 1899, London, no. A15 (probably early); Kleinmann, II, no.56; Sarre, 1904, pp.148-9, n.2 (rejects theory of an oriental model though the motif of a parasol seen in Louvre 'Timur', Benesch 1188); Bell, c.1905, repr. pl.II; Hofstede de Groot, 1906, no.924 (copied by Rembrandt, perhaps from an oriental prototype); Saxl, 1908, p.234 (c.1649); Wurzbach, 1910, p.418 (as H. de Groot, 1906); London, 1915, no.8 (c.1630-35; records that Seidlitz, 1894, doubted the attribution, though not of cat. no. 18 (1859,0806.74); Exh. London, 1929, p.227, and 1929[I], p.200, under no.584 (relates to Benesch 0366, private collection); Valentiner, II, 1934, no.792 (c.1633-5); Benesch, 1935, p.27 (c.1637; drawing exceptionally pictorial; relates style and iconography to Benesch 0360 verso, Louvre, Benesch 0363, Rijksmuseum, Benesch 0151 Rotterdam); Exh. London, 1938, no.8; Benesch, 1947, p.12 and no.87 (c.1637); Hamann, 1948, p.147, repr. fig.104 (c.1635); van Regteren Altena, 1952, p.63 (1638; based on marriage pageant at The Hague in February, 1638 - see Comments above); Benesch, 1954/73, II, no.365, repr. fig.412/442 (c.1637-8); van Regteren Altena, 1955, p.410 (as in 1952); Exh. London, 1956, p.17, no.12; Benesch, 1960, p.19 and no.29, repr.; Exh. New York-Cambridge, 1960, p.26, under no.31; Goldscheider, 1960, repr. pl.20 (c.1637); Scheidig, 1962, p.44 and no.48, repr. (unusual degree of finish); White, 1962, repr. frontis. (c.1638); Brion et al., 1965, repr. in colour p.126; Slive, 1965, I, no.119, repr. (c.1638); Exh. Amsterdam, 1969, no.52 (c.1638; follows van Regteren Altena, 1952); Exh. Chicago-Minneapolis-Detroit, 1969-70, under no.112 (as van Regteren Altena, 1952; also relates to Rembrandt's interest in the theatre in second half of 1630s); Exh. London, 1972-73, no.209 (c.1637); Bernhard, 1976, II, repr. p.232; Sciolla, 1976, p.9, repr. pl.XX; Broos, 1977, p.104 (misquotes Sarre, 1904, as originator of theory of Hofstede de Groot, 1894, which is ignored); Konstam, 1977, p.94 (see n.3); Konstam, 1978, pp.26-7, repr. fig.7 (see n.3); Exh. Paris-Antwerp-London-New York, 1979-80, p.103, under no.71 (notes Richardson provenance of the four drawings in the group); Royalton-Kisch, 1991, p.18, n.1 (with examples of coloured drawings); Exh. Berlin-Amsterdam-London, 1991-2[I], p.60, repr. fig.14a; Exh. London, 1992, no.21, repr. in colour (as main text here); Exh. New York, 1991-2, under no.18; Exh. London, 2000-1; Schwartz, 2006, p.297, repr. fig.528 (represents 1638 pageant); Exh. Amsterdam, 2008; London, 2010 (online), no.17, repr.; Exh. London, 2011; Schatborn, 2019, no.302 and p.144, repr. (c.1638; this group of four drawings in a category of their own, with unusual use of yellow).
PROVENANCE: Jonathan Richardson, sen. (L.2184); A. Pond, sale, Langford, 1 May, 1759, lot 72, ‘Two negro kettledrummers on horseback (tinged and washed)’, bt Hudson, £8; Thomas Hudson (L.2432); his sale, Langford, 2nd day, 16 March, 1779, lot 52 (contemporary MS identification in British Museum’s copy), bt Willet with two others (unspecified in the MS) £6-15-0; R. Willet, his anon. sale, T. Philipe, 4th day, 13ff. June, 1808, lot 426, bt Allen, £26-5-0; bequeathed by Richard Payne Knight, 1824.
[1] Van Regteren Altena, 1952, pp.59-63.
[2] 'Relation de ce qui s'est passé à La Haye au mois de Fevrier l'an 1638 [...] à La Haye, de l'imprimerie de Theodore Maire, 1638.'
[3] As noted by Christopher White in the British Museum's files. The many differences between the figures undermine the theory proposed by Konstam, 1977 and 1978 (see Literature) that a single model was posed next to a mirror, the further figure being his reflection. Nor is the model necessarily the same as in Benesch 0366, as he proposes.
Subject: Four Black Musicians with Wind Instruments
Medium: Pen and brown and black ink and brown wash, with red and yellow chalk.
Inscribed lower left, in pen and brown ink: "11"; lower right, in graphite: "I 417"
179 x 135. Watermark: none visible.
COMMENTS: See under Benesch 0365. A figure comparable to the one with two tall feathers in his cap, but holding a large bow and a quiver of arrows, stands in the shadows behind St John the Baptist at the upper right of the grisaille of St John The Baptist Preaching of c.1633-34 (see fig.a).[1]
Condition: Good; to judge from Benesch 0365 and Benesch 0367, probably trimmed from a larger sheet, c.229 x 171mm..
COLLECTION: USA New York, The Morgan Library (Thaw Collection; inv.2004.42 [formerly EVT 145]).
FURTHER LITERATURE/REMARKS: Waagen, 1857, p.215 (in Mrs James’s Collection); Brunet, 1866, p.260; Lugt, 1921, under no.2648; Exh. London, 1929, no.584 and 1929.I, p.200; Benesch, 1947, no.88, repr.; Van Regteren Altena, 1952, p.61, repr. fig.2; Benesch, II, 1954/73, no.366, repr. (c.1637-38; as Benesch 0365); Benesch, 1960, under no.29; Exh. Chicago-Minneapolis-Detroit, 1969-70, under no.122; Bernhard, 1976, II, p.233, repr.; Konstam, 1978, pp.94-95, repr. fig.37 (Believes further two figures are mirror reflections of a maquette of the nearer two); Exh. Paris-Antwerp-London-New York, 1979-80, under no.71; Exh. New York, 1981, under no.75; Exh. Berlin-Amsterdam, 1991-92.I, under no.14; Exh. London, 1992, under no.21 (c.1638; as Van Regteren Altena, 1952); Exh. New York, 1994-95, no.18, repr. (as Exh. London, 1992); Exh. London, 1996-97, no.14, repr.; Exh. Melbourne-Canberra, 1997-98, under no.81; New York, 2006, no.216; New York, 2017, no.323, repr.; Schatborn, 2019, no.303 and p.144, repr. (c.1638; this group of four drawings in a category of their own, with unusual use of yellow).
PROVENANCE: Jonathan Richardson, Sr. (Lugt 2184); Jonathan Richardson, jun. (Lugt 2170 as blind stamp); Richard Houlditch (Lugt 2214); possibly his sale, London, Langford, 12-14 February, 1760, lot 68, bt Hudson, £4-10s; Thomas Hudson (Lugt 2432); possibly his sale, London, Langford, 15-26 March, 1779, lot 52 (one of three with Benesch 0368) bt Willett, £6-15s; Ralph Willett; his sale, London, T. Philipe, 13ff. June, 1808, 4th day, lot 454, bt Allen, 7gns; Charles Rogers (1711-1784), London (no mark; see L.624-26); Thomas Dimsdale (L.2426); sold by his descendants to the art dealer Samuel Woodburn; Andrew James (and subsequently his widow – see Waagen, 1857); William Russell; his sale, London, Christie's, 10-12 December, 1884, lot 416, bt Haig, £2-5s; Robert Prioleau Roupell (without his mark – see L.2234); with Hans M. Calmann (art dealer; his catalogue, 1952), London, 1952; with Victor Koch (art dealer); Konrad Feilchenfeldt (art dealer, Zurich); Walter Feilchenfeldt (art dealer), Zurich from whom acquired by Eugene V. and Clare E. Thaw, New York, by whom given to the present repository.
[1] Bredius 555, Corpus A106, vol.VI, no.110.
Subject: A Mounted Officer, moving to left, almost in profile, wearing a high plumed hat and a ruff, his sword slung across his back.
Verso: laid down on a remnant of an old mat with gilding (as Benesch 0365, qv).
Medium: Pen and brown ink with brown wash, with red chalk, touched with white heightening and yellow (perhaps oil – see Benesch 0365).
Inscribed on verso of backing card, in graphite: “34 [in a circle]” and “12”
Inscribed in
210 x 164. Watermark: none visible; chain lines: not visible, but the paper has taken on those of the backing.
COMMENTS: See Benesch 0365. The traditional title is used here, although the costume of the figure seems old-fashioned for the date and not necessarily representative of an 'officer'. Of the group of four drawings (Benesch 0365-68), this is the only one to show the figure moving towards the left, and it is also taken from a higher vantage-point.
Condition: Good; trimmed a little irregularly on all sides; a minor, yellowish stain, upper right.
Summary attribution:
COLLECTION: GB London, British Museum (inv.1859,0806.74)
FURTHER LITERATURE/REMARKS: Blanc, II, 1861, p.454; Vosmaer, 1877, p.602; Dutuit, IV, 1885, p.86; Michel, 1893, p.582; Hofstede de Groot, 1894, p.178 (based on an earlier drawing in the manner of Adriaen van de Venne or Esaias van de Velde; costumes of c.1600); Exh. London, 1899, no. A16 (costume of c.1600; relates to Benesch 0368, now New York, Pierpont Morgan Library); Lippmann, II, no.43; Kleinmann, IV, no.2; Bell, c.1905, repr. pl.XI; Hofstede de Groot, 1906, no.901 (follows Exh. London 1899); Saxl, 1908, p.338 (possibly related to The Concord of the State, datable c.1648, Bredius 476, [Corpus A135, vol.VI, no.153, as c.1637]); Wurzbach, 1910, p.418; London, 1915, no.7 (c.1630-35; more probably drawn from life than from an earlier model); Valentiner, II, 1934, no.791 (c.1633-5); Benesch, 1935, p.41; Exh. London, 1938, no.7; Hamann, 1948, p.147, repr. fig.10; (c.1635); Benesch, 1954/73, II, no.367, repr. fig.415/443 (c.1637-8); Exh. London, 1938, no.7; Exh. London, 1956, p.11, no.25; Drost, 1957, p.182, detail repr. fig.204 (compares Elsheimer drawing in Vienna in which pose and angle similar); Exh. New York-Cambridge, 1960, p.26, under no.31; Slive, 1965, I, no.267 (c.1638); Haak, 1969/68, p.150, fig.236 (c.1637-8); Exh. Chicago-Minneapolis-Detroit, 1969-70, under no.112 (as for cat. no.17, Oo,10.122); Bernhard, 1976, II, repr. p.231; Broos, 1977, p.104 (misquoting London, 1915); Exh. Paris-Antwerp-London-New York, 1979-80, p.103, under no.71 (notes Richardson, sen., provenance of the drawings in the group); Royalton-Kisch, 1991, p.18, n.1 (as for cat. no.17, Oo,10.122); Exh. Berlin-Amsterdam-London, 1991-2[I], p.60; Exh. London, 1992, no.22, repr. in colour; Turner, 1994, p.92, fig.23 (Bouverie provenance); Exh. Melbourne-Canberra, 1997-8, 'Rembrandt', no.81, repr. in colour.; London, 2010 (online), no.18; Schatborn, 2019, no.304 and p.144, repr. (c.1638; this group of four drawings in a category of their own, with unusual use of yellow).
PROVENANCE: Jonathan Richardson, sen. (L.2184); John Bouverie (L.325); by descent to first Earl of Gainsborough; his sale, Christie’s, 20 July, 1859, lot 133, bt Tiffin for British Museum.
Subject: Two Mummers on Horseback
Medium: Pen and brown ink and brown wash, with yellow and red chalks and white heightening.
Inscribed on the old Richardson mat at upper left, in graphite: "81"; and at lower centre, in Richardson’s hand, in brown ink: "Rembrandt"; on the verso of the mat, at lower centre, in J.C. Robinson’s hand, in pen and black ink: "J C Robinson / July 18 1893 / from Lord Aylesford Colln".
212 x 153. Watermark: illegible fragment visible through lining with fibre-optic light.
COMMENTS: See Benesch 0365. The nearer costume is of the same old-fashioned type seen in Benesch 0367 (qv), while the further figure’s beret with a feather resembles the kind of headdress worn by Rembrandt in some of his self-portraits.
Condition: Some foxing and stains, mostly near the edges, but generally good.
COLLECTION: USA New York, The Morgan Library (inv. I, 201).
FURTHER LITERATURE/REMARKS: Exh. London, 1895, no.45; Exh. London, 1899, no.110; Fairfax Murray, 1905-1912, I, no.201, repr.; Hofstede de Groot, 1906, no.1109; Exh. Paris, 1908, no.433; Exh. Cambridge (Mass.), 1922; Valentiner, II, 1934, no.790 (c.1633-35); Benesch, 1935, p.41; Exh. New York, 1952; Van Regteren Altena, 1952, pp.59-63; Benesch, II, 1954/73, no.368, repr. fig.414/444 (c.1637-38); Exh. Rotterdam-Amsterdam, 1956, no.74, repr.; Watrous, 1957, pp.96-97 and 106; Exh. New York-Cambridge, 1960, no. 31, repr.; Scheidig, 1962, pp.44 and 79, repr. fig.47; Haak, 1969, repr. fig.235; Exh. Chicago-Minneapolis-Detroit, 1969-70, no.112, repr.; Exh. Stockholm, 1970, no.65; Haak, 1974, repr. pl.3; Bernhard, 1976, II, p.230, repr.; Broos, 1977, p.104; Konstam, 1977, p.94, n.3 (made in the studio, using mirrors); Exhibition, Paris-Antwerp-London-New York, 1979–80, no. 71, repr.; Exh. New York, 1981, no.75; Sutton, 1982, p.381, repr. fig.21; Exh. Berlin-Amsterdam-London, 1991-92.I, no.14, repr. in colour; Exh. London, 1992, under nos.21-22; Fusconi et al., 1992, p.231, repr. fig.266 in colour; Exh. New York, 1994-95, under no.18; Giltaij, 1995, p.98; Exh. New York, 1996 (no catalogue); Exh. London, 1996-97, under no.14; Exh. Melbourne-Canberra, 1997-98, under no.81, repr. fig.81a; New York, 2006 no. 215, repr. (late 1630s); Schatborn, 2019, no.305 and p.144, repr. (c.1638; this group of four drawings in a category of their own, with unusual use of yellow).
PROVENANCE: Jonathan Richardson, sen. (L.2184); presumably his sale, London, Cock’s, 22 January-11 February, 1747; perhaps Jonathan Richardson, jun.; Thomas Hudson (L.2432); possibly his sale, London, Langford, 15-26 March 1779, one of three in lot 52: "The Drummers etc.", bt Willett, £6.15.0; Ralph Willett; his sale, London, T. Philipe, 13ff. June, 1808, 4th day, lot 455: “One-two military figures on horseback, in the old Flemish dress, both with large ruffs, one with a high cap and feathers, the other with a bonnet and feather”, bt Allen, £6-10s; Heneage Finch, 5th Earl of Aylesford (L.58); his sale, London, Christie’s, 17-18 July, 1893, lot 265: "Two Cavaliers on Horseback - pen and ink, slightly washed. From the Richardson and Hudson Collections", bt Robinson, £6; John Charles Robinson (with his inscription and signature on the verso of the mat; no mark - see L.1433); his sale ["Well-Known Amateur"], London, Christie’s, 12-14 May, 1902, lot 355, bt Hone, £42); Charles Fairfax Murray, from whom purchased through Galerie Alexandre Imbert, Rome, in 1909 by Pierpont Morgan (1837-1913), New York (no mark; see L.1509); ; inherited by his son, J. Pierpont Morgan jr, by whom given to the present repository, 1924.
Subject: A Bearded Man in a High, Fur-Trimmed Hat, turned to right
Medium: Black chalk on brownish cream paper.
Inscribed by Léon Bonnat in pen and brown ink, upper right: “12”
142 x 95. Watermark: fragment of the upper part of an eagle watermark.
COMMENTS: As Benesch pointed out, the man’s headgear is of a type seen in Rembrandt’s grisaille of St John the Baptist Preaching of c.1633-34: the figure on horseback closest to the background waterfall (Fig.a).[1] But beyond this the resemblance is weak and there is no clear suggestion of a horse in the drawing - there are no reins in the otherwise perhaps appropriately positioned hands. This is unfortunate, as the drawing could be pegged in date to the grisaille, which used to be placed in the second half of the 1630s rather than the first; but now we are bereft of such a clear foothold, as the drawing appears to be later.
The mid-to-later 1630s were, however, a time in which Rembrandt employed black and red chalk reasonably frequently, including in the documentary drawings of 1635, after Leonardo’s “Last Supper” (Benesch 0443-44), and 1637 after Pieter Lastman (Benesch 0446-49). The latter year also saw the creation of Rembrandt’s signed and dated sketch of an elephant (Benesch 0457) and probably two other drawings (Benesch 0458 and Benesch 0460). Stylistically, however, these drawings exhibit none of the concern for fine detail seen here. Perhaps the closest analogies are with Benesch 0370 (qv), which although not dated, is on the verso of an impression of an etching of c.1635, the Bearded Old Man in a High Fur Cap (Bartsch 290; NH 148). There are reasons for believeing that Benesch 0370 was made before the sheet was printed: the ridge of then platemark would have caught the chalk, creating a line along the platemark; but the opposite seems to have occurred, a white line effect. Unfortunately the etching has no watermark and may have been printed later than 1635. These drawings are, therefore, placed circa 1635 but on rather flimsy evidence. A later date remains possible, alongside drawings of the later 1640s, such as Benesch 0692 and Benesch 0817 which exhibit a comparable interest in detail and other analogous stylistic traits.
The costumes in Benesch 0369 and 0370 all seem generically Polish – another reason to date them together, perhaps. But comparable fur caps to those seen in these two drawings appear both earlier and later in Rembrandt’s work: apart from the above-mentioned grisaille, one might point to drawings such as Benesch 0226 (the uppermost figure), Benesch 0336, Benesch 0340 (the figure mostly in red chalk towards the lower right) and Benesch 0363 (especially the verso).
Condition: Generally good; the paper however has probably turned browner.
COLLECTION: F Paris, Musée du Louvre, Département des arts graphiques (inv.RF 4676; L.1886).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.716; Paris, 1933, no.1163, repr. pl.40 (c.1630-35); Benesch, II, 1954/73, no.369, repr. (c.1637; compares Benesch 0370 and figure on horseback in front of the waterfall in the grisaille of St John the Baptist Preaching, then dated c.1637 [Bredius 555; Corpus A106, vol.VI, no.110]); Exh. Paris, 1988-89, no.15 (c.1635-37; otherwise as Benesch and contemporary with Benesch 0336); Robinson, 2000, n.2 (listed); Exh. Paris, 2006-2006, no.14, repr.; Schatborn, 2019, no.224, repr. (c.1635).
PROVENANCE: Jonathan Richardson, sen. (L.2183); probably his sale, London, Cock's, 22ff. January, 1747 (but not identifiable as mostly not individually described in the catalogue, though Hudson bought many drawings attributed to Rembrandt); Thomas Hudson (L.2432); Ambroise Firmin-Didot (L.119); his sale, Paris, 16 April-12 May, 1887, lot 65, bt Colnaghi, F.70; William Mitchell; his sale, Frankfurt, 7 May, 1890, lot 85, bt Gutekunst, DM235; Léon Bonnat (with his album number “12” and L.1714), by whom presented to the present repository in 1919.
[1] Bredius 555; Corpus A106, vol.VI, no.110.
First posted 26 July 2018.
Subject: Three Studies of Men with Fur Caps
Verso: an impression of the etching: Bearded Old Man in a High Fur Cap (Bartsch 290; NH 148)
Medium: Black chalk; verso an etching.
Inscribed in graphite, upper left: “268” [Gersaint’s catalogue number for the etching on the verso]; inscribed verso in graphite with the same number, lower right: “268”
COMMENTS: See the more extensive remarks under Benesch 0369. A fourth head in profile at the very top has been cut away, leaving small margins all around the impression of the etching on the verso (Fig.b).
The drawing appears to have been made before the etching was printed on the verso. Had the impression made by the edge of the platemark been present before, the chalk would have ‘caught’ the line and created a fictive black line, whereas in fact there is a white line effect, as if chalk had been removed from the drawing during printing (see Fig.a).
The etching on the verso (Fig.b), the Bearded Old Man in a High Fur Cap (Bartsch 290; NH 148), also depicts a character with a fur hat, albeit a more elborate one. It is usually dated c.1635, at least in its earliest impressions. Thus if it was printed in c.1635 – which in the present case is not certain – and the drawing was made earlier, then the latter must have been made either in that year or before. However it is quite possible that the etching was printed rather later - it is not an especially rich or early impression - in which case the drawing might in theory also be later, from the 1640s. But on balance the earlier period, 1635, seems preferable from the point of view of style.
Compare also Benesch 0226 for the motif (top figure) and Benesch 0308 for the style, despite its being in red chalk (especially the right figure).
Condition: Generally good though much of the sheet discoloured to brown; residues and skinning from old tape near the edges.
COLLECTION: NL Rotterdam, Museum Boijmans Van Beuningen [on loan from the Stichting Museum Boijmans Van Beuningen since 1940, from the former Koenigs collection] (inv. R 84).
FURTHER LITERATURE/REMARKS: Exh. Berlin, 1930, p.61; Exh. Rotterdam, 1934, no.75; Benesch, 1935, p.24; Benesch, 2, 1954/73, no.370, repr. fig.417/446 (c.1637; compares Benesch 0346); Van Gelder, 1955, p.396; Exh. Rotterdam-Amsterdam, 1956, no.41 and under no.42; Exh. Vienna, 1956, no.34; Rotterdam, 1969, p.24, repr. fig.20; White and Boon, 1969, under no.B290; Rotterdam, 1988, no.12, repr. (c.1637); Exh. Rotterdam, 2005-6, no.9, repr.; Exh. Istanbul, 2006, no.9, repr.; Exh. Rotterdam, 2009 (coll 2 kw 3); Exh. Rotterdam, 2017;[1] Schatborn, 2019, no.225, repr. (c.1635).
PROVENANCE: J.H. Hawkins (L.1471); Franz Koenigs; D.G. van Beuningen, by whom presented to the Stichting Museum Boijmans Van Beuningen, 1940.
[1] No catalogue, but an online publication at https://www.boijmans.nl/
tentoonstellingen/rembrandt-etsen-uit-eigen-collectie (retrieved 27 July 2018).
Subject: Two Sketches of Men’s Heads, facing each other
Medium: Pen and brown ink with brown wash; ruled framing lines in pen in brown ink.
48 x 104 (from what appears to be an actual size black and white photograph provided by Sotheby’s in 1990; Benesch gives no measurements).
COMMENTS: The drawing can be confidently assigned to Rembrandt’s school, in the wider sense (to judge from a good black and white photograph). Its inclusion by Benesch is surprising and his comparisons do not bear much scrutiny (see under Further Literature below).
Although somewhat reminiscent of one sketch by Philips Koninck, the Two studies of an Oriental Figure in the British Museum, [1] on the whole the handling seems closer to drawings attributed to Aert de Gelder, such as the Seated Man Wearing a Hat, formerly in the Van Regteren Altena collection (Fig.a; Sumowski 1057x),[2] or the Standing Oriental, in the Museum Boijmans Van Beuningen, Rotterdam (Fig.b; Sumowski 1056x),[3] in which the lines describing the turban resemble those defining the cloak of the left figure here. All these are drawn with delicate, spindly and repeated outlines and somewhat linear darts of wash.
The figures may have been intended for a historical or biblical design.
Condition: uncertain (not seen); from the photographs the sheet looks rather stained.
Summary attribution: Aert de Gelder?
COLLECTION: whereabouts unknown (F Paris, heirs of Comtesse de Béhague?).
FURTHER LITERATURE/REMARKS: Lippmann, IV, 58a; Benesch, II, 1954/73, no.371 (c.1637-38; compares Benesch 0142 , Benesch 0350 and Benesch 0372); [Not in Schatborn, 2019].
PROVENANCE: Unidentified collector’s mark, top left corner (L.3579); Comtesse de Béhague (formerly Béarn); presumably with her heirs.[4]
[1] Sumwoski 1351; London, 2010 (online), Koninck no.3, where I point to the similarity with Aert de Gelder’s drawings – I am increasingly inclined to view this drawing as possibly by Aert de Gelder rather than Koninck, despite the old inscribed attribution to Koninck on it.
[2] 86 x 85mm. Sold Amsterdam, Christie’s 10 December, 2014, lot 163.
[3] 149 x 108mm. Rotterdam, 1988, no.83, repr., where dated c.1665-70.
[4] The more recent ownership as Comtesse de Béhague is the only provenance information given by Benesch.
Subject: Two Small Head Studies, both turned towards the left
Medium: Pen and brown ink, with brown wash; ruled framing lines in pen and brown ink.
Inscribed in graphite on the former (now discarded) mat: “Rimbrant fec.”[1]
COMMENTS: This diminutive drawing is difficult to judge, but overall the quality and style depart from Rembrandt’s own, though the somewhat geometric approach, especially of the lower head, has links to drawings such as Benesch 0195 (especially the verso), which is still considered to be by Rembrandt, and Benesch 0356, which is not. This leaves the drawing in the realms of uncertainty, here expressed with one question mark, not least because the type of head and cap seems to belong more to the mid-1630s than the period of Benesch 0195.
Whether the drawing was made with a particular subject or composition in mind, as some previous writers have suggested, seems uncertain (see Further Literature below).
Condition: Presumably a fragment.
COLLECTION: NL Amsterdam, Amsterdam Museum (inv. TA 10273).
FURTHER LITERATURE/REMARKS: Amsterdam, 1863, p.37, no.159; Gram, 1863, p.340; Vosmaer, 1868, p.511 (‘sept feuilles’, no.a); Gower, 1875, p.126; Vosmaer, 1877, p.596, no.a; Havard, 1879, p.10, repr.; Dutuit, 1885, p.92; Michel, 1893, p.591; Hofstede de Groot, 1906, no.1225; Kleinmann, III, no.2; Wurzbach, 1910, p.415; Honderd Teekeningen, 1934, no.80; Benesch, 1935, p.28 (1637; perhaps related to Rembrandt’s painted Passion series); Benesch, II, 1954/73, no.372, repr. fig.421/447 (c.1637; compares lower head with Benesch 0141, Benesch 0152 and Benesch 0373); Exh. Cologne-Bremen, 1955, no.72; Exh. Assen, 1956, no.28; Exh. Warsaw, 1956, no.27; Exh. Belgrade, 1960, no.60; Exh. Jerusalem, 1960, no.60; Exh. Budapest, 1962, no.60; Exh. Amsterdam, 1963, no.25e of drawings section, repr.; Amsterdam, 1981, no.4, repr. (c.1635; as Benesch, 1935 and compares Benesch 0097); [Not in Schatborn, 2019].
[1] The mat was removed when the drawing was restored in 1980 (according to Amsterdam, 1981, p.36).
[2] The provenance is identical to Benesch 0346.
Subject: An Old Woman with a Stick and Other Sketches of Women, one carrying a child
Medium: Black chalk; watermark: Posthorn in a shield with letters WR
COMMENTS: Many sketch-sheets of this type have been divided into smaller drawings for sale, so the present example once belonged to a larger category (compare in this regard Benesch 0340). It may also have formed part of the album of drawings related to the lives of women and children mentioned under Benesch 0194.
The central figure of an old woman walking to the left with both hands on a stick has been related to key figures in two etchings by Rembrandt, the 1639 Presentation in the Temple (Bartsch 49; NH 184) and the etching of two women known as La Preciosa, of c.1642 (Bartsch 120; NH 205). However, in both cases the similarities are only generic and the costume in both etchings is considerably richer, so any relationship with these works is at one or two removes: we cannot be certain that the drawing came first. A comparable figure also appears in Benesch 0737.
Rembrandt’s black chalk figure sketches are often difficult to date and in the present case the evidence is contradictory. For style one might compare the documentary drawing, Benesch 0749 recto, of c.1647, although the geometrical sense - the building blocks of the figures - is there more apparent. This suggests an earlier date for the present drawing, and the peripheral figures (the three heads on the extreme right apparently rehearse that of the woman on the far left) resemble Benesch 0309 of around 1636-37. Yet on balance, the links seem just as strong with the large group of black chalk drawings that Rembrandt seems to have made in the late 1640s and early 1650s, including Benesch 0665 and Benesch 0666.[1] In the latter, the parallel hatching in the feet closely resembles that in the centre of the walking woman. On balance, therefore, the present drawing could belong to the latter part of the 1640s and perhaps even the 1650s: a posthorn watermark with WR below is also found on the drawing in Oslo (not in Benesch) of The Ruins of the Church at Sloten of c.1650-52.
FURTHER LITERATURE/REMARKS: Lippmann, II, no.48B; Hofstede de Groot, 1906, no.316; Freise, Liulienfeld and Wichmann, III, 1925, no.124; Benesch, 1935, p.28; Münz, 1952, under no.210 (relates to 1639 etching The Presentation in the Temple, Bartsch 49; NH 184); Benesch, II, 1954/73, no.373, repr. (c.1637-38; compares Benesch 0374 and heads on right to Benesch 0372; compares pen drawings for Hundred Guilder Print [e.g. Benesch 0183; Benesch 0185; Benesch 0188; Benesch 0543]; rejects Münz, 1952, association with Bartsch 49; NH 184); Slive, 1965, no.273 (c.1637-40); Amsterdam, 1972, no.IV, repr. (c.1637-40; as Münz, 1952; compares other study sheets, Benesch 0374-76, Benesch 0447 and Benesch 0457-58); Amsterdam, 1991, no.2, repr. (1640s; relates to Benesch 0737 of the same woman, associated with the Preciosa etching Bartsch 120, and also compares Bartsch 176); Schatborn, 2019, no.392 and p.19, repr. (c.1647).
PROVENANCE: Friedrich Augustus II of Saxony, 1854 (L.971); with Wildenstein & Co., New York, 1950 (their catalogue, no.31); with A. and R. Ball, New York, from whom purchased by the present repository in 1958, with the support of the Rembrandt Society.
[1] Benesch 0666 is included by Robinson, 1998, p.43, n.20 among drawings of the period around 1647-1652.
Subject: Seated Woman, resting her head on her left hand
Medium: Black chalk.
COMMENTS: Though known only through old photographs, the drawing appears to be a characteristic figure sketch by Rembrandt of the mid-to-later 1640s. The woman appears to be a domestic and similar figures frequently appear in the work of Nicolaes Maes, Rembrandt’s pupil at this period.
COLLECTION: Present whereabouts unknown.
FURTHER LITERATURE/REMARKS: Michel, 1893, p.582; Exh. Amsterdam, 1898; Exh. London, 1899, no.129; Hofstede de Groot, 1906, no.1010; Heseltine Drawings, 1907, no.49; Benesch, 1935, p.28; Benesch, II, 1954/73, no.374, repr. (c.1637-38; compares Benesch 0385 for subject and Benesch 0346, Benesch 0373 and Benesch 0375 for style); Sumowski, 1979 etc., VIII, under no.2003x; Schatborn, 2019, no.377, repr. (c.1645).
PROVENANCE: Jan de Vos, Jbz.; John Postle Heseltine; his sale, Amsterdam, Muller, 27 May, 1913, lot 6.
Subject: A Pregnant Woman and a Man Holding a Violin
Medium: Black chalk (softer in the left figure; parts of the violinist rubbed, indented and erased.
165 x 119. Watermark: none visible; chain lines: 25-30[?] h.
COMMENTS: The head and torso of the woman should be compared with the figure on the extreme left of Benesch 0373, while the reinforcement in her legs is a characteristic also found in the arms of the woman in Benesch 0308. The latter drawing also has hatching that compares closely with the shading in the centre.
Hofstede de Groot followed by Benesch thought the violinist a later addition in graphite, but this does not seem to be the case. However, this figure does appear to have been partly erased (especially towards the right) and some of the lines have been indented, perhaps by someone tracing it harshly (possibly to make a print after it). The violinist was drawn lightly, like such drawings as Benesch 0715 and Benesch 0746, but the rubbed condition of the present sheet as a whole undermines the quality of what was never one of Rembrandt’s more alluring sketches. But in the compiler’s opinion there are insufficient grounds for rejecting it.
Condition: generally rubbed (see also under medium above) and discoloured; some brown spotting, mostly near the edges.
COLLECTION: A Vienna, Albertina (L.174; inv.8838).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1457 (violinist a later addition in graphite); Benesch, II, 1954/73, no.375, repr. fig.426/451 (c.1637-38; comparisons as for Benesch 0374; as Hofstede de Groot, 1906); Exh. Vienna, 1956, no.36; Exh. Vienna, 1969-70, no.17, repr.; [Not in Schatborn, 2019].
PROVENANCE: Prince de Ligne;[1] Herzog Albert von Sachsen-Teschen
[1] The Prince de Ligne provenance is given on the Albertina website but not by Benesch (http://sammlungenonline.albertina.at/#51f742cb-37d6-4da9-9458-bede43e141c6 retrieved 1 August 2018).
First posted 1 August 2018.
Subject: A Seated Woman, Stripped to the Waist
Verso: A Standing Woman, seen from behind
Medium: Black chalk, on the recto only corrected and heightened with white.
199 x 153. Watermark: Cross of Lorraine (interlinked letter Cs).[1]
COMMENTS: Studies of the female model or the nude, worked up to this degree of finish, are rare in Rembrandt’s work (see under Benesch 0137). In the present case, it seems that the model may have been posed for a particular purpose – she crouches on a low support and holds what appears to be a cushion in front of her. She suggests a woman bearing gifts in a historical or biblical scene, for example, or even a woman nursing a child, but no related work is known. These factors complicate efforts to date the drawing. In style, the darker lines and contours around the figure’s lower back resemble the treatment of the figure on the left of Benesch 0403 verso, a drawing we date c.1633-35; the resemblance between the standing woman on the verso (presumably the same model and perhaps also bearing gifts) and Rembrandt’s Leiden period studies on this scale (eg. Benesch 0033) also speaks for an earlier date, in the first half of the 1630s, than later years of that decade as is usually thought. The muting of some darker passages with thinly-applied white bodycolour is characteristic of several chalk drawings of the 1630s, including Benesch 0137. A date c.1633 is perhaps argued by the watermark (see n.1.), although the Cross of Lorraine can also appear later, in works of the 1640s (Benesch 0567) or even the 1650s (Benesch 0862, Benesch 1175 and Benesch 1283).
COLLECTION: NL Rotterdam, Museum Boijmans Van Beuningen [on loan from the Stichting Museum Boijmans Van Beuningen since 1940, from the former Koenigs collection] (R 81 [PK]).
FURTHER LITERATURE/REMARKS: Exh. Amsterdam, 1929, no.254; Exh. Berlin, 1930, no.323; Benesch, 1935, p.28; Benesch, 1947, no.86, repr.; Benesch, II, 1954/73, no.376, repr. figs 424-25/452-53 (c.1637); Exh. Rotterdam-Amsterdam, 1956, no.69; Exh. Stockholm, 1956, no.69; Exh. Vienna, 1956, no.33; Drost, 1957, p.176, repr. fig.184; Exh. Washington-New York-Minneapolis-Boston-Cleveland-Chicago, 1958-59, no.59; Rotterdam, 1969, p.24, repr. figs 21-22; Exh. Chicago-Minnepolis-Detroit, 1969-70, no.105, repr. p.209; Bernhard, 1976, p.213; Sumowski, 1979 etc., I, under no.4 and VIII, under no.2003x; Rotterdam, 1988, no.14, repr. (c.1637); Exh. Edinburgh-London, 2001, no.70, repr.; Exh. Istanbul, 2005, no.10, repr.; Exh. Rotterdam, 2005-6, no.10, repr.; Slive, 2009, no.??; Paris, 2010, p.10, repr. fig.6, and p.36, n.27; Exh. Amsterdam, 2016, no.??; The Present Catalogue online, 2018; Schatborn, 2019, nos 287 [recto] and 288 [verso], repr. (c.1637); Exh. Rotterdam, 2019-20.
PROVENANCE: P. Bureau; his sale, Paris, Petit, 20 May, 1927, lot 12, repr.; N. Beets; acquired in 1927 by Franz Koenigs (L.1023a); D.G. van Beuningen, by whom presented to the Stichting Museum Boijmans Van Beuningen, 1940.
[1] A poor tracing of the mark is repr. Rotterdam, 1988, p.348, cat.14; Hinterding, 2006, II, p.100, places comparable marks in 1633. Yet compare also Laurentius, 2007, no.246 (1646).
Subject: A Woman Carrying a Child with a Man in a Fur Hat
Medium: Pen and brown (iron-gall) ink with later wash on paper prepared brown; ruled framing lines in pen and brown ink.
COMMENTS: The flat application of the wash over the main figure group, as well as the indifferent quality of the more ‘drawn’ additions using the tip of the brush on the male figure, point to the fact that all the wash is a later addition.
Hofstede de Groot (1906) had the charming inspiration that the figures were en route to the child’s baptism, an idea that the richness of the clothes would support. That the pen work is by Rembrandt seems likely but uncertain: the lines are unusually splintery in quality and, in general, the sketch lacks the fluency and authority normally associated with Rembrandt’s rapid sketch notations. Yet, thinking away the wash, there are links to Rembrandt’s drawings in iron-gall ink of c.1638-39, including the documentary sheets, Benesch 0161 and Benesch 0168, and to Benesch 0194 verso, a (for Rembrandt) somewhat timid drawing. Yet there are also similarities in style to Benesch 0121, now attributed to Govert Flinck, and another drawing at Besançon, Benesch 0238a.
Overall, the present writer believes that Rembrandt is the more likely author of the drawing, but an attribution to Flinck remains a distinct possibility.
Condition: Some spotting and overall discolouration.
Summary attribution: Rembrandt? Govert Flinck??
COLLECTION: F Besançon, Musée des Beaux-Arts et d’Archéologie de Besançon
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.568 (c.1635; figures perhaps on way to a baptism); Benesch, 1947, no.96, repr.; Benesch, II, 1954/73, no.377, repr. (c.1638; compares Benesch 0378); Berlin, 2018, under no.138 (school; compares Benesch 0306 verso); [Not in Schatborn, 2019].
PROVENANCE: Jean Gigoux (L.1164).
Subject: Bust of an Old Woman in a Turban, profile to left
Medium: Tip of the brush in brown, with brown wash; ruled framing lines in pen in brown ink.
COMMENTS: At first sight, the drawing resembles a number of Rembrandt drawings: the same oyster-like configuration of the eye and the squaring off of the bottom of the nose is seen in Benesch 0219 (for example, the figure in the bucket hat in the top left segment) and Benesch 0158. Generically there are similarities to later drawings, such as Benesch 0677-0678. However, on inspection of the original,[1] it becomes clear that even the slimmest lines are all drawn with the tip of the brush (very unusual for Rembrandt), the modelling is flat both in the outlines and the wash, and the touch, apart from the stabs of wash in the drapery, is slow and hesitant – all characteristics of a copy. The passage describing the front of the turban where it loops back makes it appear detached. Set next even to Benesch 0220-21 the stark contrast in quality is clear. But the drawing may have been made in Rembrandt’s studio in the later 1630s or earlier 1640s.
Condition: Generally good though slightly spotted and with nicks at all but the lower right corners.
Summary attribution: School of Rembrandt (after Rembrandt?)
COLLECTION: Formerly Tobias Christ, Basel.[1]
FURTHER LITERATURE/REMARKS: Bauch, 1933, p.220; Exh. Basel, Kunstmuseum, 1937, no.183; Benesch, II, 1954/73, no.378, repr. (c.1638; compares Benesch 0377); Kaczanowska, 1961, p.358, n.15; [Not in Schatborn, 2019].
PROVENANCE: Private collection, Basel; Dr Tobias Christ, Basel; his sale, London, Sotheby’s, 9 April, 1981, lot 26; Private Collection [offered London, Sotheby's, 4 July, 2012, lot 104 (withdrawn)] ; New York, Sotheby's, 30 January, 2019, lot 87, repr..
[1] The compiler saw the drawing at Sotheby’s in London, June 2012.
Subject: A Sleeping Boy
Verso: Sketch of a Woman in Bed (Saskia?)
Medium: Pen and brown ink with brown wash and some white bodycolour; verso: red chalk; ruled framing lines in pen and brown ink (recto only).
Inscribed recto, lower right, by Van Rijmsdijk in pen and brown ink (crossed out and now removed):[1] “Rymsdyk’s M.” (L.2167); inscribed verso, lower centre (with the sheet turned upside down), in graphite (all removed in 1984, according to Schatborn 1985a, no. 12): “14”, “A4520”, “525” [the lot number in the 1895 Pitcairn Knowles sale] and “1190” [the Hofstede de Groot, 1906, catalogue number]
COMMENTS: The sketch of a child on the recto resembles in style a number of Rembrandt’s drawings of the mid-1630s. The rather dense hatching denoting shadows down the right side of the child is especially comparable to the shading in the central and lower left figures in Benesch 0340, for example (see Fig.a, not least in the sleeve of the former and the hair of the latter); and for the loops describing the pillow analogies abound with the many sketches of Saskia in bed, such as Benesch 0289. The more delicate, parallel hatching under the child’s nearer elbow has links with the pockets of hatching seen in Benesch 0281, as does the description of the bed drapes. Although the sketch has been described as a copy, these lively passages undermine that theory. In the face it is true that the artist has not always hit the mark with Rembrandt’s characteristic aplomb: the touch seems unusually stiff and the lines become ‘detached’ from what they describe. Perhaps the model moved or Rembrandt had a momentary lapse of concentration. But the evidence provided by the remainder of the sheet speaks firmly in favour of an attribution to Rembrandt himself and reveals that this is not a copy but an original sketch, an opinion bolstered by the autograph status of the drawing on the verso. See further below on the child’s identification.
The verso, of a woman in bed, also belongs to the mid-1630s, alongside some of Rembrandt’s other red chalk sketches of Saskia (and other subjects) of that period. The tentative style reveals Rembrandt’s often surprisingly delicate style when initiating a drawing, as also seen in the documentary drawing, Benesch 0161 verso. Compare especially Benesch 0280a (in which the fingers are similarly pointed), Benesch 0280d (again, for the fingers) and Benesch 0308 (for the hatching).
Given the date, Saskia was probably the model again here, although the identification must be somewhat tentative for lack of detail. It is tempting to identify the child on the recto as Saskia and Rembrandt’s son, Rumbartus, who was born on 15 December 1635. But he died just two months later on 15 February 1636 and the child looks older.[2] Perhaps Rembrandt drew one of the children of Hendrick Uylenburgh, Saskia’s uncle, and Maria van Eyck, in whose house Rembrandt lived until 1635 (see under Benesch 0342).
The drawing could have formed part of the album of drawings of the lives of women and children mentioned under Benesch 0194.
Condition: The recto is light-struck and discoloured, with staining especially near the edges; a diagonal crease, upper right.
COLLECTION: NL Amsterdam, Rijksmuseum (L.2228; inv. RP-T-1901-A-4520)
FURTHER LITERATURE/REMARKS: Lippmann, II, 29B; Bode and Valentiner, 1906, p.66, repr. (c.1636); Hofstede de Groot, 1906, no. 1190; Saxl, 1908, p.337 (c.1645); Freise, Lilienfeld and Wichmann, 1912, p.8 and no.34; Neumann, 1918.I, no.4; Benesch, 1925, p.31 (reprinted 1970, p.89); Van Dyke, 1927, p.76, repr. pl.XV, fig.60 (Flinck); Exh. Amsterdam, 1932, no.265 (c.1642); Paris, 1933, under no.1171 (c.1638-42); Byam Shaw, 1933-34, p.44; Valentiner, II, 1934, no.686, repr. (c. 1636; Rumbartus);[2] Benesch, 1935, p.22 (1634-35); Wichmann, 1940, p.16, no.21 (c.1645); Amsterdam, 1942, nos. 22-23, repr. pl.14 (c. 1638; agrees with Valentiner); Poortenaar, 1943, p.48, no.85; Schinnerer, 1944, no.15; Von Alten, 1947, no.18 (c.1636); Exh. Rome-Florence, 1951, no.66 (before 1642); Benesch, II, 1954/73, no.379, repr. fig. 430-31/456-57 (c. 1638; Rumbartus on his Death-Bed?; compares verso to Benesch 0376 verso); Exh. Vienna, 1956, no.40 and p.450 (c.1638; not Rumbartus); Sumowski, 1956-57, p.263; Haverkamp-Begemann, 1961, p.26; Sumowski, 1961, p.6; Van Gelder, 1961, p.150; Descargues, 1965, repr. p.205; Slive, 1965, no.248 (c.1638); Bonnier, 1969, p.18, repr. (c.1638); Hamann, 1969, p.53, repr. p.454; Schatborn, 1975, p.9; Bernhard, 1976, p.241 (1638); Sumowski, 1979 etc., under no.865; Vogel-Köhn, 1981, no.39, pp.16 and 42 (c.1637-38); Amsterdam, 1985, no. 12, repr. (rejects recto as a copy and calls the verso the recto, dating it c.1635);[3] Exh. Dresden, 2004, pp. 184 and 214, under no. 103; Schatborn, 2019, no.269 [verso only], repr. (c.1636).
PROVENANCE: Jan van Rijmsdijck (L. 2167); William Esdaile; Edward Cheyney; his sale, London, Sotheby's, 29 April - 4 May, 1885, lot 865 (‘A child asleep; from the Esdaile collection’), bt Thibaudeau, £14; Alfred Ritter von Franck; his sale, Frankfurt-am-Main, Prestel, 4 December, 1889 and following days, lot 187, DM 131; William Pitcairn Knowles (L. 2643); his sale, Amsterdam, Muller, 25-26 June, 1895 and following days, lot 525, repr., bt Roos, fl. 180; purchased for fl. 207 for the present repository with the support of the Vereniging Rembrandt.
[1] The Rijksmuseum appears to have had a policy of removing what it deemed to be unsightly marks and inscriptions in the 1980s (the inscriptions on the present drawing were removed in 1984, according to Amsterdam, 1985).
[2] The date of Rumbartus’s death was unknown until Van Eeghen, 1956. Benesch argued that the child was clothed and propped up for view, showing a child on its death-bed, its face disfigured and with signs of decay.
[3] Repeated online, 2017 at https://www.rijksmuseum.nl/nl/collectie/RP-T-1901-A-4520(R)/catalogus-entry (retrieved 54 August 2018).
Subject: A Woman Lying in Bed
Verso: a few lines in red chalk; see also Inscriptions
Medium: Pen and brown ink, the broader lines perhaps with a reed pen; ruled framing lines in a darker ink; verso: a few lines in red chalk.
Inscribed in pen and brown ink (seventeenth or eighteenth century), lower right: “Rembrant:”; verso, below, in pen and brown ink, in Esdaile’s hand: “1835 WE Rembrandt”
125 x 165. Watermark: fragment, with letters “WR”; chain lines: 26/27v.
COMMENTS: Doubted as Rembrandt's work for the first time in 1985,[1] the drawing displays only superficial stylistic analogies with the several undoubted pen and ink studies of his wife, Saskia, in bed, made c.1635-40.[2] In comparison, the lines in the present sheet lack both fluency and verve, appearing considerably more tentative, while the volumes seem flatter. Nevertheless, the quality of this neat sketch is high. Its affinities with some of Rembrandt's etchings of the same subject, in particular with one of the two reclining figures in the “Sheet of Studies” of c.1641-42 (see detail, Fig.a; Bartsch 369; NH 177), have often been remarked.[3] It shows Saskia in much the same pose but with her further hand holding her nearer arm. Most of the etchings depict the motif in reverse and, unlike the drawings, they show the light falling from the right. Here it also comes from the right and it seems likely that the draughtsman – probably a pupil – based his work on the prints. The evenness of all but the most emphatic lines might also support such a theory. Benesch quite reasonably compared the nearer hand to that in Benesch 0167 and the surroundings with Benesch 0169, both drawings now thought or known to be by Ferdinand Bol, and Bol may also have been the draughtsman here.
Stylistically, the closest drawings in Rembrandt's oeuvre are from around 1640, in particular the documentary Study of a Man Kneeling, now in Bayonne (Benesch 0477), with its fine lines, as well as Benesch 0479. These are drawn in a more fluid style and the lines are simultaneously more reticent and yet more suggestive of the forms depicted.
A later copy, which omits the extension of the pillow in the upper centre, is in the Rijksmuseum (Amsterdam, 1985, no.93, repr.).
Condition: Not fresh: stained yellowish and spotted surface from old foxing and/or adhesive; minor abrasions at edges and corners.
Summary attribution: School of Rembrandt (Ferdinand Bol?).
COLLECTION: GB London, British Museum.
FURTHER LITERATURE/REMARKS: Exh. London, 1835 (ex. catalogue); Exh. London, 1899, no.A27 (c.1638-9; perhaps Saskia; compared to etching Bartsch 369; NH 177 and Bartsch 359; NH 228); Kleinmann, IV, no.18; Bell, c.1905, repr. pl.XV; Hofstede de Groot, 1906, no.935; Hind, 1912/24, I, under no.163 (compares, with other drawings, to etching Bartsch 369; NH 177; see also n.3 above); London, 1915, no.54 (c.1635-40; follows Exh. London 1899; Rijksmuseum copy – see above – noted as similar but inferior); Van Dyke, 1927, p.77 (Flinck, as also the etching Bartsch 369, NH177); Valentiner, II, 1934, no.692 (c.1639; study for etching Bartsch 369; NH 177); Benesch, 1935, p.22 (c.1634-5; groups with other drawings of the same subject); Exh. London, 1938, no.54 (follows London, 1915); Amsterdam, 1942, p.49, under no.99, and p.57, under no.117 (notes Amsterdam version as a copy; compares Raising of Jairus' Daughter, Amsterdam, Benesch A1 [Amsterdam, 1985, no.84, as school]); Münz, 1952, II, p.74, repr. pl.III, fig.6 (contemporary with the etching, Bartsch 369; NH 177); Benesch, II, 1954/73, no.380, repr. fig.432/455 (c.1638-9); Biörklund and Barnard, 1955, p.71, under no.BB 38-2 (relates to etching Bartsch 369; NH 177); Exh. London, 1956, p.19, no.9 (study for etching Bartsch 369; NH 177); Haverkamp-Begemann, 1961, p.26 (notes Benesch's failure to mention Rijksmuseum version); White, 1969, I, pp.54 and 159, repr.II, fig.234 (as Hind, 1912/24; see further n.3); White and Boon, 1969, I, p.162, under no.B369 (compared to the etching Bartsch 369; NH 177); Exh. Vienna, Albertina, 1970-71, p.74, under no.118 (c.1638-9; related to etching Bartsch 369; NH 177); Bernhard, 1976, II, repr. p.250; Amsterdam, 1981, p.48, under no.9; Amsterdam, 1985, p.198, under no.93, repr. fig.93a (not Rembrandt, but by a follower, based on authentic drawings and etching Bartsch 369; NH 177; copy in Rijksmuseum); Exh. Paris, 1986, p.133, under no.64 (not related to etching); Exh. London, 1992, no.90, repr. (school of Rembrandt, c.1640-45); White, 1992, p.268 (probably Rembrandt); London, 2010 (online), no.117, repr. (anonymous Rembrandt school); [Not in Schatborn, 2019].
PROVENANCE: Thomas Lawrence (L.2445); William Esdaile (L.2617; see cat. no.19); his sale, London, Christie’s, 17 June, 1840, lot 8, bt Woodburn, 7s; Samuel Woodburn sale, London, Christie’s, 7 June, 1860, lot 768: 'A female lying in bed - subject etched by the artist - pen', bt Enson, £2-10s; purchased by the present repository from Colnaghi’s, 1891.
[1] By P. Schatborn in Amsterdam, 1985 (see Lit. below), who expresses surprise at the position of the curtain indicated at the foot of the bed, yet this occurs on the upper study in the 'Sheet of Studies' etching (Fig.a).
[2] E.g. Benesch 0255, Dresden, Benesch 0281A, Oxford, Benesch 0282, Groningen, Benesch 0283, Paris (Dutuit), and Benesch 0286. Benesch compared the present drawing to Benesch 0167 ('Tobit (?) sleeping beneath a Tree', Paris, Lugt collection) and Benesch 0169 ('Saskia (?) in Bed', Washington), but the attribution of both these drawings is open to question and the stylistic analogies are not persuasive.
[3] Since Colvin in Exh. London, 1899 (see Exhibition, 1899, above); he also compared the etching of the Sick Woman with a large white headdress [Saskia] (Bartsch 359; NH 228) and White, 1969, also compared the Death of the Virgin (Bartsch 99; NH173). The etching of Joseph telling his Dreams of 1638, Bartsch 37; NH 167, also includes the motif of a woman in bed in the background.
Subject: Study Sheet with Three Women and a Boy
Medium: Pen and brown (iron-gall) ink on paper prepared brown.
Inscribed verso, in graphite, lower centre: "B64"
COMMENTS: The sketch was first published by Benesch, who saw a foreshadowing of Rembrandt’s etching of The Angel Departing from Tobit and his Family, of 1641 (Fig.a; Bartsch 43; NH 189): the uppermost and right-hand figures’ raised hands may denote the surprise of Anna and the crossed arms of the boy the submissiveness of the young Tobias. The connection seems correct, although the drawing seems likely to date from around two years before the etching, when Rembrandt’s other drawings in iron-gall ink all appear to have been made (see under Benesch 0157).
For the style, compare the upper figure with those in the centre and the right of Benesch 0301; also Benesch 0300, where the outlines have a comparable breadth to the figure at the lower left. Benesch 0190 (probably another drawing related to Tobit) is comparable in this respect, especially the angel on the left. Benesch 0115 has similar pockets of vertical shading in the drapery, as in the upper figure here and again in parts of Benesch 0199 and behind the upper figure in Benesch 0197.
Condition: generally good, though with some iron-gall ink burn.
COLLECTION: USA New York, The Metropolitan Museum of Art (inv. 2005.330.16).
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.381, repr. fig.441/459 (c.1638-39; from life but with a biblical subject in mind and figures foreshadow characters in the 1641 etching of The Angel Departing from Tobit’s Family, Bartsch 43; NH 189; compares Benesch 0423 verso and Benesch 0143); Exh. New York-Cambridge, 1960, no.35, repr. pl.30 (c.1638-41; as Benesch, 1954/73); Sumowski, 1979 etc., II, under no.369; Plomp, 2006, p.7, repr. fig.10; Orenstein, 2006, pp.36-37, repr. (late 1630s; iron-gall ink; as Benesch 1954/73); [Not in Schatborn, 2019].
PROVENANCE: Adalbert Freiherr von Lanna; Paul Mathey; his sale, Paris, Drouot, 13 February, 1939, lot 68; Frits and Rita Markus; bequeathed by Rita Markus to the present repository, 2005.
Subject: A Seated Woman with a Child on her Lap
Verso: The Adoration of the Magi
Medium: Pen and brown ink, rubbed with the finger; ruled framing lines in pen and brown ink (partly cut away); verso: black chalk; framing lines in black chalk.
162 x 128. Watermark: part of a foolscap? (unclear); chain lines: 22-23h.
COMMENTS: The recto and verso are so wholly distinct in style and technique that they demand separate discussion, at least initially. Which side was drawn first is uncertain, but because the ink of the recto now so strongly affects the verso it has been supposed that the verso came first.[1]
The recto is comparable in style to many of Rembrandt’s more liquidly-handled pen drawings of the later 1630s until the mid-1640s. Among the documentary drawings of c.1635-40, one might point to Benesch 0292 (c.1635) and Benesch 0482 recto (c.1640), the latter with similarly strong corrective lines and loops like the one denoting the ‘fulcrum’ of the present composition, where the weight of the woman is concentrated. A similarly fluid approach occurs in Benesch 0423 verso (c.1638-39), while the documentary drawings of the mid- to later-1640s appear still more energetically and broadly handled, for example Benesch 0736 (c.1645-47), Benesch 0763 (c.1646) and Benesch 0767 (c.1647). The present drawing appears to conform somewhat more with drawings of the earlier 1640s, such as Benesch 0115, in which the arm of the worshipper is configured similarly to the nearer arm of the woman. Something of the speed and verve of the execution is apparent in the splitting of the nib in the lower part of the drawing, as well as from the strong lines correcting the position of the woman’s upper body, initially drawn slightly further from the child.[2] To judge from the clothes, the woman may have been a domestic, although the possibility that Saskia modelled is possible if the drawing dates from before her death in 1642.
The verso is difficult to read, partly because the chalk is lighter in tone than usual and could possibly be graphite, rare in Rembrandt’s oeuvre. It shows the Virgin (presumably holding the child) on the extreme left and again somewhat nearer the centre; a tall figure, possibly Joseph, stands behind the latter version while one of the Magi kneels before her in profile to the left. A second Magus stands erect behind the first, also turned to the left. Beyond him is an elephant, viewed from the side with its head to the right, carrying a rider,[3] the arch of the animal’s back echoing on a smaller scale the arched top of the whole design. Towards the right there are multiple shorthand indications of further figures, with what is perhaps a dog in the lower right corner, turned to the right with its front legs higher than its hind legs. As Benesch noted, the verso resembles two drawings of the Adoration of the Magi now in Munich (Benesch 0578-79), of which the former also has an arched top. This suggests that Rembrandt planned to include this subject in the series of seven so-called ‘Passion’ paintings made for the Stadholder between 1632 and 1646, all of which have rounded tops and one of which depicts the Adoration of the Shepherds.[4] This last painting shows the Virgin on the right, and would, therefore, have made a balanced pendant to the present design. The other Munich drawing, Benesch 0579, is dated 1644 on the verso, apparently in Rembrandt's own handwriting and this could also be a pointer to the date of the present work.[5] Even more suggestive is the date of 1641 on another drawing in Munich, not in Benesch but published here, which also shows the Adoration of the Magi, with an elephant in the background.[6]
Having studied both sides of the sheet, it should be pointed out that there is a connection between them: the woman and child on the recto and the Virgin and child on the verso. As we have seen, both the recto and the verso are not easy to date, whether from the point of view of the style or from the connection with the ‘Passion’ series for the Stadholder, but the iconographic connection suggests that they were probably made at around the same time. The early- to mid-1640s seems likely, in which case the child could possibly be Rembrandt’s son, Titus van Rijn, who was born on 22 September 1641, and the woman his nurse, Geertje Dircx. Although impossible to verify, the idea that Rembrandt sometimes used them as models seems likely.
Condition: Generally good; the ink from the verso has with time become very apparent on the verso
COLLECTION: F Paris, Fondation Custodia, Frits Lugt Collection (inv. 2143).
FURTHER LITERATURE/REMARKS: Exh. Haarlem, 1931, no.234; Exh. Rotterdam, 1938, no.438, repr. fig.248 (recto); Benesch, II, 1954/73, no.382, repr. figs 435-36/460-61 and under no.423 (c.1639; compares Benesch 0425; verso either Adoration of Magi or Shepherds and compared with Benesch 0578-79); Exh. Paris, 1957 (no catalogue); Exh. Paris, 1965, no.90; Exh. Cambridge, 1966, under no.11, n.2; Munich, 1973, I, p.66, under no.1143 (c.1639); Exh. Paris, 1974, no.77, repr. pls 24-25 (c.1639); Exh. Leningrad-Moscow-Kiev, 1974, no.84, repr. (c.1639); Vogel-Köhn, 1981, pp.225-26, no.68, recto repr. (c.1639-43); Van Berghe-Gerbaud, 1997, p.70 and 104, repr. p.71; Exh. Paris-Haarlem, 1997-98, no.12, repr. pp.xiv and xx (c.1645-50); Royalton-Kisch, 1998, p.622 (early 1640s; because of 1644 date on Benesch 0579; perhaps Geertje Dircx with Titus); Starcky, 1999, p.13, repr. (c.1646-47); Exh. Edinburgh-London, 2001, under no.205, repr. p.190, fig.138 (c.1646); Exh. Paris, 2004, no.71, repr. and pl.348 (c.1645-50); Blanc, 2006, p.70, repr. fig.10 (c.1639); Exh. Amsterdam, 2006, p.86, repr. fig.90 (c.1639); Schwartz, 2006, p.79, repr. fig.133 (c.1646); Exh. Paris, 2006-7 (no catalogue); Paris, 2010, no.12, repr. (later 1640s; see above and notes 1-3; notes the major pentimento, the loop where the woman sits; the verso related to five drawings in Munich for which it may have served as an example: Benesch 0578, 0579 after the 1646 painting of the Adoration of the Shepherds; Benesch A43 and A43a depicting the Circumcision; and Benesch A42 of Christ and the Woman Taken in Adultery – all school works; verso has links to Van den Eeckhout painting in Moscow of 1665 [Sumowski, Gem., no.454] for which there is a sketch in the Morgan Library [Sumowski 648]; and to a painting in Wernau attrib. to Van den Eeckout [by Sumowski, Gem., 391]; and to a painting in the Royal Collection, London, which Bauch attrib. to Eeckhout [Bauch, 1966, no.88]; Eeckhout drew an Adoration of the Magi [Benesch 0160] as did Rembrandt [Benesch 0115]; Virgin first shown on left, then moved nearer the centre; loose handling and strong contrasts point to later 1640s, cf. Benesch 0763 and Benesch 0767); Exh. New York, 2011, p.90, repr.; Schatborn, 2019, nos 84 [verso] and 378 [recto], repr. (c.1646 [recto]; c.1647 [verso]).
PROVENANCE: Chevalier de Damery (L.2862 and Suppl.; his sale, Paris, Regnault-Delalande, 18-19 November, 1803, probably part of lot 67 (‘Cinquante-deux dessins […]’); Baron Nicolas de Platyer; Lucien Huteau & Max Bine; acquired in February 1925 by Frits Lugt (L.1028).
[1] Schatborn in Paris, 2010. The question is whether the ink initially came through so strongly or only after a passage of time.
[2] Schatborn, loc. cit., suggests that a reed pen may have been used, but the taper of the lines argues otherwise.
[3] The animal was deciphered by Schatborn, loc.cit..
[4] The paintings, all in the Alte Pinakothek in Munich except the last-named below, are The Raising of the Cross of 1633 (Bredius 548; Corpus A69, vol.VI, no.106); The Descent from the Cross of 1632-33 (Bredius 550; Corpus A65, vol.VI, no.107); The Ascension of 1636 (Bredius 557; Corpus A118, vol.VI, no.145); The Entombment of c.1635-39 (Bredius 560; Corpus A126, vol.VI, no.162); The Resurrection of 1639 (Bredius 561; Corpus A127, vol.VI, no.163); The Nativity: Adoration of the Shepherds of 1646 (Bredius 574; Corpus, V, 11, vol.VI, no.211a) and the Circumcision of c.1646, known only through an old copy in Braunschweig (Corpus, V, 10, vol.VI, no.211b).
[5] As noted by Royalton-Kisch, 1998.
[6] Munich, 1973, no.1293, repr. pl.349 (as Rembrandt school).
Subject: Three Studies of a Man Turned to the Right
Medium: Pen and brown ink; ruled framing lines in a darker ink.
Inscribed in pen and brown ink, lower right: “1871./217” [the latter number by Mariette ansd crossed out]; a further number below this, outside the framing line and partly obscured by an added margin (“14”?)
135 x 114 (partly obscured by added margins); Watermark: none visible.
COMMENTS: To judge from the increasing detail, Rembrandt may have begun work with the sketch to the left, then the one lower right, finally drawing the more fully realised figure at the top.
The drawing conforms closely in style with a number of sketches made between around 1635-40, including Benesch 0095-0096. The costume, with a cummerbund, may be oriental (Benesch thought possibly Balkan). The rather rigidly vertical arms and solemn expression give the man the demeanour of a prisoner, which means a thematic relationship with Benesch 0479 (and with the other drawings related to it) is possible.
Condition: Good; a slight green spot, lower left.
COLLECTION: S Stockholm, Nationalmuseum (L.1638; inv. NMH 2072/1863).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1604 (c.1632); Stockholm, 1920, no.IV;27; Benesch, 1935, p.28; Benesch, II, 1954/73, no.383, repr. fig.429/462 (c.1638-39; compares Benesch 0172 and Benesch 0452; figure an eastern type, Greek or Balkan); Exh. Stockholm, 1956, no.71; Exh. Rotterdam-Amsterdam, 1956, no.73; Exh. Vienna, 1956, no.41; Exh. Stockholm, 1992-93, no.136, repr. (c.1635; compares Benesch 0095); Schatborn, 2019, no.359, repr. (c.1639).
PROVENANCE: Roger de Piles?; Pierre Crozat (Mariette, p.101); C.G. Tessin (List of 1739-42, f.46v; 1749 catalogue, livre 15, no.12); Swedish Royal Library (1790 cat., no.1871); Royal Museum, Stockholm, from which transferred to the present repository in 1866.
Subject: Head of an Old Woman, turned to right
COMMENTS: This diminutive sketch is not easy to judge. The quality is high and the characterisation successful, even on this small scale. But the somewhat harsh and scratchy handling combined with a geometrical approach to form seems to reflect Rembrandt’s work of the 1650s more than the 1630s, despite superficial links to Benesch 0140 of c.1633-34 and Benesch 0445 of 1635. The scratchy hatching in the top of the head is reminiscent of Willem Drost (cf., for example, Benesch 0955 verso and Benesch 1080).
Condition: Fragment, but otherwise good.
Summary attribution: School of Rembrandt (Rembrandt??).
COLLECTION: D Berlin, Staatliche Museen Berlin, Kupferstichkabinett (inv.5792).
FURTHER LITERATURE/REMARKS: Michel, 1893, p.576 (in Beckerath collection; mounted with HdG 110 [inv. 5795] , 113 [inv.5791], 127 [inv. 5793]); Hofstede de Groot, 1906, no.126; Freise, Lilienfeld and Wichmann, 1914, no.114 (not Rembrandt); Berlin, 1930, I, p.232, inv.5792 (c.1650); Benesch, 1935, p.29; Benesch, II, 1954/73, no.383, repr. (c.1638-39; compares Benesch 0174, Benesch 0178 and Benesch 0180); Exh. Berlin, 1956, no.128 (c.1650); Berlin, 2018, no.144, repr. (school of Rembrandt, c.1648-50; cut from a model sheet; compares model in sketch in Munich, 1973, no.1250, which is likely by another hand; dates on basis of Benesch 0731, esp. the head lower left); [Not in Schatborn, 2019].
PROVENANCE: Adolf von Beckerath (1834-1915), with whose collection acquired in 1902 by the present repository in return for a lifetime annuity.
Subject: A Woman Reading
Verso: Fragment of a sketch by another hand
Medium: Pen and brown ink with brush and brown wash; ruled framing line in pen and brown ink.
67 x 88. Watermark: none; chain lines 27/28h.
COMMENTS: Compare for style Benesch 0272A. The deft use of both the pen and the wash, which lacks Rembrandt’s variety and descriptive power, resembles the work of both Gerbrand van den Eeckhout and Ferdinand Bol. For the latter, compare for example The Angel Appearing to Hagar, in the Rijksmuseum (Sumowski 89) with its comparably lively touch with the pen and the brush. The pen lines also resemble Benesch 0742. However, the use of the tip of the brush to add extra details, as in the cap and the chair, is more characteristic of Van den Eeckhout – cf. Benesch 0108, Benesch 0128, Benesch 0138 and Benesch 0147. On balance, therefore, an attribution to him seems preferable and the drawing was probably made during his apprenticeship with Rembrandt in the second half of the 1630s. Compare the composition with that of Benesch 0385a, perhaps made at the same sitting, and the etching of a Woman Reading, dated 1634 (Bartsch 345; NH 137). Note that at the lower centre margin there are a few lines perhaps depicting the cap of the same figure.
Condition: Generally good; some surface dirt; cut from a larger sheet.
COLLECTION: USA New York, The Metropolitan Museum of Art (Rogers Fund, 1926; inv. 26.208)
FURTHER LITERATURE/REMARKS: Lippmann, II, 69A; Michel, 1893, p.512 and 1894, p.254; Exh. New York, 1985; Hofstede de Groot, 1906, no.1009; Benesch, 1935, p.23; New York, 1942-44, no.7, repr. fig.7; Benesch, II, 1954/73, no.385, repr. fig.440/464 (c.1639-40; compares Benesch 0380 and Benesch 0386); Exh. New York, 1995-96, no.72, repr. (school of Rembrandt; records doubts given by Rosenberg orally in 1942); [Not in Schatborn, 2019].
PROVENANCE: Sir W. W. Knighton; John Postle Heseltine (L.1507); A. de Robiano; his sale, Amsterdam, Muller, 15-16 June, 1926, lot 443; Purchased from Colnaghi, New York, by the present repository in 1926 with the Rogers Fund.
First posted 9 August 2018
Subject: A Seated Young Woman Reading
Medium: Etching after a drawing presumably in pen and brown ink, with ruled framing lines in pen and brown ink.
Inscribed in the plate, upper right: “R.” and lower right: “St.” [for Stieglitz]; further below, under the framing line: “D’apres le Dessein de Rembrand qui est a Leipsic”
COMMENTS: The drawing is known only through an etched copy, reproduced here, by Carl Ludwig Stieglitz (1727-1787), who also made an etching after Benesch 0415 (and may have made Benesch 0287). The composition is close to Benesch 0385 (qv), but whether the original drawing, said to be in Leipzig at the time it was etched, is by Rembrandt is impossible to say. The loop describing the gathering of the book is so close to Benesch 0385 that it may have been by the same artist. Compare also the etching of a Woman Reading, dated 1634 (Bartsch 345; NH 137). More than Benesch 0385, there is a resemblance to Saskia.
Summary attribution: Carl Ludwig Stieglitz (1727-1787) after Rembrandt??
FURTHER LITERATURE/REMARKS: Benesch, II, 1954/73, no.385a, repr. (after a Rembrandt drawing of c.1639-40; relates to Benesch 0385); Exh. New York, 1995-96, under no.71 (relates to Benesch 0385 and the 1634 etching noted above); [Not in Schatborn, 2019].
First posted 10 August 2018.
Subject: Four Studies of the Head of a Woman; A Seated Old Woman; A Standing Man
Medium: Pen and brown ink; ruled framing lines in pen and paler brown ink (at the sides only).
Inscribed verso in graphite, centre: “146” and lower left: “X”; inscribed on the verso of the card backing: “146”
145 x 133. Watermark: none; chain lines: 23/24h.
COMMENTS: In the heads in the upper right of the sheet, the draughtsman has repeated many of the main outlines so often that the effect departs from anything else we know in Rembrandt’s sketch-sheets (cf. Benesch 0340 and Benesch 0402). Despite several attempts, we are uncertain whether his model was a girl or a somewhat older woman. The looping lines in the central upper bust and in the old woman also appear overly hesitant and depart from the incisiveness of Rembrandt’s drawings of the later 1630s (cf. Benesch 0230, with its greater variety of pressure on the pen, Benesch 0360 recto and Benesch A10 [here as Not in Benesch]), the period to which the drawing appears to belong. The small zig-zag flourishes and curling strokes used for shading also seem unusual for Rembrandt and the overall effect of the drawing is more 'painterly' (especially in the hair of the female heads). Yet the standing figure on the left compares well with Benesch 0223 verso and also with the woman at the lower left of Benesch 0226 – analogies that are closer than those with Benesch 0228, and for this reason the drawing is retained here under Rembrandt’s name with an ‘attributed to’ designation. Overall, the somewhat slack modelling and 'looped' handling is more reminiscent of Ferdinand Bol than his teacher, and is comparable to Bol’s Shepherdess in the Rijksmuseum (RP-T-1889-A-2060; Sumowski 179x) and to the background figures in Benesch 0480 of c.1640.
Condition: Probably trimmed (see lower left corner); generally discoloured with stains and areas of foxing chiefly near the edges (apparently much worse since Benesch’s photograph was taken although it could be that some old restorations, covering the blemishes, have been removed).
Summary attribution: Ferdinand Bol? (Rembrandt??).
COLLECTION: Private Collection.
FURTHER LITERATURE/REMARKS: Lippmann, III, 33; Hofstede de Groot, 1906, no.806 (c.1635); Benesch, 1935, p.23; Benesch, II, 1954/73, no.386, repr. fig.428/465 (c.1639-40; compares Benesch 0385); [Not in Schatborn, 2019].
PROVENANCE: Paul Mathey; F. Wauters (L.912); his sale, Amsterdam, Muller-Mensing, 15-16 June, 1926, lot 146.
Subject: Bust of a Figure Carrying a Child on its Back
COMMENTS: There is an impressive strength in the draughtsmanship of this diminutive sketch that is comparable to another drawing in Besançon, Benesch 0238a (though the provenance is different). Yet the open apex of the skull and the somewhat scratchy lines in the child are unusual for Rembrandt (though see the cranium of the child in Benesch 0222) and make an attribution to him somewhat uncertain, as they are not easily paralleled in his authentic drawings. Among the closest works is surely Benesch 0391 verso and on balance the drawing is included here as authentic, with only a minor degree of hesitation. An etching was made after the drawing by the Chevalier De Claussin, on the same plate as a number of other etchings after Rembrandt drawings.
Summary attribution: Rembrandt (?).
COLLECTION: F Besançon, Musée des Beaux-Arts et d'Archéologie (L. Suppl. 238c; inv. D.560).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.562; Benesch, 1954/73, no.387, repr. (c.1638-40; compares Benesch 0186-87); [Not in Schatborn, 2019].
PROVENANCE: Jonathan Richardson, sen., (L2183); Joshua Reynolds (L.2364); Jean Gigoux (L.1164).
Subject: Two Studies for the Sick Woman in the “Hundred Guilder Print”
Verso: See Inscriptions (otherwise blank)
Inscribed verso in graphite, top: “f” and lower left: “d”; in pen and brown ink, below: “Samuel de Festetits 1850.”
79 x 108. Watermark: none; chain lines: 26h. (laid lines c.20/cm).
COMMENTS: A documentary drawing, being a sketch for the sick woman seated on the ground below Christ in Rembrandt’s etching of Christ Healing the Sick: The Hundred Guilder Print (Bartsch 74; NH.239). Another, more elaborate sketch for the figure is Benesch 0183 (qv also for a discussion of this drawing) but it was probably made before the present sketch, which is somewhat closer to the figure in the etching. The small head to the right was probably drawn first as in general terms it follows the right-hand figure in Benesch 0183. For a general discussion of the preparatory drawings for the etching, see the composition sketch for this and other figures, Benesch 0188, in which the pose of the right leg of the present figure is repeated.
Condition: A fragment, but otherwise good; a few yellowish foxmarks on the recto; some verso debris and associated glue stains.
COLLECTION: PC USA New York, Clement C. Moore II.
FURTHER LITERATURE/REMARKS: Österreichische Kunsttopographie, Vienna, 1907, p.225, repr. fig.242; Tietze, 1908, p.225, no.6, repr.; Benesch, 1935, p.16; Münz, 1952, II, under no.217, repr. pl.ix and fig.19 [in reverse] Benesch, II, 1954/73, no.388, repr. fig.438/468 (c.1638-40; closely connected with studies for Hundred Guilder Print, especially Benesch 0183); Haverkamp-Begemann, 1961, p.15; Benesch, 1964, p.121 (reprinted 1970, p.256); Boon, 1964, p.87, repr. fig.4; Exh. London, 1969, p.9, under no.1; White, 1969, pp.59-60, repr. fig.69; Exh. Vienna, 1970-71, p.112, under no.186; Amsterdam, 1972, under no.B74; Amsterdam, 1985, pp.48-49, under no.21, n.3; Exh. Berlin-Amsterdam-London, 1991-92, p.244, under no.27; Royalton-Kisch, 1993.I, pp.80 and 191, n.12; White, 1999, p.59, repr. fig.73; Exh. Amsterdam-London, 2000-2001, under no.61, repr. fig.e; Exh. New York, 2006, repr. fig.12; Berlin, 2006, pp.142-3, under no.40, n.6, repr.; Exh. Paris, 2006-7, p.205, n.6; Schatborn, 2011, pp.314 and 316, repr. fig. 57; Royalton-Kisch and Schatborn, 2011, p.341, no.62, repr. fig.57 (c.1648; documentary drawing); Exh. New York, 2012, no.31, repr. (the first known drawing for the etching); Exh. New York, 2016, p.50; Exh. Denver, 2018, no.91, repr. (c.1648); Schatborn, 2019, no.89 and pp.17 and 143, repr. (c.1648; example of a drawing made during the search for a composition; shows Rembrandt usually began with the head).
PROVENANCE: Samuel Graf von Festetits (L.926 – see verso inscription); probably acquired from him by Philipp Drechsler [Drächsler von Carin]; J.C. Ritter von Klinkosch; his sale, Vienna, Wawra, 15 April, 1889, lot 732, repr.; Moriz and Elsa Kuffner, and subsequently their Stiftung; their sale, London, Sotheby’s, 26 November, 1970, lot 17, repr., bt Johnson, £10,000; Walter J. Johnson; his sale, London, Christie’s 1 July, 1997, lot 208, repr.; British Rail Pension Fund; private collection, New York, from which acquired in 2005 by the present owner.
Subject: Standing Man with a Leather Bag, turned to left, half-length
Verso: Beginnings of a Sketch of a Beggar
COMMENTS: The style is readily comparable to a number of drawings that may be attributed to Willem Drost with some confidence, including Benesch 1092, with its similar oblique parallel hatching, even-tempered outlines and occasional lapses in modelling (in the right arm here, in the left in Benesch 1092); and, compared with Rembrandt, somewhat shallow or wooden characterisation. Cf. also Benesch 0896 and Benesch A94 (Sumowski 557x; London, 2010 [online], Drost no.1).
From the pose and chiaroscuro it seems possible that the drawing was a study towards an Adoration of the Shepherds, with the light emanating from the child or another light source to the left.[1]
Summary attribution: Willem Drost?
COLLECTION: NL Amsterdam, Rijksmuseum (inv. RP-T-1889-A-2061)
FURTHER LITERATURE/REMARKS: Lippmann, II, 29a; Hofstede de Groot, 1906, no.1183 (c.1635; represents a beggar); Freise, Wichmann and Lilienfeld, 1912, no.27; Stockholm, 1920, p.72, repr. fig.87; Exh. Amsterdam, 1932, no.249; Benesch, 1935, p.32; Amsterdam, 1942, no.19; Benesch, II, 1954, no.389, repr. (c.1639-40; a beggar; compares studies for Hundred Guilder print [Bartsch 74; NH.239], especially Benesch 0184-85); Schatborn, 1985, pp. 101-102, repr. fig.19 (by Willem Drost); [Not in Schatborn, 2019].
PROVENANCE: Jacob de Vos, Jbzn ; his sale, Amsterdam, Roos et al., 22-24 May, 1883 (like many drawings, not individually described); purchased with the support of the Vereniging Rembrandt, 1889.
[1] Although not directly related to the present sheet, a number of drawings of the subject have been attributed to or associated with Drost: one now in Brussels (Sumowski 566x) another in the Morgan Library, New York (Sumowski, p.1190, no.6 [as not by Drost] and New York, 2006, no.242) and a third in Washington Sumowski, p.1190, no.7 [as not by Drost] and Benesch A117).
Subject: An Artist in his Studio
Medium: Pen and brown ink; remnants of ruled framing lines in pen and a slightly darker brown ink.
Inscribed in brown ink, lower right: “Rt” [?] (see under Benesch 0113)
205 x 170. Watermark: none; chain lines: 25/26v; c.16 laid lines per cm.
COMMENTS: This drawing, known to the compiler in the original since the mid-1980s, has always troubled him.[1] This catalogue entry is an attempt to articulate why and to amass as many arguments as possible on both sides of the attributional question, as well as to touch on the iconography. It is therefore on the long side.
The drawing, since its first publication in 1925, has become something of an icon, apparently giving a glimpse into Rembrandt’s studio. It has also been related in general terms with Rembrandt’s earlier and celebrated painting of An Artist in His Studio of c.1628, now in the Boston Museum of Fine Arts (Bredius 419; Corpus A18, vol.VI, no.24). Both depict a painter, often identified as Rembrandt himself, sometimes as Jan Lievens, contemplating his work from a distance (rather than actually at work painting it), standing near his pigment grinding-stone, with a comparable placement of the easel and the picture, seen only from the back, with a corner of the room to the right. It is, however, generally agreed that the drawing is later than the painting. This is confirmed by the style, which fits ill with the Leiden period before 1631.
The iconography of the Boston painting has inspired much debate. Rather than a documentary snapshot of the studio, the fact that the artist is standing away from the easel has led to speculation that the artist is depicted as he formulates his pictorial ‘idea’.[2] The lack of a chair in the oil gives this theory some credence, but on the other hand, the invisibility of the painted surface of the work on the easel in both the painting and the drawing undermines it. On a less theoretical and more practical level, artists need to stand back and critique their work from a distance.
In the case of the drawing, the rounded arched top of the painting depicted led Benesch (1954) to speculate that it is one of the panels from Rembrandt’s Passion series commissioned by the Stadholder.[3] Their sizes, approximately 93 cms high, supports the hypothesis but it is impossible to confirm. Work seems to be in progress as there is a pot of paint (or thinner) hanging from one of the easel’s pegs and the artist is still holding his brushes and maulstick (on which see further below).
Also of iconographic interest are the thin lines of perspective leading to a vanishing point to the right of the drawing. There are obvious echoes of Albrecht Dürer’s celebrated woodcuts in his 'Unterweysung der Messung’ of 1525, but any juxtaposition reveals clearly that the link is weak (see fig.a): in the drawing, the approach seems entirely informal, the lines added so lightly that one could believe that the artist hoped they would not overly disturb the image.
Stylistically, there are several unusual characteristics to the drawing. The nib of the pen in much of the drawing seems to have been cut remarkably finely, creating atypical effects, especially in the shading, both in the background and on the panel on the easel, where numerous approximately parallel lines are employed (crossed by zigzags is some parts), an uneconomical method of creating shadow; and the shadows in general do not produce the exactitude of optical illusion or information normally encountered in Rembrandt’s own work. Perhaps the fineness of the nib meant that it was less rigid than usual and thus more difficult to control.
The standing figure is drawn with a wider and firmer nib. In part he is difficult to ‘read’: he holds brushes and a long maulstick but his forearms are unclear – either his nearer arm is divided into two distinct parts, with a closed loop for the forearm; or else his right forearm and hand are resting on the back of the chair, in which case he is holding his brushes and his palette (if the loop is read as the latter) in his left hand, which would be more logical. But neither hand seems to hold the maulstick, which is precariously balanced of the back of the chair. His clothes are roughly sketched in splintery lines and include a somewhat gravity-defying fold in shadow before him (immediately behind the chair). The furniture – chair, easel and grinding stone – all appear rickety in construction, drawn without the fluency or deft accuracy that is usually a Rembrandt hallmark. There seems to be a well-worn cushion or some drapery on the chair, the wicker-work indicated by a carefully judged series of short parallel strokes on the nearer edge of the seat. The chair-back is elaborated with a rather spikey zigzag, a type of description or shading also found twice, though more incipiently, in the lower part of the painting on the easel.
The lines in the figure and chair are not much differentiated in strength. Neither are the thinner lines of shadow on the back of the picture and the wall behind. The easel and painting, too, are delineated scratchily, not to say insecurely. The lower edge of the painting stands proud of the easel at the nearer end but not at the farther, but the supports at the top are not aligned with such a differential. The arch of the panel is hesitantly conveyed. The grinding-stone’s construction seems especially insecure, but this is partly because the artist was sketching around the previously drawn easel. Some of the thinnest lines show two paintings stacked against the back wall, delicately applied but without much accuracy or authority; some of the thickest lines are reserved for the shadows, including the calligraphic horizontal tone spread energetically across the lower foreground, perhaps just a long shadow but possibly suggesting that the artist is standing on a low platform; the shading on the chest and lower part of the figure, and the shadows to the right of the easel and the grinding stone (where there is a passage of looping zigzags) also have this calligraphic character. The shadow of the figure on the floor (immediately to his right, under the chair) is drawn with two distinct sets of parallel lines and zigzags but each set at different angles. The nearer set creates a somewhat illogical shadow and the further set interrupts the optical flow of the receding space. Indeed, almost all the shadows have a calligraphic aspect that undermines the illusion. Rembrandt’s customary sense of the direction of the light seems lacking. Finally, there are the spindly lines of perspective emanating from a vanishing-point just outside the right edge of the sheet. Although gingerly and somewhat inaccurately drawn, they serve to reveal that the perspective is incorrect: neither the lower edge of the painting aligns with them, nor the tops of the two supports of the easel, nor its feet and lower cross-bar. As a result, the whole composition veers towards instability.[4]
All the above qualities give cause for concern about the attribution to Rembrandt, yet there are links in style with Rembrandt’s own drawings of the period between c.1633-38. Among the documentary drawings, two of the sketches for the grisaille of St John the Baptist Preaching provide analogies (Benesch 0141 in Berlin and Benesch 142 recto at Chatsworth). Perhaps the closest is the full-length scribe at the lower right of Benesch 0141, drawn in a comparable fashion to the figure in Benesch 0390, only with considerably more verve and confidence, so that the figure emerges as one unit rather than being splintered into parts. This unifying characteristic also pertains to the other figures on the same Berlin sheet, including the more pensive figure at the top left. The Chatsworth drawing (Benesch 0142 recto) is similar in this respect, but provides analogies in the horizontal shadow below the main figure, although there it appears more controlled and less calligraphic than here (as also in Benesch 0148, where the shading describes a step). Among non-documentary drawings, Benesch 0139, despite its poor condition, has some vertical shading in the upper left and right background that provides a comparison with the shading behind the figure in Benesch 0390, but it is more fluently applied. Compare also in this respect Benesch 0351 verso. For the zigzag shading one might point to Benesch 0293 recto, where again the verve and energy suggest another hand at work, while the verso reveals how accurate and economical Rembrandt usually is when drawing a figure, in stark contrast to what we see here: the parallel shading in the main figure’s cap stops precisely at the border, whereas in Benesch 0390 it extends above the arched top of the painting and across the right profile of the chair, while the vertical parallel shading in the background is only vaguely suggestive of any shadow or wall surface. The outlines of the grinding-stone sometimes cut across the easel supports as well. These factors inevitably have a detrimental effect on the illusion and flatten or harden the forms. The comparably thin lines in Benesch 0120 and Benesch 0128 also contrast sharply in their precision and disciplined execution with what is seen here, only a few zigzags in the former (in the lower centre of the table-cloth; in the figure’s knee) making a connection with what is found in the Artist in his Studio.
Benesch 0074a (by Gerbrand van den Eeckhout?) shares something of the splintered quality of form in the figures and the broad, rather uncontrolled shading. There is also a zigzag in the tower to the right that resembles those in the present sheet. Benesch 0294 (also Gerbrand van den Eeckhout?) again reveals somewhat unwieldy shading, although less scratchy than the present drawing, and in the stiff modelling of the figure and undisciplined shading there are links with Benesch 0108 (also now attributed to Van den Eeckhout). The British Museum’s Study of Three Beggars (Benesch 0327) serves again to highlight more the contrast than the similarity of the figure-style in Benesch 0390, perhaps especially in the disciplined parallel hatching and the outlines of the more sketchily indicated figures at the extreme left and right. A further contrast in this regard is provided by Benesch 0360, and for the security of the modelling of the figure, Benesch 0383.
The compiler hopes that this catalogue entry will adequately explain the doubts he has harboured for so long. Perhaps their longevity has distorted his view. But the spikey and often ineffective and inaccurate draughtsmanship creates so many insecurities that the distance from Rembrandt’s authentic drawings appears considerable, not to say unbridgeable. Out of deference to the opinions of most if not all other scholars, the drawing is here retained in the ‘attributed to Rembrandt’ section of the catalogue. Of course, I may be wrong. But it may have been noticed that many of the drawings with which it has been compared above are by, or thought to be by, Gerbrand van den Eeckhout. Any attribution to him must remain tentative, however, but it is at least a plausible idea that one of Rembrandt’s pupils sketched his teacher in his studio, and that this was perhaps done while Rembrandt was working on a painting from the Passion series. Van den Eeckhout was in Rembrandt’s studio from around 1635-40. And it should be remembered, as discussed under Benesch 0113, that many of the drawings bearing the enigmatic paraphe of the type seen at the lower right of the drawing seem to be his work.
In summary, if the right questions are asked of this drawing, the answers are negative – for example: (a) is the style and the mise-en-page commensurate with other drawings by Rembrandt, especially the documentary drawings? (b) is it drawn with authority – by an artist who seems to know and understand what he is doing so that the lines tend to suggest the forms correctly in three dimensions? (c) can the drawing be dated reasonably convincingly by comparing other Rembrandt drawings of reliable attribution (documentary works if possible)? (d) does the iconography and the psychological characterisation of the figure conform to what is encountered in Rembrandt works of reliable attribution (documentary works if possible)? In the compiler’s opinion, Benesch 0390 fails to convince at almost every turn.
Condition: Some overall staining and discolouration, with spots, especially towards the edges of the sheet.
Summary attribution: Gerbrand van den Eeckhout?; Rembrandt?
COLLECTION: USA Los Angeles, The J. Paul Getty Museum (inv. 86.GA.675).
FURTHER LITERATURE/REMARKS: Hind, 1926, p.9, repr. pl.15 (c.1627-30; relates to Boston painting, Bredius 419; Corpus A18, vol.VI, no.24; a self-portrait); Benesch, 1935, p.28 (c.1637-39); Benesch, 1947, no.33, repr.; Benesch, II, 1954/73, no.390, repr. (c.1632-33; compares Benesch 0061; relates to Boston painting; arched shape of painting resembles Rembrandt’s Passion series for the Stadholder; for perspective lines, compares Benesch 0445 and Benesch 0489); Sumowski, 1961, p.6; Slive, 1964, pp.485; Exh. London, 1959 and Exh. Edinburgh, 1965, no.42; Exh. Leiden, 1976, pp.26-31; Exh. Paris-Antwerp-London-New York, 1979–80, under no.68; Corpus, I, 1982, under no.A18; Exh. Amsterdam, 1984-85, no.9, repr.; Bonafoux, 1985 (unpaginated); Alpers, 1988, p.59; Chapman, 1990, pp.85 and 158, n.29; Exh. Berlin-Amsterdam-London, 1991-92, p.29, repr. fig.39 (c.1630; probably depicts Lievens; grinding stone next to easel); Exh. Leiden, 1991-92, pp.41-42, repr. fig.7 (c.1630; probably depicts Lievens); Exh. London, 1992, under no.10 (compared to Benesch 0148 recto); Malibu, 1992, no.103, repr. (relates to perspective of Boston painting, with vanishing-point to the right); Van de Wetering, 1997, pp.166-67, repr. fig.230 (c.1630; represents Lievens); Exh. Sydney, 1999-2000; Exh. Los Angeles, 2001; Exh. Kassel-Amsterdam, 2001-2, p.25, repr. fig.6 (c.1630; shows Lievens); Exh. Los Angeles, 2002; Exh. Boston-Chicago, 2002-3, no.19, repr. (early to mid-1630s; Exh. Los Angeles, 2005; Schwartz, 2006, p.68, repr. fig.107 (c.1633-35; depicts Lievens?); Exh. Los Angeles, 2009-10, p.6, repr. fig.2 (c.1630; perspective lines drawn after the main elements of the composition, perhaps as a demonstration to pupils); London, 2010 (online), under no.8 (as Exh. London, 1992); This Catalogue online, 20 August 2018 (Eeckhout?/Rembrandt?; c.1635); Schatborn, 2019, no.243, repr. (c.1636); Exh. Leiden-Oxford, 2019-20, no.115, repr. (c.1630).
PROVENANCE: John Bouverie (L.325); by descent to Edward Bouverie; his sale, London, Christie's, 20 July, 1859, lot 124; Lewis Huth Walters; Franz Sprinzels/Francis Springell and Mrs Springell; their sale, London, Sotheby's, 30 June, 1986, lot 41, where acquired by the present repository.
[1] My earliest surviving notes, with an attribution to 'Eeckhout?', date from 29 April 1986.
[2] Summarised in Corpus, V, pp.162-63 and Vol. VI, no.24.
[3] For the Passion paintings, see under Benesch 0097, n.4 and Benesch 00382, n.4.
[4] Benesch compared the perspective lines with Benesch 0445 and Benesch 0490. The former uses a grid of lines to copy from another, elaborate composition; the latter does have some equally thin perspectival lines, but the drawing does not appear to be by Rembrandt (and provides some interesting parallels with Benesch 0390, especially in the parallel and zigzag hatching).
Subject: Two Women Teaching a Child to Walk; A Woman Seen from Behind
Verso: Two Small Sketches of the Head of a Man, profile to left
Medium: Pen and brown (iron-gall) ink with brown wash, rubbed with the finger and touched with white heightening, on paper prepared brown; verso: pen and brown (iron-gall) ink, rubbed with the finger.
Inscribed verso, in graphite, lower left: “Marquis de Lagoy / et P. Mathey”
162 x 146. Watermark: none; chain lines: 23h., circa.
COMMENTS: For the subject of a child being taught to walk, one of almost perennial interest to Rembrandt, see Benesch 0421-22 (c.1635-37), Benesch 0706 (c.1638-39) and Benesch 1160 (c.1656), as well as the background of the etching of c.1646, Nude Man Seated and Another Standing (Bartsch 194; NH.233). In the latter, it has been suggested that the idea of learning may connect the child with the figures modelling for Rembrandt and his pupils as they learn or hone their skills in the studio.[1] Some of the sketches may have been kept in the album of drawings of the lives of women and children recorded in 1680 in Jan Van de Cappelle’s inventory (see under Benesch 0194).
In style and technique, the drawing on the recto conforms closely to many others made in iron-gall ink in c.1638-39, to judge from the datable examples (see under Benesch 0157). Of the documentary drawings in this technique, perhaps the closest are Benesch 0168 (c.1638) and Benesch 0423 (c.1639), the confidence and breadth of the wash being marginally closer to the latter. Also similar in Benesch 0197, with its combination of broad, confident and looping lines with pockets of disciplined hatching. The use of the finger to rub and soften the shadows or even, as on the verso, perhaps to erase, is found in other drawings in the iron-gall group (cf. Benesch 0237a and Benesch 0253), as are touches of white bodycolour to add highlights and correct the effect of overly strong lines by reducing or covering them (cf. Benesch 0158, Benesch 0168 and Benesch 0207). The older-looking woman in the foreground may have been drawn after the ‘mother’ with the child, as her hands cross over the profile of the younger woman’s dress.The thinly drawn figure at the top left, with its breathtakingly controlled and precise hatching in the face and neck, may be compared for style with Benesch 0223 verso and with the figure standing outside the door in Benesch 0406.
The small heads on the verso, rubbed with the finger as if to erase them as false starts, have been compared with Rembrandts portrayals of the actor, Willem Barthelsz. Ruyter (1587-1639), on whom see Benesch 0120.[2] They resemble the head on Benesch 0387 in style and help to bolster the attribution of that slight sketch. Cf. also the head of Ruyter on the left of Benesch 0230. Yet the two heads here are unusual and help reveal that Rembrandt’s drawings will not always show a neat consistency of style, as is argued in the Introduction.
Condition: Generally good but with some damage from the iron-gall ink’s acidity.
COLLECTION: F Paris, Fondation Custodia (collection F. Lugt; inv.5447).
FURTHER LITERATURE/REMARKS: Exh. Paris, 1911, no.205; Dayot, 1912, p.159, no.205, repr.; Exh. Paris, 1922, no.5; Exh. Amsterdam, 1932, no.343 (c.1637); Benesch, 1935, p.16 (c.1632-33); Benesch, 1947, p.17, no.34, repr. (c.1632-33); Exh. Haarlem, 1951, no,154; Benesch, II, 1954/73, no.391, repr. fig.449/471 (c.1632-33; compares Benesch 0197, Benesch 0199 and Benesch 0394, as well as Benesch 0217, Benesch 0394, Benesch 0455 and Benesch 0462); Exh. Paris, 1957 (no catalogue); Exh. Paris, 1965, no.93, repr. pl.xxxv; Exh. Amsterdam, 1969, no.31, repr. (c.1633-34); Exh. New York-Boston-Chicago, 1972-73, no.82, repr. (c.1634-35); Exh. Amsterdam, 1973, no.82, repr. pl.xviii (c.1634-35); Vogel-Köhn, 1981, p.206, no.1, repr. (c.1634-35); Amsterdam, 1985, under no.63, n.2; Starcky, 1985, p.260, repr. fig.13 (c.1638-39); Exh. Paris, 1986, under no.84, repr. fig.110 (c.1640); Rotterdam, 1988, under no.6 (c.1632-33); Paris, 1988, under no.273 (c.1638-39); Exh. London, 1992, under no.60 (c.1639); Broos, 1996, p.161 (c.1635); Berge-Gerbaud, 1997, p.70, repr. p.66 (c.1639); Haarlem, 1997, under no,324 (c.1637-38); Exh. Paris-Haarlem, 1997-98, p.xx/xxi [French/Dutch eds] and no.5, repr. (second half of 1630s); Exh. Amsterdam, 1999, p.86 (late 1630s); Exh. Edinburgh-London, 2001, no.60 and p.141, repr. p.138, under no.56 and p.191, under no.106 (c.1635-39); Van Eck, 2001, p.586; Berlin, 2006, under no.14, n.4 (c.1638-39); Exh. Paris, 2006-7 (no catalogue); Exh. Paris, 2006-7.I, p.66, repr. fig.3 (c.1632); London, 2010 (online), under no.53 (c.1639); Paris, 2010, no.6, repr.. (c.1638; verso reminiscent of the actor, Willem Ruyter, seen in Benesch 0230 and 0235, for example); Exh. New York, 2011, p.89, repr.; Schatborn, 2019, no. 312 and pp.19, 143 and 144, repr. (c.1638; many depictions of this subject; relates to iconography of the etching with a Nude Seated and Standing, with a child learning to walk in the background, which has been interpreted as referring to practice, Bartsch 194; NH 233; women and children common in genre studies).
PROVENANCE: The Marquis de Lagoy (L.1710 and Suppl.); Victorien Sardou (L.2262); his sale, Paris, 27-29 April, 1909, lot 119, bt Strölin, FF.2000; Paul Mathey (cf. L. Suppl. 2100b); Eduard August Veltman; purchased 13 April 1938 by Frits Lugt (L.1028).
[1] As proposed by Emmens, 1968, pp.154-59 and noted in the context of this drawing by Schatborn in Paris, 2010, no.6.
[2] Schatborn, loc. cit..
Subject: An Interior with a Spiral Staircase, a man seated to the right
Medium: Pen and brown ink with brown wash.
Inscribed verso in graphite: "Inv. nr. 18010"
152 x 181. Watermark: fragment, part of a lily; chain lines:
COMMENTS: For the motif, the closest comparison among works traditionally attributed to Rembrandt is with Benesch 0113 verso. Both show a basket hanging under the winding stairs, as does a painting in the Louvre of an Old Man in an Interior of 1632 (Bredius 431; Corpus, III, 1986, no.C51; vol.VI, no.86, where reaffirmed as by Rembrandt). However, neither composition is divided into four roughly equal segments, like the present drawing, where the overall aspect resembles a doll’s house. Benesch 0113 verso is a slighter sketch, which only shows a staircase with a cupboard to the right, but stylistically not irreconcilable with Benesch 0392, especially in the handling of the wash. The Louvre painting, which in the past led to an early dating of the drawing, has no central pillar to support the stairs and the structural appears more removed. Other works with comparable staircases are the etching of St Jerome in a Dark Chamber of 1642 (Bartsch 105; NH 212), in which the staircase resembles that in the Louvre oil, the paintings of The Parable of the Labourers in the Vineyard, of 1637 (St Petersburg, Bredius 558; Corpus, III, 1989, no.C88, vol. VI, no.151 as by Rembrandt), in which the stairs begin on the right but are hard to see, and The Healing of Tobit, probably a pupil’s work (Stuttgart, Bredius 502; Corpus, C86), in which the structure is unclear but which shares with the present work the presence of a barrel under the stairs, and the lightly sketched Benesch 351 verso. In the drawing, the rooms appear small – smaller than those in the Rembrandthuis in Amsterdam. The neat but often modest homes so often depicted by Quirijn Gerritsz. Van Brekelenkam come to mind.
In style the drawing is generally confident, displaying exceptional ease with broadly swept but rather even pen lines as well as assured and deftly-handled brown wash. The evenness of the pen lines give little sense of the lively exploration of the space – they fall rather pat – but in general the space is easily read. The wash is more varied and describes well the fall of the light in the lower left segment with light percolating into the space from a shuttered window. At times the individual strokes of the brush are discernible, for example, in this segment, in the shutter and at the left edge of the image, in the upper left quartile where some darker touches of the brush attempt to model the space (not entirely convincingly), in the upper right quartile, where three distinct horizontal strokes of the brush are visible (again, without much descriptive force), and at the lower right, where as well as the touches describing the shadow on the figure and under the stairs (above the barrel), some perspectival strokes of the brush suggest a receding wall beyond the table. While the overall balance of the composition is clear, the space to the right of the staircase is not entirely easy to read: the figure may be seated at or just beyond the table by a fireplace, but the flue in the upper right quartile appears to back directly onto the stairs, an improbable configuration because of the immediate fire-risk. The figure itself is drawn slackly and without emphasis, and seems to have been added after the lines that bisect him vertically.
Nevertheless, while there are unusual aspects for Rembrandt, the drawing does have some links with a few of his secure drawings. The documentary sheets of the Artist Drawing from the Model (Benesch 0423) and Maria Trip (Benesch 0442), while drawn in iron-gall ink, which tends to spread and flatten the lines, nonetheless have similarities. The pen lines are generally somewhat even, unvaried and even harsh, especially in the depiction of the interiors (and in Benesch 0423, their contents, such as the bust in the left background). The passages of parallel hatching (to the lower left in Benesch 0423, the right in Benesch 0442) resemble the hatching in the upper centre of the Copenhagen drawing. The wash in the documentary drawings is generally more solidly blocked in, but there are moments, as at the top left of Benesch 0423, where individual strokes are discernible. The difficulty with these comparisons is that both the documentary drawings were made after work had already begun on the etching and painting to which they are related. Thus Rembrandt was essentially copying or adapting a design that already existed. The Copenhagen drawing does not appear to have been based on another prototype; and the comparisons with the two documentary sheets are not wholly persuasive. The same pertains to comparisons with other, non-documentary drawings, such as the sketches of riders and musicians of c.1638 now in the Morgan Library and the British Museum (Benesch 0365-68). These also surprise with their even outlines; and the application of the wash also seems comparable, with blocked-out areas as well as individual strokes that contribute to the modelling. The same is true of Benesch 0313.
The difficulty is that some of these qualities are equally apparent in the work of Rembrandt’s pupils, perhaps especially Gerbrand van den Eeckhout. As well as Benesch 0113 verso, already mentioned, Benesch 0074, Benesch 0122, Benesch 0316 and Benesch 0320 tend towards even outlines (especially in any architectural motifs) and wash that at times also models the forms. Closer still, perhaps, are the town views, Benesch 0790-91, the attribution of which to Rembrandt is at best uncertain. On balance, however, the links with drawings still considered to be by Rembrandt himself are persuasive enough to retain the Interior with a Winding Staircase under his name.[1]
Condition: Generally good; some foxing, especially to the left and below; possibly trimmed on the right; small hole upper centre; lower right corner made up.
COLLECTION: D Copenhagen, Statens Museum for Kunst (L.1636; KKS18010)
FURTHER LITERATURE/REMARKS: Michel, 1893, p.165; Lippmann, III, 28; Hofstede De Groot, 1906, no.812; Exh. Paris, 1908, no. 456; Exh. Copenhagen 1952, no.424 (probably 1630s); Benesch, II, 1954/73, no.392, repr. fig.450/472 (c.1632-33; compares figure to Benesch 0205; also compares Benesch 0393, Benesch 0113 verso and Benesch 0351 verso; sees the motif as the inspiration for the Louvre painting); Slive, 1963, pp.124-25, repr. fig.7 (early 1630s); Slive, 1965, no.360 (c.1633; compares staircase with Bredius 431); Bredius-Gerson, 1969, under no.431 (related in style and composition to Louvre painting, of c.1631-32); Exh. Paris, 1970, p.171; Bernhard, 1976, p.49, repr. (c.1632-33); Fischer, 1977, p.108, repr. (c.1632-33); Bailey, 1978, no.1, repr. p. 17 (c.1633); Corpus, II, 1986, under no.C51 (attribution ‘approximate’; related to studio painting in Louvre); Exh. London, 1992, under no.11 (related to Benesch 0113 verso, the attribution of which to Rembrandt accepted with hesitation; notes other staircases by Rembrandt and pupils); Schatborn, 1994, p.21 (clearer than the interior in Benesch 0113 verso); Exh. Copenhagen, 1996, pp.16-17, repr. (later 1630s; rejects association with Louvre painting; compares Benesch 0113 verso, viewed as possibly preparatory to Benesch 0392; see n.1 below); Exh. Copenhagen, 2006, no.59; London, 2010 (online), under Eeckhout no.19; Schatborn, 2019, no.296 and p.144, repr. (c.1637; genre study in a category of its own).
PROVENANCE: Paul Mathey; by descent until his sale, Paris Drouot, 22 March, 1937, lot 84; Paul Cassirer from whom acquired by Gustav Falck, from whom acquired by the present repository with the support of the Ny Carlsberg Foundation, July 1948.
[1] In Exh. Copenhagen, 1996, p.16 I am on record (with Peter Schatborn) as supporting the attribution of the drawing to Rembrandt.
Subject: A Cow in a Shed, with a wheelbarrow and a figure
Medium: Pen and brown (iron-gall) ink, with brown wash (and in the sky, posthumously added grey wash) and touched with white bodycolour (in the cow’s mouth and on the pail), on paper prepared with brown wash; ruled framing lines in pen and brown ink.
Inscribed verso, in graphite, lower left: “du Cab. de / D Muilman 1773” ; and lower right: “1305” [the number in Hofstede de Groot, 1906].
154 x 182. Watermark: Flail within a chaplet, close to Churchill, no.544 (1640); Voorn 1960, no.26 (1641); chain lines: 24-25h.
COMMENTS: This farm subject strikes a somewhat unusual note in Rembrandt’s oeuvre, showing a bull munching hay in a barn, with a wheelbarrow, pitchfork and pail in the foreground, and a man in a cap, probably leaning on an open door or shutter on the left.[1] Most of Rembrandt’s depictions of farm buildings are not close-ups of this type. Yet the study would lend itself to development in a Nativity of Christ and it is conceivable that the painting of this subject Rembrandt delivered to the Stadholder in 1646 as part of the so-called Passion Series was already in commissioned and thus in the artist's mind (Bredius 574; Corpus, VI, no.211a).[2] The painting includes birds high up in the interior, a motif seen in different form here. The drawing was probably made from life, as were all the sketches Rembrandt kept in an album of “beesten nae ‘t leven” (animals from life) recorded in the 1656 inventory of his possessions.[3] Rather later, Rembrandt made an etching of a tethered bull (known as The Bull, Bartsch 253; NH 259).[4]
In style the drawing varies from the detail of the wheelbarrow, where Rembrandt seems to describe the grain of the wood in fine striations, to the sweeping, broad lines at the top. Parallel shading is vigorously employed in distinct blocks and varying directions to help give a sense of the forms and the space, while the wash is also confidently and forcefully handled, without hesitation. The same variety of touch is encountered in Benesch 0462, with which Benesch compared it. Like all the iron-gall ink drawings, it appears to have been made in c.1638-39 (see under Benesch 0157). The watermark appears to be identical to that on Benesch 0246 and the Rijksmuseum's Boy with Stick (see the Not in Benesch tab), so the drawings may have originated in the same sketchbook.[5] There seem to be no reasons for the doubts that have occasionally been expressed about the attribution (see Literature below).
Condition: Generally good but trimmed at the sides and with some thin spots; light foxing throughout (though mostly near the bottom) and some iron-gall ink acidic ‘burn’; the grey wash in the sky is a later addition; there are traces of an old oatmeal backing on verso, where there are also some messy off-sets of ink.
COLLECTION: NL Amsterdam, Rijksmuseum (L. 2228; inv. RP-T-1930-59).
FURTHER LITERATURE/REMARKS: Exh. London, 1903, no.28; Exh. London, 1904, no.135; Lippmann, III, 98; Exh. Leiden, 1906, no.82; Hofstede de Groot, 1906, no.1305 (early); Exh. Paris, 1908, no.454; Exh. Hofstede de Groot, 1909, no.9; Amsterdam, 1913, no.91; Exh. Leiden, 1916, no.5 (c.1633); Seidlitz, 1917, p.253 (by Saftleven?, c.1633); Amsterdam, 1942, no.111 (not Rembrandt); Exh. Rome, 1951, no.56; Benesch, II, 1954/73, no.393, repr. fig.451/473 (c. 1633; compares Benesch 0462); Exh. The Hague, 1956, no.10 (c.1633); Exh. Vienna, 1956, no.10 (1633); Slive, 1965, no.438 (c.1633); Bernhard, 1976, p.77 (c.1633); Schatborn, 1977, no.6, repr. fig.9 (beesten nae’t leven); Amsterdam, 1985, no.15, repr. (c.1640; from life; notes etching Bartsch 253; NH 259 but dates it to the 1640s); Exh. London, 1992, under no. 29 (watermarks the same as Benesch 0246, Benesch 0226 and Rijksmuseum’s Walking Boy [Not in Benesch]); Exh. Bremen, 2000-2001, p. 112, repr. fig. c; Exh. Amsterdam, 2006, p.52, repr. fig.48; London, 2010 (online), under no.26 (same watermark on Benesch 0246 and Rijksmuseum Boy with Stick [Not in Benesch]); Hamburg, 2011, under no. 853 (records Bevers’ doubts concerning the attribution, preferring Van den Eeckhout); Amsterdam, 2017 (online).[6]; Schatborn, 2019, no.472 and p.285, repr., detail repr. p.287 (c.1638; relates style to Benesch 0455).
PROVENANCE: Dionys Muilman; his sale, Amsterdam, de Bosch, Ploos van Amstel and de Winter, 29 March, 1773 and following days, possibly Album X, nos. 1595-1611 (‘Waarin verscheide Tekeningen’); Heneage Finch, 5th Earl of Aylesford (L. 58; effaced);[7] perhaps his sale, London, Christie’s, 17-18 July, 1893, no. 254 (‘Various Sketches, in pen and ink’), bt J.C. Robinson, £1.5.0; purchased from Paul Mathey with three other drawings, through the mediation of the dealer P. Roblin, Paris, by C. Hofstede de Groot, by whom presented to the museum, 1906, with usufruct; transferred to the present repository, 1930.
[1] Schatborn describes the figure as bearded, but he might also be wearing a ruff (Amsterdam, 1985, no.15). There is also a scimitar-like shape within the door, as if the figure were holding a weapon, although this does seem improbable.
[2] For a discussion of the series and its chronology, see Corpus, V, 11 and pp. 284-295. There is no mention of The Nativity in Rembrandt’s letters to Constantijn Huygens but the series was begun in 1632-33 and terminated in 1646 - see under Benesch 0382, n.4. Rembrandt also sketched out ideas for an Adoration of the Magi (as in Benesch 0115 and Benesch 0382 verso, qqv.).
[3] Strauss and Van der Meulen, 1979, 1656/244, 256, 1656/249 and 1656/261. See Schatborn, 1977.
[4] As remarked by Schatborn (Amsterdam, 1985, no.15), who dates the etching to the 1640s, although it is generally dated c.1650-52. The last digit of the date on the print is unclear, but on the fine impression in the British Museum (inv. F,5.229) the third digit does seem to be a ‘4’.
[5] See London, 2010 (online), under no.26.
[6] hdl.handle.net/10934/RM0001.COLLECT.28136 (consulted 24 August 2018).
[7] See under Benesch 0379, n.1.
Subject: Tavern Scene, with a Lascivious Man Fended Off by a Woman
Medium: Pen and brown (iron-gall?) ink with brown wash, touched with white bodycolour, on paper prepared light brown; traces of ruled framing lines in pen and brown ink. Inscribed verso, in pen and brown ink, in an eighteenth-century hand: "Rude sketch with a / pen by Rembrandt / J. Cranch / 1789"
COMMENTS: The couple in the centre were rehearsed in the sketch at the top of Benesch 0100 verso (qv). Yet the pentimenti and revisions in the middle of the sheet make it hard to read; it appears that the man has lascivious intentions towards the woman: he reaches with his left hand towards her chest while his right hand lifts her skirt (an action she tries to prevent with her left hand). A pentimento between them suggests that his head was originally closer to the woman’s (though other readings may be possible). Four figures look on with varying degrees of interest and the man in the right background at a table grins at the spectacle. A three-legged stool has been toppled (captured extraordinarily well in perspective) and a pair of shoes(?) lies abandoned in the centre.
The compiler has not seen the drawing, but it may well have been executed in iron-gall ink on paper prepared brown, like many others of c.1638-39 (see under Benesch 0157). The touch throughout appears lively, both the pen lines and the wash. Among the documentary drawings, there are some analogies with the sketch of Joseph Expounding the Prisoners’ Dreams (Benesch 0423 verso), both in the economical description of the background, the general sense of energy and the diagonal hatching, for example near the bottom of the door. The zigzag shading in the leg of the man in the centre is close to the style used on the stomach of the upper right figure in Benesch 0659, an undoubted drawing. One could wish for more comparables, but the type of drawing, a rough-out of a genre design, is unusual, though greater similarities might have been expected with, for example, Benesch 0391 and with slightly earlier works of this kind, such as Benesch 0409 and Benesch 0411.
Notes of caution are sounded by analogies of style with such drawings as Benesch 0074, in both the depiction of the background and the shading. The hair of the man seated on the left is also comparable to the figure in the centre background of Benesch 0074 and to the man on the right of Benesch 0299 verso. But in general, Benesch 0394 seems authoritative enough and sufficiently persuasive in its characterisations to be retained in Rembrandt’s oeuvre with little or no demur. As a low-life tavern scene it adds significantly to the small body of Rembrandt's work devoted to this type of subject (see also Benesch 0100 verso, Benesch 0398). Sketching out such scenes would have been grist to his mill when composing paintings or prints with crowds of everyday figures.
COLLECTION: R Moscow, Pushkin Museum (under dispute), formerly NL Rotterdam, Museum Boijmans Van Beuningen (Franz Koenigs Collection; inv.R 20).
FURTHER LITERATURE/REMARKS: Valentiner, II, 1934, no.770; Benesch, 1935, p.16; Exh. Berlin, 1930, no.324; Exh. Rotterdam, 1934, no.78; Exh. Rotterdam, 1938, no.312; Benesch, II, 1954/73, no.394, repr. (c.1633-34; refers to genre studies Benesch 0218 and Benesch 0391); Schatborn, 1977, p.50 (as Benesch, 1954/73; the kind of drawing possibly copied by the young Lambert Doomer); Sumowski, Drawings, VI, 1982, under no.1521bxx): Exh. Moscow, 1995-96, no.281, repr.; Schatborn, 2019, no. 313, repr. (c.1638).
PROVENANCE: Franz Koenigs (L.1023a, presumably); purchased by D.G. van Beuningen with the Koenigs collection for the Museum Boijmans Van Beuningen in Rotterdam but sold to Nazi Germany, whence confiscated by the Russian state.
Subject: A Woman Having her Hair Done (Saskia)
Verso: Laid down on a brown, Albertina mat.
Medium: Pen and brown (iron-gall) ink with brown wash on paper prepared pale brown; with (later?) grey wash; ruled framing lines on the surrounding mat, which touch the drawing, in pen and a different brown ink.
Apparently inscribed in the lower centre of the grey wash area, with the tip of the brush in brown wash: “6” (perhaps accidentally; see the top right corner of the illustration of an enlarged detail of the drawing).
235 x 180. Watermark: none visible (laid down), but the laid lines are fine.
COMMENTS: An outstanding example of Rembrandt’s studies from nature made in iron-gall ink in c.1638-39 (see under the documentary drawing, Benesch 0157). The strongly dark area of wash to the right of the seated figure resembles another documentary drawing, Benesch 0423 recto. Characteristic of these works is the sense of change or impermanence, even in a sedentary subject, many of the lines replete with movement rather than anchoring the forms precisely. For example, in Benesch 0395, the hooked line that runs diagonally across the seated figure's nearer upper arm, or the line that reverses sharply on itself over her nearer thigh, are not purely descriptive but rather suggestive of patterns in the fall of the light and its interaction with the folds of drapery. They are not literal transcriptions. This revolutionary approach allows the lights to flicker and the forms to live and breathe in a state of movement through a kind of alchemy, in which the marks become tokens, more evocative than descriptive, creating a lively effect that sidesteps any pedestrian or fixed solidity in the forms. The success of this approach, seen in many drawings of this period and in this technique (and perhaps earlier, as in Benesch 0292), such as Benesch 0253, Benesch 0391 and Benesch 0659, was hard won: Benesch 0396 appears to be a rather less effective rehearsal of the same compositional idea and technical approach prior to creating Benesch 0395, a complete composition, with changes to the costume.
The standing woman could be a maid from North Holland (cf. Benesch 0314), while the seated woman, holding an unusually long braid of her hair near her lap was modelled by Saskia, if Benesch 0250 is she, a drawing that is comparable in every stylistic and technical respect (apart from the grey wash in the present sheet, on which see below). The maid braids a second plait as Saskia, who is wearing a night-rail or peignoire (nachthalsdoek) over her shoulders (as in Benesch 0427), casts a glance in Rembrandt’s direction.[1]
The subject has connections with the painting of 1633 in Ottawa of a Woman Attended by her Maid (Bredius 494; Corpus A64, vol.VI, no.100; the connection first noted by Hofstede de Groot, 1906), but the drawing is certainly later. Other comparable Old Testament women who exercised Rembrandt's imagination (and may also be the subject of the Ottawa painting) were Bathsheba, as in the Rembrandt and workshop painting of 1643 in New York (Bredius 513; not in Corpus) and the 1654 painting in the Louvre (Bredius 521, Corpus, VI, 231), and Esther, thought to be represented in the etching of 1635, The Great Jewish Bride (see Benesch 0292) and in the painting of c.1655-65 in Moscow of Esther, Ahasuerus and Haman (Bredius 530; Corpus V 29 and VI, no.283).[2] But none of Rembrandt’s treatments of either theme depends on Benesch 0395, despite the similarity of the motifs. Thus the notion that Rembrandt had such a subject in the back of his mind when he made the drawing must remain speculative, despite the possibility that the maid's costume and hair are given a slightly historicising twist.[3] An entry (no.39) in Rembrandt's inventory of 1656 is also brought to mind: "Een cortisana haer pallerende van denselven [Rembrandt]" (A Courtesan doing her hair, by the same [i.e. Rembrandt]).[4] Also speculative is whether the drawing ever formed part of the album listed in 1680 in the inventory of Jan van de Cappelle (see under Benesch 0194), which is of course possible.
Benesch (1954/73) states that the grey wash at the upper right lies under the brown wash and must, therefore, be authentic. It should be remembered that iron-gall ink begins life as black or grey and only turns brown with time, so that the contrast we see now would not originally have existed. The application of the grey wash seems so confident and uninhibited – unlike most posthumous interventions of this kind – that Benesch may have been correct (see Fig.a, which shows the drawing in black and white to simulate the original effect).
Condition: Generally good (the grey wash possibly later but not necessarily so - see the previous paragraph).
FURTHER LITERATURE/REMARKS: Michel, 1893, p.220, repr.; Schönbrunner and Meder 1896-1908, 2, no.215, repr.; Hofstede de Groot, 1906, no.1453 (c.1633; study for Ottawa [then Liechtenstein] painting, Bredius 494; Corpus A64, vol.VI, no.100); Stockholm, 1920, p.59, repr. fig.68; Meder, 1923, pl.21; Valentiner, II, 1934, no.682, repr.; Benesch, 1935, pp.16 and 22; Exh. Amsterdam, 1935, no.36; Exh. Brussels, 1937-38, no.68; Benesch, 1947, no.37, repr.; Exh. London, 1948, no.59; Exh. Vienna, 1949, no.100; Exh. Paris, 1950, no.103; Benesch, II, 1954, no.395, repr. fig.445/475 (c.1632-34; from life; sitter presumably Saskia, therefore likely after 1634 but otherwise might be a study for the Ottawa painting, in which case the sitter perhaps Saskia’s sister, Lisbeth; grey wash authentic and under the brown); Exh. Stockholm, 1956, no.75; Exh. Rotterdam-Amsterdam, 1956, no.33, repr. fig.12; Exh. Vienna, 1956, no.11, repr. fig.1; Rosenberg, 1956.I, pp.65 and 69 (critical of Benesch's dating criteria); Benesch, 1960, no.6, repr.; Benesch, 1964, no.XVII, repr.; Rosenberg, 1964, p.212, repr. fig.280; Exh. Vienna, 1969, no.346; Exh. Vienna, 1969-70, no.3, repr.; Sumowski, I, 1979, under no.186x; Amsterdam, 1983, under no.14, n.3; Corpus, II, 1986, p.273, under no.A64; Exh. Vienna-Amsterdam, 1989-1990, no.39, repr.; Exh. Edinburgh-London, 2001, no.30, repr. (; Schröder, 2003, fig.43; Exh. Vienna, 2004, no.75, repr. (c.1635; pigtails being braided; not directly related to earlier Ottawa painting); Exh. Milwaukee, 2005, no.26, repr.; De Winkel, 2006, p.61 (1634; Saskia wears a 'nachthalsdoek' - night-rail or peignoire - as in Benesch 0427); Bisanz-Prakken in Schröder, 2008, no.88; Exh. Vienna, 2009, no.59 ; Paris, 2010, under no.5, repr. fig.3; Exh. Vienna, 2013, no144, repr; Exh. Vienna, 2014, pp.154-155; Verdi, 2014, p.3, fig.4 (in general terms related to Bathsheba); Schatborn, 2019, no.298, repr. (c.1637).
PROVENANCE: Kaiserliche Hofbibliothek, Vienna; Herzog Albert von Sachsen-Teschen (L.174).
[1] On the costumes, see Exh. Edinburgh-London, 2001, no.30 and De Winkel, 2006, p.61.
[2] There is also a Rembrandt workshop version now in Bucharest (Bredius 522; Corpus B9, discussed in Corpus, VI, under no.320, repr. fig.1.
[3] As argued in Exh. Edinburgh-London, 2001, no.30.
[4] Strauss and van der Meulen, 1979, no.1656/12.
Subject: A Woman having her Hair Combed
Medium: Pen and brown (iron-gall) ink on paper prepared light brown.
107 x 98. Watermark: none; chain lines: 23v.
COMMENTS: See the comments to Benesch 0395. The present drawing is in the same technique but was presumably made first, being a more informal sketch in which Saskia appears to be preparing a shock of her hair for braiding. The maid, who may be wearing a North Holland costume, holds a rake comb, the handle of which protrudes near her little finger. The hatching both in the figures and in the shadow to the right is unusually scratchy and dense, at times even somewhat laboured – not a general characteristic of Rembrandt. The drawing nonetheless creates an exceptional sense of movement, not least as Saskia’s hands move through her hair. The style and hatching (as in the maid’s nearer sleeve) accord with what is seen, for example, in the nearer sleeve of the figure in Benesch 0253. In the more finished drawing, Benesch 0395, the costumes undergo considerable change and clarification, possibly with a historical or biblical subject in mind.[1]
An etching after the drawing was made by Johann Daniël Laurentz (1729-c.1810) and a drawn copy after the etching is in Weimar.[2] Both suggest that the drawing has been trimmed.
Condition: Good; probably trimmed from a larger sheet (see further above).
COLLECTION: F Paris, Fondation Custodia (collection Frits Lugt; L.1028; inv.805).
FURTHER LITERATURE/REMARKS: Knuttel, 1914, p.143, repr. p.140; Exh. Amsterdam, 1932, no.239 (c.1636); Valentiner, II, 1934, no.683, repr. (c.1635); Benesch, 1935, p.22 (1634-35); Benesch, 1947, no.42, repr. (c.1634); Benesch, II, 1954/57, no.396, repr. fig.443/477 (c.1634; shows Saskia; compares Benesch 0218, Benesch 0253; style more advanced than Benesch 0395); Exh. Paris, 1957 (no catalogue); Exh. Paris, 1965, no.89, repr. pl.xxxv; Exh. New York-Boston-Chicago, 1972-73, no.81, repr. (after 1631); Bernhard, 1976, II, p.95, repr. (c.1634); Exh. Washington-Denver-Fort Worth, 1977, p.35, under no.32; Starcky, 1985, p.263, n.21 (c.1637-38); Exh. Paris, 1988-89, p.31, under no.20 (c.1635-38); Van Berge-Gerbaud, 1997, p.68, repr. (c.1634); Exh. Paris-Haarlem, 1997-98, no.2, repr. (c.1634); Exh. Edinburgh-London, 2001, no.29, repr. (c.1634; shown in Edinburgh only; maid wearing N. Holland costume and a cord for a necklace); Exh. Brussels, 2005, under no.11, n.6; Exh. Paris 2006-7 (no catalogue); Paris, 2010, no.5, repr. (c.1638; quotes Lugt’s archive for his opinion – ‘echt’ and c.1636; notes Victors’ painting with child having its hair combed, in the Amsterdam Museum; could be Saskia having her hair done with a servant from N. Holland because of the costume); Slive, 2009, p.66, repr. fig.6.3; Exh. New York, 2011, p.88, repr.; Schatborn, 2019, no.323, repr. (c.1638).
PROVENANCE: P.A. Cheramy; his sale, Paris, Lair-Dubreuil, Mathey et al., 14-16 April, 1913, lot 440, Fr.4,600; Mme. F. Kleinberger, Paris; acquired by Frits Lugt, 21 April, 1922 (L.1028).
[1] Schatborn, in Paris, 2010, no.5, refers to a painting by Jan Victors, Clothing the Orphans, in the Amsterdam Museum (Sumowski, Gem., no.1821), in which an orphan is having her hair combed; and a drawing by Abraham Bloemaert of a Shepherdess Combing her Hair (Bolten, 2007, no.652).
[2] Inv. KK 5514/ID 447188, repr. Paris, 2010, under no.5, fig.4; I am grateful to Thomas Ketelsen for clarifying that the Weimar drawing copies the etching (e-mail to the compiler, 8 April 2020).
First posted 28 August 2018 (and see n.2).
Subject: A Man and a Woman Seated at a Table
Medium: Pen and brown ink with brown[?] wash; some later additions to right (see below).
Inscribed verso: “Rembrand van Rein f.”
COMMENTS: The subject of the drawing, which I have not seen, is uncertain. The woman wears a veil and might be a widow, but it has been pointed out that the Virgin wears a veil in Benesch 0115, as does the woman in Benesch 0254. The man’s headgear is not completely clear but may be of the ‘beret with a feather’ variety, which might make a biblical or historical story somewhat less likely. Valentiner thought of ‘A Declaration of Love’ while Benesch suggested ‘The Matchmaker’ (see Literature below). The latter also pointed out that the zigzag lines and wash extending the shadow to the right of the chair are probably additions by a later hand.
In style the drawing is for the most part even-tempered in its outlines and somewhat flat in the application of the wash. There are also inaccuracies or uncertainties: in the further arm of the man, or the nearer, left hand of the woman, whose hand may (or may not be) gloved. Her right arm is drawn in an unusually straight line with the elbow articulation unclear. The table cloth is also drawn pat, without a sense of exploration, and all the main elements have rather unvaried and closed outlines, where Rembrandt habitually employs open gaps and a delicate touch that contrast with firmer and darker strokes to suggest the fall of the light. A comparison with the documentary drawing, Benesch 0500a of 1641, is instructive: where the lines in the latter are energetic, exploratory and varied, in Benesch 0397 they appear more timid, drained of character and personality. The Jacob and Esau in the British Museum (Fig.a; Benesch 0606), which also depicts two figures at a table, on a similar scale , reinforces these impressions. However, there are some darker touches, especially in the hands of the man, in the faces – especially the woman’s profile - and in the veil and back of the woman, passages which are so fluid and accurate that they suggest a possible intervention by Rembrandt himself. The handling here comes close not only to Benesch 0500a but also to Benesch 0092 of c.1635 (another documentary drawing) and to the Satire on Art Criticism, probably made in 1644 (Benesch A35a).
The more evenly handled parts of the drawing resemble a number of works by Ferdinand Bol, including Benesch 0167, a documentary drawing for Bol (note the ‘gloved’-looking hand), The Angel Appearing to Hagar in the Rijksmuseum, in which the shading is especially similar (Sumowski 89; inv. RP-T-1930-27) and his Tobias in the House of Raguel (Sumowski 184x).[1] An attribution to Bol seems more than reasonable and, if corrected by Rembrandt, he may have made the drawing at the end of his apprenticeship, in c.1640-41, the date most often assigned to the drawing by previous commentators.[2] However, some of these drawings by Bol also show darker accents close to Rembrandt’s manner. The composition has been related to Benesch 0528a (qv), which also has similarities in style.
Condition: Uncertain; photographs show foxing.
Summary attribution: Ferdinand Bol (retouched by Rembrandt?).
COLLECTION: Presumably with the heirs of Dr George Baer of New Rochelle, N.Y. (d.2009).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1510; Schönbrunner and Meder, no.418b; Freise, Lilienfeld and Wichmann, 1914, p.144 (De Gelder; relates to De Gelder’s painting in Dresden of Esther and Mordechai Writing the Letters to the Jews); Valentiner, II, 1934, no.777 (c.1640; “The Declaration of Love”); Benesch, II, 1954/73, no.397, repr. (c.1633-34; compares Benesch 0396; section to right of chair a later addition); Rosenberg, 1956.I, p.69 (prefers Valentiner’s date c.1640); Exh. Cambridge (Mass.), 1958, no.29; Exh. Middeltown (Conn.), 1959; Exh. New York-Cambridge, 1960, no.36, repr. pl.31 (c.1640; pace Benesch, the passage on the right not a later addition; compares Benesch 0528a and the woman to Benesch 0254); Amsterdam, 1985, under no.9, n.8 (Bol cannot be excluded); Exh. Atlanta-Washington etc., 1985-87, no.37, repr. (as Benesch; figure possibly pregnant; cf. Virgin with a veil in Benesch 0115; man might be a young St Joseph); repr. The New York Times, 11 August, 1985;[3] [Not in Schatborn, 2019].
PROVENANCE: Samuel von Festetics; J.C. Klinkosch; his sale, Vienna, Wawra, 15 April, 1889, lot 724, repr.; The Prince of Liechtenstein; Curtis O. Baer; his son, Dr George Baer.
[1] Sold London, Sotheby’s, 6 July, 2010, lot 66.
[2] In Amsterdam, 1985, under no.9, n.8, Schatborn wrote: “An attribution to Ferdinand Bol cannot be excluded”. If by Bol, it is also possible that the passage on the right of the drawing is by him as well.
[3] See https://www.nytimes.com/1985/08/11/arts/one-man-s-love-for-art-is-shared-in-exhibition.html (consulted 1 September 2018).
First posted 4 September 2018.
Subject: Tric-Trac Players
Verso: Laid down on 18th-century card (but there may be a slight pen sketch, partly visible at the top of the recto).
Medium: Pen and brown ink, touched with white bodycolour (especially in the hand in the centre), on paper probably prepared with brown wash (though possibly discoloured); ruled framing lines in pen and a different brown ink.
Inscribed on the backing, top right, in pen and brown ink: “434” [the inventory number]; and in blue chalk: “Rembrandt” [both inscriptions 19th-20th century).
175 x 162 Watermark: none visible; chain lines: horizontal, distance apart uncertain; 13/14 laid lines per cm.
COMMENTS: The iconography is somewhat unusual for Rembrandt, but as Benesch pointed out, he may have had the Parable of the Prodigal Son, and his inheritance dissipating activities, in mind. While the theme was common among the Utrecht Caravaggeque painters, Rembrandt’s more forceful, approach and intense, individualised characterisations stand apart from their work.
Benesch compared Benesch 0100 verso, both for the subject and the style, which seems correct. The more energetic approach here, not least in the shading, is close to the documentary drawings, Benesch 0141 and Benesch 0445, as well as to Benesch 0293. See also under Benesch 0399.
Condition: Somewhat stained and faded; on balance the overall brown tone appears to be a preparation rather than just staining; the left vertical strip, about 10mm wide, is separated but on the same backing; the vertical ‘cut’ down the centre, to judge from the penwork, is probably a pre-existing crease or fault in the paper rather than a cut.
COLLECTION: I Venice, Gallerie dell’ Accademia (L.2; inv. 434).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.1156 (early); Ricci, 1918, p.67; Benesch, 1935, p.22; Valentiner, II, 1934, no.772; Benesch, II, 1954/73, no.398, repr. (c.1635; Utrecht Caravaggesque concept; compares Benesch 0100 verso and Benesch 0263; possibly related to theme of ‘Prodigal Son’); Robinson, 1967, p.170, n.14; Schatborn, 2019, no.296 and p.144, repr. (c.1637; genre study in a category of its own).
PROVENANCE: Uncertain.
First posted 10 September 2018.
Subject: Four Men Around a Table, One Playing the Flute
Verso: Inscriptions only (see below).
Medium: Pen and brown ink with brown wash on paper prepared brown (the tone is slightly paler on the verso); ruled framing lines in pen and a different brown ink.
Inscribed verso in graphite, lower left: “777” and lower right: “44 [in a circle] / L” [??]
136 x 154. Watermark: none; chain lines: 25v; 13 laid lines/cm.
COMMENTS: In technique the drawing resembles Benesch 0398 closely, especially in the brown tone of the paper. The subject could be a group of musicians although the three figures without an instrument, at least three of whom hold books, would presumably be singers, making the combination with solo flute unusual.
In style there are areas of shading which might cause concern for an attribution to Rembrandt, for example, the vertical, parallel hatching in the back of the chair and the flautist’s left arm, which appears somewhat pedestrian, and the rather flat, somewhat zig-zag shading in the same figure’s right calf. These are reminiscent of the style of Govert Flinck and difficult to compare with Rembrandt’s documentary drawings, although the vertical shading does resemble that in the inscribed drawing, Benesch 0145 and in Benesch 0313 recto (and the diagonal shading in Benesch 0400).
The remainder of the drawing displays many similarities with Benesch 0145 and with other Rembrandt drawings: for example, the head of the standing figure, highly characterised with fine parallel shading, resembles that of Eve in the documentary drawing Benesch 0164 (see detail of the latter, fig.a) and the child at the left of Benesch 0343; and the leg of the figure seated on the table at the left resembles the nearer leg of the drummer in Benesch 0365. The wash in the shadows to the right may be compared with Benesch 0339, Benesch 0401 and Benesch 0405, as well as the Setead Old Man now in the Fondation Custodia, Paris (Not in Benesch; Lugt collection inv. 4502).
Overall, the connections with Rembrandt are strong enough to suggest that Benesch 0399 is indeed his work and datable, like Benesch 0398, c.1635.
Condition: Generally good though a little worn and faded; diagonal crease towards the lower right; numerous spots and stains, mostly near the edges; verso bears traces of glue from an old mount, together with traces of an older backing.
COLLECTION: GB Norwich, Castle Museum (inv.1978.184).
FURTHER LITERATURE/REMARKS: Exh. London, 1835, no.90; Robinson, 1869, no.777; Gathorne-Hardy, 1902, no.97; Hofstede de Groot, 1906, no.983 (c.1635); Exh. London (Agnew’s), 1925, no.120; Hind, 1926, no14, repr. (c.1635-40); Bauch, 1933, p.205, repr. fig.112; Benesch, 1935, p.21; Valentiner, II, 1934, no.769, repr. ; Exh. London, 1938.I, no.563; Benesch, 1947, no.53, repr.; Exh. London, 1953, no.305, repr. pl.10; Benesch, II, 1954/73, no.399, repr. (c.1635; Utrecht-school subject; compares sketches of actors, Benesch 0293-97 and Benesch 0398); Benesch, 1955 (reprinted Benesch, 1970, p.186); Exh. Amsterdam-Rotterdam, 1956, no.24, repr. pl.10; Benesch, 1964 (reprinted Benesch, 1970, p.254); Benesch, 1970, pp.186 and 254, repr. fig.255; Exh. London-Oxford, 1971-2, no.47; [Not in Schatborn, 2019].
PROVENANCE: Thomas Dimsdale; Samuel Woodburn; Thomas Lawrence (L.2445); William Esdaile (L.2617); Mendes de Leon; his sale, Amsterdam, 20 November, 1843, lot 5; Gijsbert Verstolk van Soelen; his sale, Amsterdam, 22 March, 1847, lot 38; Gerard Leembruggen; his sale, Amsterdam, Roos, Engelberts, lamme and Roos, 5 March, 1866 and following days, lot 471; John Malcolm of Poltalloch (L.1489); Capt. G.M. Gathorne-Hardy; by descent to Robert Gathorne-Hardy; sold by the executors, Amsterdam, Sotheby Mak van Waay, 3 Ma, 1976, lot 14 accepted in lieu of inheritance tax by H.M. Government and allocated to the present repository in 1978.
Benesch 400
Subject: Two Butchers at Work
Inscribed in pen and brown ink by Rembrandt, left: “t' vel daer aen / ende voorts de rest / bysleependen” [the skin on it and furthermore the rest trailing]; inscribed verso in graphite, lower left: “früher als Gelder”
149 x 199. Watermark: the crown of a shield with balls.
COMMENTS: In style the drawing fits well in the mid-1630s, comparable to the documentary drawings for the grisaille of St John the Baptist Preaching of c.1633-34 (Benesch 0140-42 and Benesch 0336). The figure-style also resembles Benesch 0398, while the head of the butcher on the left comes close to the top figure in Benesch 0383. The somewhat deliberate and widely-spaced diagonal parallel hatching in many areas has links with Benesch 0145, Benesch 0313 and Benesch 0363 recto. Many of these works are a little later than the drawings related to the grisaille, suggesting a date of c.1635-36 for the present work.
For the subject, compare the much later drawing in Berlin, Benesch 1160, as well as the celebrated painting in the Louvre, The Slaughtered Ox, of 1655 (Bredius 457; Corpus, VI, no.240). Inspired by an overlap in the iconography with an engraving after Maerten van Heemskerck (1498-1574) that Rembrandt may have owned (fig.a),[1] which refers in the image and the engraved text below to the Prodigal Son, the present drawing has also been associated with the same topic.[2] Van Heemskerck’s design includes butchers at work, one of them with a knife between his teeth (as here, but so much more powerfully characterised by Rembrandt), and the well-known painted Self-Portrait with Saskia as the Prodigal Son (Bredius 30; Corpus A111 and vol.VI, no.135) dates from this period, c.1635. These links suggest that the drawing could have been made with the iconography of the Prodigal Son in mind.
COLLECTION: D Frankfurt, Städel Museum (L.2356; inv.3626).
FURTHER LITERATURE/REMARKS: Hofstede de Groot, 1906, no.339 (early; carcasses are pigs; hitherto attributed to Aert de Gelder); Frankfurt, 1908, I, no.10; Valentiner, II, 1934, no.764, repr.; Benesch, 1935, p.21; Benesch, 1947, no.60, repr.; Benesch, II, 1954/73, no.400, repr. (c.1635; as Hofstede de Groot, 1906; looks forward to Louvre painting of a Slaughtered Ox, Bredius 457; Corpus, VI, no.240; realism characteristic of mid-1630s; compares Benesch 0263 and, for the subject, Benesch 1160); Exh. Frankfurt, 2000, no. 58, repr. (late 1630s); Schatborn and Dudok van Heel, 2011, pp.348-9, repr. fig.VI (inscribed by Rembrandt); Carroll, 2017, pp.347–369, repr. fig.1; Schatborn, 2019, no. 245 and p.143, repr. (c.1636; compares later drawing, Benesch 1160).
PROVENANCE: Johann Georg Grambs (1756–1817), by whom bequeathed to the present repository in 1817.
[1] Engraved by Phillips Galle after Maerten van Heemskerck (NH 364). Craig, 1983, brought the print into discussion of Rembrandt’s approach to the subject of the Prodigal Son, but without mentioning Benesch 0400. That Rembrandt owned prints after Van Heemskerck is known from his later, 1656 inventory now in the Amsterdam Stadsarchief, inv. DBK 364, f.34v: “Een dito [boeck] van Heemskerck, sijnde ael 't werck van denselven” (see http://remdoc.huygens.knaw.nl/#/document/remdoc/e12722 (consulted 18 September 2018).
[2] See in particular Benesch, 1954/73 (without mention of the Van Heemskerck), Craig, 1983 (see n.1 above) and Exh. Frankfurt, 2000 (see Literature). Van de Wetering, in Corpus, VI, no.135, associates the painted Self-Portrait with Saskia as the Prodigal Son with the school drawing, Benesch 0529, which repeats motifs visible in the x-radiograph of the painting.
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Ru | De | HEB | Ar
» Drawn
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Warren Pleece
http://warrenpleece.wordpress.com/
Warren Pleece (Brightonб 1965)
Comics artist
Warren Pleece has worked in comics for over 20 years, mostly for DC Comics’ Vertigo line, but started by self-publishing the dark, sarcastic magazine Velocity in the late 80s with his brother Gary. In the last few years he has worked on the well-received graphic novels Life Sucks for First Second Books and Incognegro for DC Vertigo.
He has also recently exhibited interactive installations at the University of Brighton and The Pump House Gallery in London based on Montague Terrace, a webcomic series originally featured on the Act-i-vate web-comix site.
His latest work includes The Great Unwashed, an anthology of early work due out in 2011 from Escape books and the new graphic novel version of Montague Terrace, both co-written with Gary, to be published by Jonathan Cape in 2012.
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