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Toolmakers and Engineering Patternmakers make and repair tools, dies, jigs, fixtures and other precision parts and equipment to fine tolerances for machine tools and other production machinery, and construct full-size engineering, visual and experimental models and models for the manufacture of prototype developmental products.
Earnings are median for full-time non-managerial employees paid at the adult rate, before tax, including amounts salary sacrificed. These figures are a guide only and should not be used to determine a wage rate.
Source: ABS Survey of Employee Earnings and Hours (cat. no. 6306.0), Customised Report.
The Department of Employment, Skills, Small and Family Business estimates the likely change in number of workers over the next 5 years. Future growth is the likely percentage change, compared to all other occupations. Possible ratings are
A lower unemployment rate shows people who work in this job are less likely to be out of work than people who work in other jobs.
Employment size is the number of workers who do this as their main job.
Sources: ABS Labour Force Survey (custom trend) for 4-digit occupations (e.g., ANZSCO ID 1112) and 2016 Census for 6-digit occupations (e.g., ANZSCO ID 111211). As the figures come from different sources, the 6-digit figures may not sum to match the 4-digit totals.
Skill level ratings are based on the range and complexity of job tasks. In general, the higher the skill level, the more formal education and training, previous experience or on-the-job training needed to be good at the job. Entry level jobs often need no prior training or experience. Possible ratings are
Full-time workers usually work 35 hours or more a week (in all their jobs combined).
Average full-time hours is the actual hours worked in this job per week, by people who work full-time hours in all of their jobs combined.
This is the average age of all workers in this job. See the Prospects page for the full age profile.
The number of people working as Toolmakers and Engineering Patternmakers (in their main job) fell over 5 years:from 4,200 in 2014 to 3,300 in 2019.
Caution: The Australian jobs market is changing in response to the COVID-19 pandemic. These estimates do not take account of the impact of COVID-19. They may not reflect the current jobs market and should be used and interpreted with extreme caution.
No data is available for the selected graph for this Occupation.
You usually need a certificate III or IV in engineering or relevant training to work as a Toolmaker or Engineering Patternmaker.
Checks, licences and tickets
You may need:
Thinking about study or training?
Before starting a course, check it will provide you with the skills and qualifications you need.
Or check out related courses on Job Outlook.
The course listings on this page are provided by Good Education Group.
Employers look for Toolmakers and Engineering Patternmakers who are reliable, work well in a team and have a strong work ethic.
These are important topics, subjects or knowledge areas.
Machines and tools, including their designs, uses, repair, and maintenance.
Arithmetic, algebra, geometry, calculus, or statistics.
Design techniques, tools, and principles used to make detailed technical plans, blueprints, drawings, and models.
Use engineering, science and technology to design and produce goods and services.
Curriculum and training design, teaching and instruction for individuals and groups, and the measurement of training effects.
Skills can be improved through training or experience.
Doing tests and checking products, services, or processes to make sure they are working properly.
Watching gauges, dials, or other indicators to make sure a machine is working properly.
Controlling equipment or systems.
Being able to use what you have learnt to solve problems now and again in the future.
Listening to others, not interrupting, and asking good questions.
Workers use these physical and mental abilities.
Come up with different ways of grouping things.
Listen to and understand what people say.
Imagine how something will look after it is moved around or changed.
Communicate by speaking.
Order or arrange things in a pattern or sequence (e.g., numbers, letters, words, pictures, mathematical operations).
These are kinds of activities workers regularly do in this job.
Operating machines or processes either directly or using controls (not including computers or vehicles).
Using hands and arms in handling, installing, positioning, moving and manipulating objects.
Using your own ideas for developing, designing, or creating something new.
Servicing, repairing, adjusting, and testing machines, devices, moving parts, and equipment.
Using information to work out the best solution and solve problems.
O*NET is a trademark of the U.S. Department of Labor, Employment and Training Administration.The skills and importance ratings on this page are derived from the US Department of Labor O*NET Database Version 21.2, 51-4111.00 - Tool and Die Makers.
Learn about the daily activities, and physical and social demands faced by workers. Explore the values and work styles that workers rate as most important.
The physical and social demands workers face most often are shown below.
Wear equipment like safety shoes, glasses, gloves, hard hats or life jackets.
Be very exact or highly accurate.
Spend time using your hands to handle, control, or feel objects, tools or controls.
Talk with people face-to-face.
Work near dangerous equipment like saws, machinery with open moving parts, or moving traffic.
Work values are important to a person's feeling of satisfaction. All six values are shown below.
Supportive management that stands behind employees. Workers are treated fairly by their company, they are supported by management, and have supervisors who train them well.
Job security and good working conditions. There is usually a steady flow of interesting work, and the pay and conditions are generally good.
Work alone and make decisions. Workers are able to try out their own ideas, make decisions on their own, and work with little or no supervision.
Serve and work with others. Workers usually get along well with each other, do things to help other people, and are rarely pressured to do things that go against their sense of right and wrong.
Results oriented. Workers are able to use their strongest abilities, giving them a feeling of accomplishment.
Advancement and the potential to lead. Workers are recognised for the work that they do, they may give directions and instructions to others, and they are looked up to in their company and their community.
Interests are the style or type of work we prefer to do. All interest areas are shown below.
Practical, hands-on work. Often with plants and animals, or materials like wood, tools, and machinery.
Ideas and thinking. Searching for facts and figuring out problems in your head.
Following set procedures and routines. Working with numbers and details more than with ideas, usually following rules.
Working with forms, designs and patterns. Often need self-expression and can be done without following rules.
Starting up and carrying out projects. Leading people and making many decisions. Sometimes require risk taking and often deal with business.
Working with people. Helping or providing service to others.


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Technology and the internet has turned the business world right on its head. If a CEO from the 80's were to be magically transported to the present, they would be severely ill equipped to deal with the task of creating and managing their SME with todays challenges. Let's hope they manage to get a copy of this article – we'll look at some of the more exciting business concepts available to startups today:
1. Tap Into Freelancing & Outsourcing. Sure, contractors and freelancers have always been around. However, never before has it been so easy and simple to find an instant pool of talent, no matter what skills you're trying to buy. Increasingly, companies are using outsourcing and freelancing opportunities to get things done in a cheap and efficient way. Why hire a freelancer? For a start, it's easy to research and hire a good professional when you go through freelancing sites such as Elance. Most freelance sites offer ratings on their freelancers so you can analyse their past performances, making the due diligence process a lot simpler. Hiring freelancers is also a lot cheaper in the long run than hiring a permanent employee – no NI and other financial obligations to stump up, and you can hire them for only as long as is required.
2. Crowdfunding. Still relatively untapped, crowd funding (also known as peer to peer lending) is threatening to turn the traditional business loan industry on its head. Rather than companies seeking financing through banks and other traditional sources, they go directly to the public via established peer to peer lending sites. Companies can then set up their profile and project details explaining what the loan will be used for, and private lenders can choose to offer a percent of the loan amount at a pre-determined rate. While peer to peer lending is an avenue that many companies seek only after being refused by the banks, a lot who use it have been lauding their positive experiences. Well worth a gander as an alternative way to raise startup financing.
3. Lean Startup. A relatively new concept, lean startup is all about just creating a business on a small and practical scale while keeping costs to the bare bones. The idea is to offer products in a practical and hands on way, while continually making improvements based upon customer feedback. With lean startup, costs are minimized and efficiencies are maximized. The process focuses on producing products and services that customers actually want through a continuous product deployment process. Since products are introduced to market right away, the product cycle times are slashed when companies use lean startups – no expensive and lengthy testing using theoretical situations and models. The lean startup model embraces several other concepts too, such as split testing and the use of key metrics to measure results amongst others.
4. Micro Jobs Sites. Micro jobs sites such as Fiverr can be interesting places to get marketing and technology work done at the price of a cup of coffee. These sites have job providers who offer all sorts of micro jobs for a small fee (on fiverr, everything costs five dollars unless you choose to plump for upgraded services). They can be a good way of employing and expanding your social and SEM strategy at low costs.

subset: commoncrawl


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Vercingetorix, colloquially known as Orca, is a Gravity Child affiliated with Genesis. Playful yet deadly, he is a bishonen with light-coloured hair and dark skin. His sister is the Colonel, better known as Pyon.
Orca makes his debut as a liaison from the American army. He was sent with Caesar, Aeon Clock and his sister by Sora Takeuchi to conduct a preemptive strike against Kogarasumaru, who were training on an island at the time.
While searching for Ikki, he happens upon Agito Wanijima, who is attempting to perfect his 'Ultimate Fang' by training against a target post stacked with tyres. Orca shreds the post with a single blow, effectively goading Agito into duelling with him. Initially, he simply watches Caesar paralyzes Agito into submission, but takes over when Akito lends his strength to Agito and falls Caesar with a 'Cage of Fangs'. Orca is easily able to maintain the upper hand, and when Yayoi Nakayama appears, he takes her hostage in order to further goad Agito and make the battle more interesting.
However, the tables turn with the appearance of Lind, who is the original persona inhabiting Agito's body. Lind appears to be on a completely different tier from Agito, slitting Orca's throat and incapacitating him with the Bloody Road's Infinity Atmosphere. Nonetheless, Orca recovers and forces Lind underwater, where he possesses a distinct advantage. Unfortunately, he was in turn felled by Agito, who had just taken back control of his body and perfected his 'Bloody Blade Fang', and had to be rescued by Aeon Clock accompanied by Pyon.
When Kogarasumaru invades the aircraft carrier that is Sora's base of operations, Orca is matched against Buccha as a test of his ability, confirming his allegiance to Genesis. While expressing disappointment at not being able to conduct a rematch against Agito, he commences an attack, only to be countered by Buccha's new 'High Mobility Mode'. After being defeated by Buccha, and brought up to the surface, where Ikki and Nue had just finished their fight, He decides to switch sides, commenting that Ikki's team seems more interesting. Since then, it seems (and is shown on the aircraft carrier post-battle and then during the afterward) that he's developed a rather strong bond with Buccha.
Abilities and A·TEdit
A second-generation Gravity Child, Orca is a king-level rider specializing in the aquatic environment. He is able to swim at incredible speeds and even down to the bottom of the sea remaining unnaffected by the intense water pressure. He can also hold his breath for 10 minutes. His A·T wheels resemble turbines with razor sharp rims.
Orca's road has not yet been named. It appears to be a fusion (similar to Nike's Jade Road or Ikki's Hurricane Road) of the Bloody Road and the Lather Road, as it combines the Fang element of the former with explosive water characteristic of Om's Infinity Atmosphere. Although, Nike has referred to him as "Orca of the Fang" which implies that he runs on the Bloody Road.
Tricks Edit
Exploding Fang - Orca's signature technique. It operates by pressurizing water and air into a Fang, creating explosive bubbles similar to Bubblegum Crisis upon impacting its target.
Water Tiara - First seen used on Yayoi Nakayama during the battle between Orca and Agito. Water is pressurized into a crown-like formation on the target's forehead, held together only by the slowly dissipating pressure of the water. As it begins to depressurize, explosive bubbles begin to form, threatening to cause serious injury or death if it goes off.
Water Clones - Seen only during the fight agasint Agito, Water clones where made from the downpour of rain in the area during the fight and using his AT formed exact copies of himself although these were weak and dissipated apon contact they were used as a distraction to hamper Agito
Exploding Rain - Chapter 192 In the battle between Orca and Agito, Orca displayed the ability to make rain as it is falling explode with the same effect as the Fangs he fires. However thes raindrops were blasted away implying that they have a set area of effect.
Exploding Animal - Orca demonstrated the ability to manipulate the water within living creatures. Doing so by making the water inside a fish explode similar to his fang. It has a high blast radius as a small fish about the size of a forearm produced a blast larger than Agito.
Exploding Water - The full extent of this trick was never seen because Lind's Infinity Jail exploded. However Orca appearc to be able to make large quantities of water bubble around him and explode. Presumeably in the same manner as his water based fang.
Dragon's Whirlpool - By swimming in circles Orca can gather water from a large area and compress it into a much smaller section. It is a technique performed in the water not on or near it. He can also perform a faster variation simply by swimming circles around his oppponent. First displayed in his fight against Agito its true power wasn't seen until the fight against Buccha. Even with his naturally powerful build and intense physical training to compliment it his was nearly crushed to death.


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Victorinox Classic Swiss Steak Knife, 4-Inch
Last updated date: June 9, 2020
DWYM Score
Why Trust The DWYM Score?
DWYM is your trusted product review source. Along with our in-house experts, our team analyzes thousands of product reviews from the most trusted websites. We then create one easy-to-understand score. Learn more.
We looked at the top Single Knives and dug through the reviews from some of the most popular review sites. Through this analysis, we've determined the best Single Knife you should buy.
Overall Take
In our analysis of 42 expert reviews, the Victorinox Victorinox Classic Swiss Steak Knife, 4-Inch placed 7th when we looked at the top 10 products in the category. For the full ranking, see below.
Editor's Note July 6, 2020:
Checkout The Best Single Knife for a detailed review of all the top single knives.
Expert Summarized Score
User Summarized Score
Our Favorite Video Reviews
What experts liked
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From The Manufacturer
A rock solid heritage, exacting commitment to Swiss precision and a consistent focus on quality and innovation are the absolute cornerstones of our business. Founded on integrity and family values, today we operate in over ten countries worldwide. The original Swiss Army knife, created by Karl Lesner in 1897, embodies the essence of Victoriana. Directional, intrepid and pioneering on the global stage, today our international brand spans five product categories: Swiss Army knives, cutlery, watches, travel gear and fragrances.
Overall Product Rankings
An Overview On Single Knives
If you have a knife set in your kitchen, you may not realize the many different purposes your knives serve. That knife set can be useful, likely holding all the cutlery you'll need if you're a casual chef. However, there's a reason those who are seriously pursuing the culinary arts curate a set of knives that includes exactly the blades they'll need.
The first knife you should buy for your kitchen is a chef's knife, which is also known as a French knife. This versatile cutting tool features a curved, ridged blade that allows you to set the tip against the cutting board, then pivot to quickly mince items with the rest of the blade. The spine of the blade is used for scraping your ingredients from the board once they're chopped, while the flat side is ideal for cutting garlic.
You'll also need a paring knife for peeling and coring fruits and vegetables and a serrated knife for cutting through items like bread and tomatoes. A utility knife is another all-purpose knife that you'll find yourself reaching for on a regular basis. It's also handy to have a knife sharpener on hand, which you can purchase and have available for whenever your knives need a little extra life breathed back into them.
You don't have to invest in a knife set to get storage for your knife set. Sure, you can keep them in a drawer, but that can be dangerous unless you have a shield for the blade. Instead, some prefer a magnetic knife bar, which mounts to the wall and holds your knives in place when you aren't using them. If you prefer the knife block format, you can buy those that easily hold the knives in your collection, and you can even buy some that fit into your drawer.
DWYM Fun Fact
As long as humans have been around, we've had a need to cut into things. In prehistoric times, knives were made of flint, but eventually, daggers were being made from metal. The first single-edged knife came along about 4,000 years ago and was used for hunting, cooking and carpentry. Knives didn't make their way to the dinner table until about 500 years ago. Prior to that time, people carried their own knives around on a belt-attached sheath. Early knives were so sharp, though, that King Louis XIV of France said they were dangerous, ordering that the points be ground down a little more. That led to the knife design we see today.
The Single Knife Buying Guide
- The most important feature on a knife is, of course, its blade. Stainless steel is the preferred material since it resists rust and stains after many uses. But some manufacturers use high-carbon stainless steel for a little extra durability.
- The piece connecting the blade to the handle is called a tang. If a knife is labeled "full tang," that means the tang runs the length of the handle rather than stopping where the handle begins. A full tang knife will often provide more durability, as you won't have to worry about the handle and blade breaking apart.
- If you're concerned about durability, look at how the handle fastens to the blade and make sure it has the strength to last even when pressure is placed on the blade through repeated chopping sessions.
- Although you can sharpen a blade, some blades maintain their sharpness better than others. Even more are manufactured in a way that maximizes sharpness to ensure you get the most out of every cut.
- In most cases, you'll need to hand wash your knives. As convenient as it can be to toss it in the dishwasher, you'll find that the blade and, in some cases, the handle can become damaged due to the excessive moisture and heat.
- The build of the handle plays into how easily you'll be able to control the knife while you're using it. Look for one that either has a finger guard or a nonslip handle. An ergonomic handle can keep your hand comfortable while you chop.
- The weight of the knife comes into play when it comes to both comfort and safety. You'll want a knife that's lightweight, but if it's too lightweight, it may not pack the punch you need when you're cutting through tougher items.


text: The Acer Iconia Tab has been here for over a month now. Bought as a Clovertrail test device it has turned into a surprisingly usable and flexible ultra-mobile PC. The Acer W510 might be using the same Atom core as netbooks did but the package here is far more than that both in terms of computing and usage flexibility. Read on for the full review of the Acer Iconia W510 and a summary of where this ground-breaking style of smart and ultra mobile PC fits into the market.Read the full story


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Hobbs & Shaw Fast & Furious Poster 61cm x 91.5cm (24" x 36")
Product Description
When the world is threatened by a deadly virus, Hobbs and Shaw must put their differences aside to stop a cybernetically-enhanced terrorist. Form the Fast and Furious franchise, this action packed movie is jam packed with hair raising stuns, explosions and comedy moments. This poster features Dwayne 'The Rock' Johnson (Hobbs), Jason Statham (Shaw), Idris Elba (Brixton Lore) and Vanessa Kirby (Hattie Shaw). For the ultimate action movie fan, this is a must have to hang in your home.
Add gloss lamination to protect and display your poster
- Protects your picture from dirt, grease and moisture
- Easy to put up and take down without damaging your poster
- Great way to display your poster without framing
- Professionally sealed inside two sheets of laminate
- Attractive glossy finish
- Size: 61cm x 91.5cm (24" x 36")
- Stock ID: 391826
- View all Posters…
The PopArtUK Guarantee: 100% Satisfaction or Your Money Back!
We're so confident you'll love your purchase, if for any reason you are not 100% satisfied we will be happy to exchange your goods or give you a full refund - guaranteed!


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Toddlers to teenagers can find new books to read at the Hamburg Public Library.
New for little hands is a fun board book about opposites "Yummy YUCKY" by Leslie Patricelli. Be prepared for giggles.
Eric Carle's familiar characters appear in "Calm with the Very Hungry Caterpillar" as he guides young readers to peace and quiet.
The Narwhal and Jelly books are a new addition to the Hamburg Public Library collection.
Ben Clanton first introduces his characters in "Narwhal: Unicorn of the Sea." Look for "Super Narwhat and Jelly Jolt," "Peanut Butter and Jelly," and "Narwhal's Otter Friend" among the easy books.
More picture books to share are "Swarm of Bees" by Lemony Snicket, a book about being angry and why it feels better to stop, and "Motor Mouse" by Cynthia Rylant, a fun tale of a mouse on the move.
For children ready to read on their own, "The Berenstain Bears Get the Job Done" has the Bear family working together on a fun and rewarding project.
Junior readers are invited to meet two famous individuals through the DK Life Stories series written by Stephen Krensky.
Learn more about Anne Frank, a young girl caught up in a terrible war, and Nelson Mandela, who saved his country and set an example for the world.
From the author of My Weird School! books, comes "My Weird Reading Tips."
Gutman provides a fun book of activities and tips to improve reading comprehension skills for elementary students.
Also in the JF area is "Dream within a Dream," a summer story by Patricia MacLachlan. One family and two centuries tangled in time is the theme of "The Portal," a new release by Kathryn Lasky.
"The Unteachables" is a humorous tale of a class of misfits and a burnt-out teacher who finds a new love for teaching through them.
Another JF addition is "The Keeper of the Keys." It is Book 3 in Kathryn Lasky's Bears of the Ice series.
In "Sweeping up the Heart," Kevin Henkes captures the story of two 12-year-olds frustrated by their parents.
An author who is known by only one name, Avi, offers an action-packed tale of friendship, danger, and adventure on a tobacco farm in "The End of the World and Beyond."
The library's Magic Tree House collection expands with six books from Mary Pope Osborne's popular series.
Look for "Hurricane Heroes in Texas," "Warriors in Winter," and "To the Future, Ben Franklin." Also new are their nonfiction companions, "Texas," "Warriors," and "Benjamin Franklin."
With young adult readers in mind, the library has acquired "The City of Ember" prequel and two other books in the series by DuPrau—"The Prophet of Yonwood," "The People of Sparks," and "The Diamond of Darkhold."
We would be happy to help your children locate these books.
Hamburg Library features books for youths
Toddlers to teenagers can find new books to read at the Hamburg Public Library.


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New link to the Flooring
The Kitchen
Follow me up to the third floor.
Climbing the stairs from the 2nd floor we encounter the "masking off" plastic put up for the demolition of the plaster on the wall. Ask Beverly just how well it kept the dust in....
Up from the landing, we see Drywall!!!
Turning around at the top of the stairs we look at the window in the wall of former plaster, now unfaced old, cheap Pomeroy bricks.
The living room. We have 10' (just
over 3 meter) high ceilings.
Check it out! Then and Now
Looking from the living room to the dining room. It's tough to get the full view of a room with the camera and lenses we have. You just can't get back far enough.
Looking down the hall. The (formerly( black insulation board covers the glass of the glass floor.
Back to the dining room and here's the view.
The Kitchen is through the door. (Yes there will be nore than just the opening!) From near to far on the kiutchen wall will be range, counter/sink, and refrigerator.
A little closer of the kitchen. Still got some extension cords.
Walk into the kitchen and take a left and you see the shower backwall and a window. Tall windows. About 8' or 2.5 meters tall and about a meter wide.
Next to the shower is the closet. (There will be a glass surround on the shower....)
Here's the view from the bathroom.
Another look at the kitchen from the bedroom.
The bedroom window
Here's the guestroom across the hall.
Pay your room bill or we put you through the floor. John's been busy fixing the joists and floor where they did such a lovely job of adding bathtubs and toilets during the 3rd floor 1930's remodel from overnight rooms to long term accommodations. I think they did the work at night in the dark with the wrong tools back then....
This is sort of what you get when you have to use books and shelves for drywall and insulation. Is there hope for this room?
Please grandma..... please come back soon.
Brittany.... Not afraid of anything Sherwin Williams can throw at her.
And I can use my tail to paint???
A view of the Living Room with "hubcaps."
The dining room in all of its splendor....
Shower is all masked off.
Here's where the sink in the bathroom will go
Grandma's bedroom. Blue below the line, a lighter blue above the line.
Back to the Dining Room again to see if anything's changed. The December Snowstorm is here.
I love to paint.....
Is that PatRick outside? Two weeks inside make even the roof seem exciting.
Who are you talking to?
Ok, ok, I'll come back in
The guest room with closet, kitchenette, and door to the bathrooom.
A painter's best friend.
Another view of poor John's "storage" room on the third floor.
(Please excuse any misspellings or other typos on these updated picture descriptions as soneome got to spend 7 hours today spraying and backrolling.)
Want to see some pictures of Brittany's Sponsorship Tea? Click Here
There are some more pictures of various phases of renovation at HistoricPomeroy.com


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Welcome to Oakwood Intermediate!
We are very excited to begin the 2019-2020 school year! Our faculty and staff have been hard at work preparing to support our students with the best educational experience possible.
At Oakwood, we are committed to providing our students with a safe learning environment that will allow them to transition from childhood to adolescence. It is our goal for each student to leave Oakwood prepared for success at the next level. Our teachers strive to foster growth in our students' minds through creative lessons, innovative hands on activities and rigorous, thought provoking assessments.
We are absolutely committed to the success of our students and look forward to partnering with you in this effort. We truly believe that every child is capable of success and that success can be different for each child.
Josh Symank


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Summer auction will include 100 Premium Lots Live at The National on July 31st and 1000+ Lots in the Catalog Auction Closing on August 8th at www.GoldinAuctions.com
WEST BERLIN, NJ – MAY 7, 2015 – Last summer, Goldin Auctions' Babe Ruth 100th Anniversary Live Auction made national headlines and saw many record prices realized. This year, the company's summer event will feature both a Live Auction at The National Sports Collector's Convention in Chicago on July 31st and a conventional catalog/online auction at www.GoldinAuctions.com through August 8th.
Goldin Auctions is currently accepting consignments for both the Premium Live Auction at The National as well as the summer catalog auction through May 26th. The 100 live auction items must have an appraised value of at least $10,000. To consign an item, visit www.GoldinAuctions.com or call 856-767-8550 or email [email protected].
Thus far the live auction, which will be held at the Muvico 18 Theater in Rosemont, IL, located just a mile from the Donald E. Stephens Convention Center includes dozens of featured items including: a Babe Ruth game-used and signed bat; a Ruth game worn Yankees cap; Christy Mathewson's 1905 World Series bat; a 1952 Topps Mickey Mantle PSA NM-MT 8; a 1933 Goudey Nap Lajoie PSA NM 7; a Hank Greenberg game used and signed Tigers cap and more. A preview of the Live auction items will be posted at www.GoldinAuctions.com in June.
"If you have been on the fence about consigning your items for auction, now is the time as nearly all of the hobby's top sports collectors attend the National and will be among our bidders," explained Ken Goldin, Founder of Goldin Auctions. "Just like last year's historic Babe Ruth 100th Anniversary Auction we will have a spectacular array of memorabilia and extensive promotional efforts that will make this a special event for the industry."
About Goldin Auctions
Sports memorabilia impresario Ken Goldin has sold more than $600 million in memorabilia from many of the biggest names in sports, history and pop culture and was the pioneer of using the medium of television to sell sports memorabilia. Earlier this year, Goldin Auctions sold Babe Ruth's 1918 contract for a record $1.02 million. The previous year they sold a Honus Wagner T206 card for a public sale record $2.1 million. Goldin Auctions strives to break new ground and offer collectors the best in collectible treasures up for auction in the marketplace. All game worn or autographed items come with team, player, league or additional LOA from industry leading authenticators; and collectors can bid with confidence that their proxy/ceiling bids remain confidential. For more information, visit www.goldinauctions.com.


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I've fancied a German made Risa stick travel ukulele for some time to just throw into the campervan when roaming around, but the £250 cost has always put me off, so I decided I could make one. A quick google and I found I wasn't alone in my quest. Several websites had free plans and dimensions available using bits of scrap wood, odds and ends etc.
A stick travel uke is solid and doesn't have an acoustic body, so it's quiet. However they usually come with an electric pickup allowing it to be played through an amplifier turning you into a rock god. With visions of becoming the Eric Clapton of the Ukulele world I quickly printed off an accurate template and found a nice piece of Oak in my man shed ( I keep off cuts and oddments just in case I need them later and here I am needing it).
The solid Uke body was cut out using a selection of hand saws, electric jig saws and a Router.
This project was on a tight budget, so I started searching for bits and pieces that were required on the internet..
Four friction tuners came in for 99p from china, fret wire for £1.50. I could see my budget being eaten up at a rapid rate. Then the most expensive part was needed to complete the project and it never pays to scrimp on the quality of Uke strings. I parted with £9 for a set of good strings and in total spent £11.49.
In the future I shall fit a electric pickup ( costing a massive £6 ), but for now I'll just enjoy the novelty of playing a uke I made myself.
My lucky Morrisons trolley token embedded in the main body with clear resin
I've decided to call her Dora the Explorer.


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For anyone who regularly experiences pain and discomfort or feels stuck with their yoga practice. An exploration of mind and body, bringing together the postural analysis of Alexander Technique and a gentle approach to Hatha Yoga.
Tanya Shoop and Chris Holt together offer an opportunity to let go of tension, un-learn the holding habits that lead to pain and stiffness and regain a sense of freedom and self-discovery.
This session will focus on necks and shoulders. Many of us hold our tension in our upper bodies or find working at a computer causes us to hold our upper bodies in difficult ways.
Over the course of the workshop, we will explore these patterns of tension-holding and through mindfully-practised Hatha yoga postures we will learn ways to be and to move without excessive tension.
The yoga practice will be informed by the anatomical and postural awareness and gentle hands-on adjustment of the Alexander Technique. Together these will enable us to experience what it feels like to move with more freedom and ease.
"Truly brilliant. I feel I have learnt so much. The attention to detail has really helped me understand what yoga can be and helped me start to feel in touch with my body, which I haven't felt for years. Thank you hugely." Kate, 2013
"Just a quick thank you for today. I really enjoyed it – so much so that I am vegetating for the rest of the day!! See you at the next one." Lindi, 2014
"Tanya's hands-on encouragement to get me to adjust my posture when in certain poses felt gently reassuring. This, together with Chris's wonderfully mindful yoga teaching were literally a tonic. I loved the emphasis on relaxing into poses rather than forcing the body to stretch beyond its limits." Gill 2014
Saturday 31 January 2015: head neck and spine
Saturday, 18 April 2015: hips, knees and feet
Time: 2-5pm
Venue: Yoga Point, 122 Dalberg Road, London SW2 1AP
Price: £30
To book: contact email@example.com or tel. 07932 663604


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Blood and Bone
Blood and Bone – Gallery 1
DLI Museum and Durham Art Gallery
28 September 2014 – 11 January 2015
This sensory exhibition is specifically for family audiences.
Spacecadets have taken inspiration from human biology and the artworks are inspired by cells and organisms inside our bodies. You are invited to explore, listen to and touch a series of giant breathing tunnels and caves indicative of body organs, blood cells and bone.


text:
Q:When glass-bedding a bolt-action rifle (and free-floating the barrel) should the entire action be bedded, or just the recoil lug and tang? Would you recommend Brownell's Steelbed for this job?--V.B.
A:Just bed the recoil lug and tang, though a wide-tanged action like the Remington 700 normally only requires bedding behind the recoil lug. A few rifles, like Mausers, have the front action screw in the middle of the recoil lug. When free-floating barrels on these actions, you should also bed an inch of the barrel channel just in front of the lug, for further support. Rifles with the front action screw behind the lug (like Remingtons and Model 70 Winchesters) don't require this extra support, though heavy varmint-contour barrels can often use a little help here too.
When bedding the recoil lug, bed only the back of the lug, not the sides and bottom. This prevents any tiny piece of extra material that might fall into the lug recess, from keeping the action from fully seating when the rifle's put back together. Either tape the sides and bottom of the lug with a layer of duct tape before the bedding job, or carefully remove extra bedding compound with a sharp wood chisel after the job's done. Steelbed should work fine, though I generally use Acraglas Gel (also from Brownells), which spreads like cake frosting, making it much easier to work with than some runnier bedding mixes.
** A:** Probably the big buck took off because either caught a whiff of your scent or saw something it didn't like. Mature bucks are much more cautious than young bucks: They've been around for a few hunting seasons and know somebody's after them! A doe decoy sure might help, if legal in your area, since it will focus a called-in buck's attention away from you, though nothing helps if a buck catches your scent.


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rebels on Monday rejected a peace plan to reinstate insurgent leader Riek Machar as Vice President, saying it failed to dilute the strong power base of the country's president.
Machar was President Salva Kiir's deputy until 2013, when a political disagreement between them degenerated into a war that has ravaged South
Sudanever since.
The deal naming Machar first VP was reached in Entebbe in talks mediated by Uganda's President Yoweri Museveni and that he and Kiir attended. It was announced on Sunday by Kiir's office.
But an official of Machar's SPLM-IO rebel group said on Monday it was not acceptable.
Puok Baluang, SPLM-IO deputy spokesman, said the rebels should appoint two of the four VPs envisaged under the Entebbe deal and Kiir's grip on power should be loosened further.
"We will not fall only for the position of the First Vice President in this negotiation. We are focusing more on structural and institutional issues to constrain Kiir's regime both in the executive and legislature," he said.
It was not clear if Baluang was speaking on Machar's behalf, and the SPLM-IO leader could not immediately be contacted for comment.
SPLM-IO is the largest of the rebel groups fighting Kiir's government, and militants allied to it control several areas close to the capital Juba.
The agreement on Machar's position would have marked a potential breakthrough in new efforts mediated by regional leaders to end the war, which has primarily been fought along ethnic lines between Kiir's Dinka and Machar's Nuer groups.
It has killed tens of thousands and devastated the economy of Africa's youngest nation.
A similar power-sharing deal in 2015 failed the following year after Machar returned to the capital and disagreements quickly developed, reigniting fighting.
On Friday, government and opposition signed an agreement on security arrangements that followed on from a ceasefire deal last month, but the truce has been frequently violated by both sides.


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Labyrinth of Love - for February Mini Retreat
When we talk about love
It's usually about another
A wife, husband, sister or brother
A son, daughter, father or mother
What is this thing called love
It is a mystery
It is the truth
In it's real form
It is quite aloof
It is the vast ocean
The never-ending sky
It's the heart of creation
No need to wonder why
It is the forest and the trees
It is the hive and the bees
It is greed
It is grace
It is the sun shining on your face
Love is the glue
Thats binds us together
Accessible to all
Connected forever
It can be found deep within us
Go in… do not distrust
Believe it… you absolutely must
It all begins with you loving you
There is nothing more to do
Plunge into the ocean
And let love drown you
Soar through the sky
Let love surround you
Dance in the meadow
Swing through the trees
Feel it…
The invisible breeze
Loving yourself is the key
To unlocking your soul
So make this your no 1 goal
Welcome love in…
Fill your cup to the brim
When it spills over the edge
Let it flow to another…
Wife, husband, sister or brother
Son, daughter, father or mother
Friend or foe, just let it go…
Let it devour you
Feed it with passion
It will empower you
And breed true compassion
The invisible breeze
Guiding you home
In the Labyrinth of Love
You are never alone
New Beginnings - for January Mini Retreat
Everyday is a new beginning
A brand new, fresh start
It's not a case of binning..
The year before.. the day before..
Tuck away, store the lessons in your heart
True to say, yesterday is history
Tomorrow.. an unfolded mystery
Create the life you want to lead
Visualise the future your soul needs
Trust yourself to the water
Don't always do what you oughta
Burn with grace that which serves you no longer
Instantly making you feel stronger
Feel the flames light your face
Embrace the newly created space
Set your intentions, let them fly
Have no doubt or fear
The way will become clear
Put solid steps in place
Attend to each of these in turn
Trust in your heart and your soul will learn
Ground & Grow - for March Mini Retreat
Spring is a time
To set the seeds to sow
To ground and to grow
Clear the snow!
Sprinkle the seedlings
With water from your soul
Nurturing the journey towards your goal
Ignite your dreams
From the fire in your heart
Believe in yourself
You are a work of art...
A part of creation
A perfect illumination
Use this Wild Soul restoration
Time out of mind
Feel yourself gently unwind
From here... find your true spirit
Your pure, essential nature
For here is the power...
The blooming flower
Ground your intentions
Feed your desire
Cast your attachments into the fire
Carry the flame home with you today
It will light the way
Gong Bath Poem - for April Mini Retreat
This months poem nearly wasn't meant to be
I realised this when my Mac crashed on me
Oh well... a lesson learned about I.T
From this day on, me thinks...
I'll write my poems down in ink!
So, from the well today...
I have some thoughts to light the way
After your calming yoga restoration
Feel the deep relaxation
Sense of peace and transformation
Guiding and nourishing your path
Gently leading you into Gong bath
As you feel renewed & restored
With your thoughts abandoned at the door
Allow your body to merge with the floor
It's time for sound to lead you astray
For your body to rest & your soul to play
Be your very nature, awaken your grace
Let go of all muscles, those tiny ones in your face
Be fully unbound, bathe in the sounds
Completely surrender, become spellbound
Open your heart, breathe in the vibration
Listen intently to your souls interpretation
I'll drum a little, but not for long
As Allison is ready & waiting with her gong!
And I think the kettle is on.. @olbols
Thoughts are fine when you don't confine them with who you are, and then thoughts are not a problem. Thinking is a wonderful tool to create things in this world. It only becomes problematic and a source of suffering when you confuse thinking with who you are


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Results 1 to 24 of 84
Tankard, Dover Commodore Cup trophy. Silver. Possibly Germany and import to England, late 19th century.
With contrast marks.
Container with a handle and a hinged lid with a cylindrical body known as a "tankard" that has an abundant and delicate decoration on the outside. The circular and openwork legs have plant elements. The body of the piece shows a strip with teardrop shapes facing each other with symmetrical plant motifs; another much wider with a figurative theme (half-naked male figures hunting a wild boar with the help of dogs, an archer pointing at a fleeing deer, another deer harassed by dogs, two female figures appear, trees, etc.); and a finer one with a vegetal composition and an inscription divided into three areas ("RCPYC / Vc COMMODORES CUP", "WON BY / BRYNHILD", "DOVER / JULY 20 1900"); each of the areas is separated with a fine relief cord. The cover features an elaborate decoration of figures on a band with facing teardrop shapes: birds with their wings spread out on scrolls and plant shapes, a hunting Diana accompanied by a dog, and a lion and a smooth shield with plant elements in the area of the hinge. The handle has a vegetal composition flanked by laces in the front and smooth mirrors framed by smooth moldings on the sides, in addition to vegetal elements at the end of it.
The contrast marks indicate that it is, surely, a piece imported from England (letter F) in .925 sterling silver (lion) made or brought before 1900 (letter A would indicate the year 1896) and related to the city of london (leopard without crown). The remaining punch could refer to Berthold Muller, whose trademark was registered in 1897 and is usually seen on English imported pieces. It is possible to find similar pieces in some private collection that, without being trophies, show Neresheimer punches, in Hanau (Germany) and in the late 19th century.
The Dover Regatta has been held since 1826, organized by the community for the community and with several other organizations involved in it. On May 6, 1872, a Royal Order gave permission to form the Royal Cinque Ports Yacht Club (RCPYC) in Dover, conducting its first race on June 19, 1875 and with a strong relationship with members of the English Royal Family since the Initially (Prince Arthur, later Duke of Connaught, was the first "Commodore"; the Prince of Wales, later King Edward VII, often participated in the early days; Queen Victoria frequently gave trophies, etc.). The RCPYC would participate in the Dover Regatta on a regular basis towards the end of the 19th century, a time when this race already attracted thousands of visitors (national and foreign) and in which English, French, Belgian, etc. boats participated. The yacht built by Camper and Nicholson in 1898, designed by Charles E. Nicholson, was commissioned by Major Selwin Calvery and baptized Brynhild, participating in numerous races around the beginning of the 20th century (he won the King's Cup in 1902 ...); after navigating under the name Changrilla and a series of changes and restorations, it currently continues to operate under the name "Black Swan", mainly in the Mediterranean. Weight: 2875 gr."
· Size: 26x24x49 cms
Ref.: ZF0349
Show detail
Set of four saucers Jorge III. Silver. Henry Chawner (act. 1786-1796), 1790.
Each of them has an oval base, with fine moldings that are repeated both on the edge of the sauce boat, visually extending through the curved line of the two handles, and on the top of the lid, in the form of a vase. Just more decorative elements are presented in the pieces, apart from those already mentioned and of a series of elements engraved on the covers (bull heads with neck) and on the front of the saucers. In this area there is a Latin motto ("Fide et amore", "fidelity and love") under a heraldic shield in each one (three bull heads, two above and one below, separated with a cabrio; two rampant lions flanking a diagonal band in the escusón of the same). The lines and elegance of the pieces are the usual ones of the Jorge III style.
The heraldry is very reminiscent of that of the Bolena, Bullen or Boleyn family, descendant of Ana Bolena. The motto would refer to a game commissioned on the occasion of a wedding. In the year 1790, William Bullen and Mary Collins married on the Irish branch of the family, although it is not the only event of that year (Henry Bullen and Margaret Tarrent in the Diocese of Cloyne ...).
Contrast marks provide numerous pieces data. The passing lion places the realization in London, while the two initials refer to Henry Chawner; the lowercase letter gives the exact year; The leopard head certifies the quality of the material. The silverware, still in operation, called Edward Barnard & Sons Ltd. has a series of predecessors: it was founded by Anthony Nelme around 1680, and, after a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of successor of the family that at that time was running the business (Eduard Barnard I) and who continued with the business. He was active between 1786 and 1796, and the last name of this teacher remained linked to the firm until the end of the 18th century in several of his relatives. His works are currently preserved in private English and American collections, mainly, but also in prominent institutions such as the George Washington's Mount Vernon Museum (Virginia, United States), which has an inkwell by Henry Chawner of George Washington, the Scoteney Castle of Kent, the Victoria & Albert of London, the Portland Art Museum, etc. Weight: 2110 grams."
· Size: 14x10x23 cms.
Ref.: Z6774
Show detail
Silver notary Vicente Roces, Zaragoza, around 1760.
With contrast marks and initials of membership in the base.
The base tray has a square shape with mixtilinear profiles and rests on legs with vegetal motifs. The four containers present helical gallonized feet, and pearl flower finials on the covers. A candlestick emerges another container, higher than the others and fixed to the tray, with a curved arm finished in a scroll, and is joined by a hinge to it. The bell, also with helical gallons, is topped by a figure of a soldier.
The pen has holes in the cover for the pens, and has the same size as another of the containers, which probably was the inkwell. Two others, slightly larger, also do not have a leaky lid, which could have been used for the drying sand and therefore called grit. The bell, used to call the service, secretary, etc., is based on another jarrillo, similar to the rest but much higher, from whose upper part stands the candlestick. Stylistically, the cleaning of the lines shows a very slight influence of the Neoclassicism, while the helical gallons, the movement of the profiles of the containers, and the typology of the tray (denominated "of contours" and very popular in the silverware of this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silversmith center of Aragon, with an abundance of preserved and many marked pieces, allowing a detailed study.
The contrast marks ensure the quality of the material and allow us to locate the fabrication and the author of the work. Those of locality, in the arm of the candlestick, locate the work in Zaragoza, and date it as made between 1760 and 1770. Those of artificer, also there and another one in the base, allude to the silversmith Vicente Roces, known for his fines works of taste Rococo as the Reliquary of San Francisco Javier of last quarter of the eighteenth century in the Church of Santa Maria de Sangüesa (Navarra) and some other private collections of importance. Weight: 1.525 gr."
· Size: 18x23x25 cms.
Ref.: Z6304
Show detail
Clerkship. Córdoba, Antonio José de Santa Cruz (Córdoba, 1733 -) and Juan de Luque y Leiva, 1773.
With contrast and chisel marks.
It has some fault in some container and a bell is added.
Silver notary composed of tray, four containers and bell. The first element, of oval shape, presents edges with smooth curves and countercurves, decorated in the upper part with flat moldings, combined with volutes and aveneradas forms; stands on legs composed of two volutes flanking a tear, set topped by a symmetrical composition. The four containers, with a lid, present profiles with soft curves (among which engraved initials can be seen), which are directed towards the upper part following parallel spirals between each other, lines that extend into the caps, finished off. Two of them, smaller, have holes in the lids. The bell to summon the service, which has a space for itself in the tray, presents a much simpler lines.
Contrast markings arranged at various points in the game provide data regarding their date, origin and place of creation. They would be made in Córdoba. Antonio José de Santa Cruz was a silversmith known for his work in Córdoba, active in the second half of the eighteenth century mainly; his works are preserved in some churches and in outstanding institutions such as the National Museum of Decorative Arts of Madrid. Juan de Luque y Leiva was a reputed Cordovan marker, active towards the same time, with work preserved in the area (Parish of San Miguel de Córdoba, a portavinajera with vinajeras in Loja of 1778, works in the Museum of the Costume of Madrid, etc. .).
Stylistically, the lines of the whole (except those of the bell), show the belonging to the Rococo, with the usual influence of certain details of Neoclassicism, which affect the relative simplification of the decoration of the pieces, still maintaining something of the movement of the other artistic style mentioned, which is also characteristic of the eighteenth century. Weight: 1490 grams."
· Size: 26x30x15 cms.
Ref.: Z6810
Show detail
Writing with clock. With contrast marks. France, 19th century
Scribe enhanced by a slightly elevated base through pieces decorated with stems and scrolls with motifs that show Rococo influence. The front of this lower area, gently curved on the fronts and the sides, shows human masks and mirrors with plant motifs, as well as a few shapes in the central part, raised to highlight the clock. This one has a white dial with Roman numerals and for the hours and lines for the minutes, and it is shown enhanced with a band of pearls in front and a winged mask in relief on the back, in addition to a vase finish that is based on the bell, topped by a half-naked lady who holds a tambourine on something. The inkwell and the sandbox, located on the sides of the base, have a vase shape similar to that of the bell, but less decorated (engravings of scallops, bands, plain shields ...), and their covers are topped by two figures human (a lady holding a bird of prey high, and a gentleman, dressed "in the manner of the Renaissance").
Both the decoration of the piece, of great quality and detail, as the curves and countercurves it presents, are a good example of the influence of several artistic styles of different centuries, something common in nineteenth-century silverware throughout Europe. The bell figure reminds of classical Greek sculptures of Venus whose influence is common in neoclassicist art, smooth mirrors and bands that enhance them can be seen in Renaissance examples, the movement that provides curves and countercurves and the shapes they remember to rockery can be related to Rococo.
The decorative details of the piece and its compositional lines are reminiscent of a copy preserved in a private French collection, from the Napoleon III era and made by Emile Hugo, a French silversmith active in Paris in the second half of the 19th century
Weight: 2975 gr"
· Size: 39x27x43 cms.
Ref.: ZF0220
Show detail
Writing in turned silver, cast and chiselled, Madrid, eighteenth century (1779).
Contrast marks on the edge of the tray, on its bottom. Property mark "AL".
A tray of curved profiles is supported on four legs in the shape of plant elements. Fixed to it are the four containers that make up the desk. These, and the bell, present a magnificent decoration based on flat gallons turned on its body, base and lid.
It consists of a tray, sandbox or sandbox (to dry the ink) with bell (call the servant or the person responsible for carrying the message or written message) and three inkwells or dusters with a lid, all of which are attached by means of through screws. The profiles of the tray correspond to works of the period and style Carlos III, while the jars show part of the movement that characterized the Rococo, introducing the cleaning of lines characteristic of Neoclassicism.
In the second half of the eighteenth century, with the accession of Carlos III, Italian influences arrived at silverware once masters of this country had settled down, either as silversmiths or, in many cases, also as broncists. At the end of the century there is also an abandonment of the Rococo forms in favor of the Neoclassical style, whose particularities are appreciated in this office. These gilded forms come from decorations based on the ancient Roman art on which this second artistic style was based, as do the plant elements. Madrid would set the standard in art for being the capital of the kingdom, and the continuous movement of pieces and the relative ease in the communications and transmissions of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Also, it is necessary to emphasize the great paper in the improvement of the quality of the designs of the silverware that had the foundation of the School-Workshop by Antonio Martinez in 1778.
Presents locality brand, Madrid Court and Villa 1779, and architect.
Weight: 1850 gr."
· Size: 31x25Xx14 cms.
Ref.: Z6413
Show detail
German silver cup. XIX century
It is entirely made of silver, and decorated with relief motifs, round bulk, engravings and chisels. It is directly inspired by similar pieces made in sixteenth-century Germany, in full mannerism. This is due to the importance that Germanic silverware had in that century; German and Central European architects in general will create for the collector cabinets delicious pieces designed to be displayed and not used, the greatest example of virtuosity and ornamental wealth of mannerist silverware. One of the most recognizable typologies of German mannerist silverware will be this type of tall glass, with a cylindrical container with a differentiated sub-cup and a large lid. They are functional or ornamental glasses, depending on the richness and abundance of their decoration. This decorative profusion, combining all kinds of motifs, is key in mannerist silverware, and went so far as to replace parts of the structure with decorative motifs, as we see here in the shaft, made up of a vase, and the knob, with the round bulged figure of a young classical warrior.
The main reason for this design are the embossed gallons, which take the form of oval recesses and are separated by ramrods with parallel transverse lines. We see them in the sub-cup, the mouthpiece and the lid, although they also appear on the foot, although simplified, without pockets or rods. The piece stands on a circular foot with a flat and smooth base, with two lavishly decorated domed steps: gallons above and interlocking braces, with classic flowers and figureheads below, typical motifs of the Mannerist ornamental background. The shaft, as we have mentioned, takes the form of a balustraded vase adorned with large rib-like braces, topped by bird heads. The container has a cylindrical shape, with a large relief cup, adorned with hermes in relief, again a typical motif of Mannerist silverware. The upper part, under the mouth, also goes outwards, although its decoration of gallons is simple enough not to overshadow the delicate and meticulous engraving and embossing of the central area. In it we see two oval cartels that house the representations of two gods from classical mythology: Bacchus, serving wine in a glass against a background of landscape with houses, and Mercury, running in a wooded landscape. Between both gussets are classic masks of great ornamental richness. Finally, the lid is domed, with a curled perimeter and a stepped structure. The pommel is sculptural and represents a young classical warrior, perhaps the god Mars.
Weight: 1742 gr. (It has a counterweight at the base)"
· Size: 10x10x33 cms.
Ref.: Z5957
Show detail
Silver salvilla "contours". Blas de Amate, Seville, mid 18th century.
With contrast marks on the edge.
Circular type tray with four legs decorated with scallops, plant motifs and cartridges, and raised edge, decorated with cornered conopial motifs separated from each other by a plant element. The center is smooth, with the initials P and S entwined engraved in the center.
This type of profile is called "contours", and was the most used in salverlas throughout the Rococo since the mid-eighteenth century. However, the decoration of the piece responds more to models related to Neoclassicism, coexistence of trends that were common at the time and more in the area of origin of the salvilla. At the beginning of the 18th century, Sevillian silverware would continue to maintain its primacy, but it would be surpassed by the Cordoba (although it still maintained a large number of artisans and very good quality in many of them).
The contrast marks perfectly place us in the realization of the work: the one on the left (animal, possibly a pig) and the third one starting on the left belong to those of the faithful contrast Nicolás De Cárdenas (who directed the work of checking the quality of the material in these pieces of the Seville office since 1756 and for about thirty years); the one on the right is the locality brand (Seville); the second belongs to Blas de Amate, one of the main Sevillian silversmiths of the mid-18th century.
It is necessary to highlight the elegance of the piece and its quality. For this reason, similar works of art can be seen only in important private collections and in prominent institutions such as the Lázaro Galdiano Museum (Madrid), and, above all, in religious centers of ancient tradition (Diocesan Museum of Huesca, Sevillian parishes, etc. .). Unfortunately, Blas de Amate has not reached many works: for example, the National Archaeological Museum has a sponge made between 1740 and 1750 (inventory 2007/27/2); the Sacramental Brotherhood of San Isidoro of Seville a sacramental banner with the embossed silver pole, made by him; a mancerina between 1730 and 1740 bears her contrast marks (Monastery of Santa María del Valle, Zafra).
Weight 1870 gr"
· Size: 43x43x6 cms.
Ref.: Z6478
Show detail
Gothic silver processional cross, 16th century.
With locality marks (Cervera).
Magnificent Gothic cross made of chiseled silver from those used in processions. Of Latin type, it presents the straight arms with flordelised terminations preceded by quadrilobed medallions and reliefs, and is separated from the shaft by an architectural temple with buttresses, columns and pinnacles and a band of openwork elements. The foot, polygonal, is topped by a knot and some scrolls, and its fronts are engraved with vegetal and geometric elements. The cresting is an element that did not appear before the fifteenth century.
On one of the faces there is a crucifix of three nails in the center of the cross, flanked by several figures. Above, a pelican feeds its young with its blood (according to numerous medieval bestiaries and texts of, for example, Saint Thomas of Aquino or Saint Isidore of Seville, was what they did, symbolizing with it the Passion of Christ and the Eucharist). On the sides, the Virgin and Saint John, referring to the theme of Deesis, iconography closely related to the Last Judgment in which Mary and the Apostle, who appears on the eagle that is her emblem, act as intercessors of Humanity. Below, a lamb introduces the figure of Agnus Dei, with which Jesus Christ is referred to as a victim of sacrifice for sins.
On the other side the Virgin appears crowned with the Child in the center of the cross. The remaining Apostles with their respective Tetramorph emblems have been placed on the lateral and lower crossbars: the winged man under Matthew, below the lion with Mark, and the bull with Luke. In the architectural knot there are a series of figures of saints among which San Lorenzo can be identified.
This typology of processional cross is common in Gothic Spain. Other similar examples are the crosses of the Victorian Albert Museum, the Museum of Art Ohio, the Monastery of Llivia, San Martin de Sarroca, or the crosses of the Episcopal Museum of VIc.
The locality contrast marks located in different areas (7 brands) in the nimbus of San Marcos and in the panel behind the Virgin among others, place the creation of the work in Cervera, Barcelona, as well as the aforementioned Cruz de Montblanc , published in "Gothic silverware in Tarragona and province" pag. 95 fig 52, also marked in Cervera and of practically identical typology.
Hexagonal cannon probably later.
Possible repairs to the trough."
· Size: 14x40X104 cms.(Con soporte altura 174 cms.)
Ref.: Z6303
Show detail
Processional cross GOLD PLATED SILVER. Barbastro (Aragón), Spain, sixteenth century.
With marks of contrast and of burilada (foot, surroundings of the Christ).
Processional cross of Latin type made in gilt silver, with foot formed by a cylindrical barrel that increases in width towards the end and has been decorated with floral elements within rhombic spaces, almost spherical apple with male busts in relief (possibly the four Evangelists) and vegetal elements in composition similar to the aforementioned, and molded upper body enhanced with fine vegetable stems that transform into monsters "of round shape". The cross has a cresting on its outline of plant elements, masks (just in the enlargements enhanced by an oval molding with corners) and plant and architectural compositions of classicist influence with winged angel heads (at the quadrifoliate ends of the same, enhanced with moldings and vegetable details). In the other areas of the two main fronts of the same, there is a decoration of oval mirrors with frames of smooth bands and curled volutes; the sides are smooth. On one of the fronts of the piece, is the figure of Christ Crucified (three nails, cloth of short purity, fallen head); in the other, and on a triangular base set with clear gothic memory, stands the Virgin Mary crowned, with the Baby Jesus in her arms.
It is necessary to indicate the survival in this piece of some details of the Spanish Gothic silverware (cresting, which appears around the XV century-, cross finials flordelisados -or similar forms-, widening in the arms of the cross, etc.) , together with elements that already respond to Renaissance influences (shape and decoration of the foot and the apple, elements in light relief around the Crucifix, winged angel heads, figureheads, etc.).
It is also possible to compare it with processional crosses such as the Buerba from the Diocesan Museum of Barbastro-Monzón (from the 16th century, with a striking repertoire of late Renaissance elements and certain similarities with the present); some conserved in the Diocesan Museum of Barbastro (the one of Trillo of century XV, for example); that of Bagüés de Zaragoza of the sixteenth century from the Diocesan Museum of Jaca; the one made in Burgos around 1550 that is today in the Los Angeles County Museum of Arts (United States); etc. Weight: 2200 gr."
· Size: 36x13x73 cms.
Ref.: Z6463
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Processional cross Silver. Towards the middle of the 17th century.
Processional cross made of silver in its color, of Latin typology. Arms topped in shapes that recall the traditional trilóbbles in these pieces of Gothic era, finished in silver pearls (finish that also appears in the center of the piece), with a similar shape at the beginning of the arms but smaller. It has a series of small elements slightly remembering a crest, and has been decorated with architectural elements, avenerados motifs and oval and rectangular mirrors engraved with very delicate scrolls and curves. In the center a medallion is shown on each side of the cross: a saint carrying a book and a bouquet, on a natural landscape with a tree and a building in the background (surely Santo Domingo de Guzmán, for the Macoya shield); Virgin with Child sitting, surrounded by a beam of rays. The macoya presents an architectural structure (cylindrical body topped in semi-sphere with moldings, on another relatively complex shape in its lines) and a decoration of smooth pieces in relief with engraved elements similar to those of the cross; Two heraldic shields stand out in this area (on the same side as the saint's medallion, the shield of the Dominican order is surmounted by a crown; on the side of Mary, Castile's shield under a similar crown). The cross ends in a corrugated tubular piece.
Stylistically, this piece recalls outstanding examples such as the processional cross of Andrés de Campos Guevara dated in 1630 (Museum of the Ways of Astorga, León) in certain details such as composition and general proportions and certain decorative elements; or the processional cross of Aldealseñor (Soria); or the one known as the 17th-century Santa Fe Processional Cross of the Cathedral of Granada; or the one dated in 1626 and which, like this one, follows the usual typology of the first half of the 17th century in general, of the Church of San Martín de Alauza (Navarra). Compare also, to appreciate the differences, with the processional cross of the last third of the seventeenth century of the convent of Madres Clarisas de Villacastín."
· Size: 16x40x95 cms.
Ref.: ZE160
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Altar auction. Silver embossed in its color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century.
With contrast marks.
Altar made of silver embossed in its color on a wooden soul that has seven oval-shaped mirrors and profiles cut in curves and countercurves. The upper part has a canopy imitating textiles from which a series of small bells hang and a dove with wings extended, located in front of a winged shape and a cloud with winged angel heads. Approximately the three upper quarters of the work show a decoration in slight relief with solar rays, scrolls, rockery, oval mirrors, circular tears resembling rain, flowers, leaves, a bouquet of spikes next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part has no reliefs but two mirrors.
These types of liturgical goldsmith works were relatively frequent in churches, cathedrals, etc. with important purchasing power and influence, although many of those made are not preserved because it is a valuable material that can be melted and subject to looting at certain times. Let us mention, highlighting the differences, the Silver Altar of the Cathedral of Seville (XVI-XVII centuries, several silversmiths), the whole of the main chapel of the Cathedral of Santiago de Compostela (XVII century), the Manifestador-Sagrario de la Catedral of Valencia of the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work by José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed before the Main Altarpiece of the Cathedral, and has a canopy and bells pinjantes), exhibitor for the Blessed Silver and its color dated in the eighteenth century and is located in the Museum of the Cathedral of Segovia, etc.
The presence of the Holy Spirit (dove) and the cluster of ears of wheat and the vine with the bunch of grapes would link the piece with the Eucharist, being possible that it is a fragment of an altar (permanent or not) of a custody. Stylistically, it is clear the belonging of the work to a Rococo already somewhat advanced.
The contrast marks present in several points of the silver place the creation of the auction in Vitoria (Spain), also providing an approximate date (towards the 60s of the 18th century) and the names of two silver masters: Juan Antonio Sotil or de Sotil (possibly the faithful contrast) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also exercised as a faithful contrast of the city (the City Council appointed him in 1751 as an appraiser of diamonds and precious stones, and in 1769 contrast of the city, a position he held until 1779, when he resigned and was appointed Mauricio Llorente). Outstanding institutions such as the Sacred Art Museum of Vitoria (Reliquary of Saint Lucia of the Hermitage of Saint Lucia of Vitoria, 18th century) retain their works. José Llorente was another achievement silversmith. He passed his masters exam in Burgos, and is documented between 1760 and 1799. The Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc., are preserved with their punch."
· Size: 52x26x122 cms.
Ref.: ZE153
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Catavinos of the town hall of Becerril de Campos, 1806.
With legend at the base ("Catavino del Ilustrísimo Cabildo de Becerril de Campos with Real Privilege year 1806").
Published in: Fernández, Alejandro et alt. Encyclopedia of Spanish and American Viceroyalty silver, Torreangulo Graphic Art, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical news of his most illustrious children. Bulletin of the Tello Tellez de Meneses Institution, 9, 1952. Page 149.
Smooth glass with legend on the outer edge attached to a bowl with convex seat decorated with embossed gallons, ovals and engraved crosses and bead lines arranged around a central circle that has been left smooth. Because of its shape, it is closer to the Catadels of the Bordeaux type than those of the Burgundian type (the most common), and its shape seems to have been characteristic in Castile in the 17th century; It has not changed since then, maintaining its use and manufacturing.
According to experts, these types of pieces were called "cups" until the nineteenth century, and we are not entirely sure that their use was utilitarian, with certain studies leaning towards a mainly decorative function. This would be the reason why, despite being a piece made in a secondary manufacturing center such as that municipality of Palencia, it presents decoration throughout its surface, in addition to the written legend.
Gallon motifs, like oval shapes, are geometric decorations widely used in this type of pieces, especially since the Renaissance and for the inspiration of this artistic style in Roman antiquity. In the nineteenth century this inspiration in classicism returned to art, by the hand of Neoclassicism. Despite the simplicity of the elements, there is a clear attempt by the artist to organize them harmoniously to give beauty to the piece. Both the material and the decorative excess (to come from a local center) support the theory, already mentioned, that the Catavinos would have more representation than normal use, being used in certain celebrations or events in which the council had A prominent role.
In Anselmo Redondo's study this catavin is mentioned. It is very rare to keep examples of civil silverware, as their owners used to sell objects with the intention of buying new ones, either better or made in another more modern artistic style, or for economic needs. Thus, the most common is to find religious silverware, which is the same as civil or varying only in its decorative elements. In addition, civil pieces used to be delivered to churches, convents, etc. as donations from individuals. However, it is worth highlighting the extraordinary nature of this catavin: first, for its material; second, by its typology; third, because its registration makes it easy to locate its origin and its date. Catavinos with similar characteristics are presently present at the Lázaro Galdiano Foundation in Madrid.
Weight: 315 gr"
· Size: 19x19x6 cms.
Ref.: Z6226
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Pitcher. Silver. Mateo Martínez Moreno and possibly Juan de Luque and Ramírez. Cordoba, late 18th century.
With contrast marks.
Silver jug in its color with circular base attached to the body by means of smooth moldings that create elevations in tune with the globular shape of the piece. It has a curved beak topped by a pearl and with two moldings in the center (repeated decoration on the edge of the piece), and a curved and countercurved handle with volute finishes and simple plant elements. The lid has smooth moldings, a flower finish and a piece to lift it.
As for the contrast marks, located at the base of the jar, they indicate that it is a piece made in Córdoba, with contrast punches Mateo Martínez Moreno and, according to experts, Juan de Luque and Ramírez. Mateo Martínez Moreno would begin his career as a master silversmith in 1767, and died in 1804 (exercising as a faithful contrast from 1780 to 1792, being reelected again in 1792); on his name the date appears in the contrast he uses (decade of the 90s, perhaps 1793). They conserve works linked to the master silversmith (both in his creative work and in control and contrast) important private collections and institutions such as the Museum of Albacete (tray of Antonio Ruiz de León dated in 1789), the Museum of the Costume of Madrid (necklace of jet, glass, coral and silver, made in Córdoba), etc. With the punch associated with Juan de Luque and Ramírez (master silversmith since 1783), a custody of the sun dated in 1793 and preserved in the parish of Santa Cecilia ("The Barefoot") of Ronda and some powers are preserved, among other pieces. dated in 1789 of the Old and Venerable Brotherhood of Our Father Jesus of Nazareno and Our Lady of the Dolores de Ronda (which also includes Martinez's punch with the N and E welded).
In the Spanish silverware of the 18th century, it is the Court of Madrid that sets the tone: although the baroque, rococo and neoclassical tendencies coexist, the first one departs soon (introduces the second one before 1740 or towards this date) and the Neoclassicism towards 1770 (gradually imposing itself from 1780), extending over time to the rest of the peninsular territory. Note the difference between the present example and the most common of the Spanish Neoclassical silverware (such as those prototypes extended with the arrival of the Bourbons by French influence, so different from the Spanish beak jugs), although the influence of this style can be seen in certain details such as the purity of lines, the scarcity of decorative elements in relief, etc. Weight: 1097 gr."
· Size: 20x12x26 cms.
Ref.: ZF0466
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Spice rack. Silver in its color. Toledo, sixteenth century.
Specie or silver salt cellar in its color composed of a tray not very deep polygonal, raised and enhanced by four legs and also has two protomes of animals holding rings (eagles or lions). The legs have a lower scroll finish, which gives way to a vegetal shape and ends, separating them a thin smooth molding, in a humanoid bust with architectural elements.
The decorative elements are reminiscent of other Renaissance pieces preserved in outstanding institutions such as the National Archaeological Museum of Madrid (Processional Cross of Juan Francisco Faraz de Alcalá de Henares, ca. 1560), Church of the Assumption of La Guardia (Toledo), City Hall Collection from Toledo, etc. Likewise, the legs resemble in a certain way those of the open grocer of the Victoria & Albert Museum in London (dated around 1540 and located, possibly, in Córdoba). The small central tray has been left smooth, in glossy finish, with the aim of enhancing the lines of the same and the decoration of legs and protomes that it presents.
As for the shape, note that the open spiders on triangular base slightly raised by three legs were a common element in Europe in general during the sixteenth century, finding examples in the Victoria & Albert Museum, the British Museum in London, etc. However, the polygonal do not seem to have been so frequent. Weight: 325 grams."
· Size: 15x11x7 cms.
Ref.: ZF0309
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Jug. Silver. Contrast Mateo Martínez Moreno. Córdoba, late 18th century.
With contrast and derisive marks.
Silver jug in its color with oval base formed by several different moldings and convex body in its lower and concave upper area, with a series of lines extended from the base and that continue in the lid, topped in a flower. The pronounced beak has a smooth finish. The handle, in the form of "ce" with lower end, has scrolls and simplified plant shapes. Typologically, the jar follows common shapes and decoration in Spanish neoclassical silverware.
The contrast marks of the body place the piece in the Cordoba school (frunch punch) and link it with the Mateo Martínez Moreno counter; that of the base is frustrated, being able to belong to Juan de Aguilar, Manuel de Aguilar y Guerrero, etc .; Note that there is another frustra on the lid. A Cordovan silver tray features the contrast punch of Mateo Martínez Moreno (97 / MARTINEZ) that appears here, the rampant lion and, somewhat frustrating, what could be the mark of the silversmith Antonio Ruiz de León el Joven (parish of Our Lady of the Granada of Fuente de Cantos de Badajoz); that same punch appears in one of the pieces of the necklace with medals CE010678 that is in the Museum of the Suit of Madrid. Weight: 930 grams."
· Size: 20x10x25 cms.
Ref.: ZF0600
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Silver Catavinos, sixteenth century.
Catavinos of "cup" type with vegetal motifs inside a six-pointed star in the background and with a cylindrical base decorated with circular geometric borders. Also known as catavinos, this type of drinking glasses were used on special occasions (ceremonies ...), hence their material and the decoration they have, and were very common during the reign of the Habsburgs in Spain. Although they were objects of civil use, it was not strange that they were donated or ordered for use in churches or in liturgical areas.
Both the decoration and the shape of the glass show the origin of the same artistic core away from the main silversmith centers. The first, moreover, links more with Gothic art than with the Renaissance, which by this time had already made an appearance in the Spanish silver. Compare, for example, with the bernegal with handles in the form of cartons from the Museo del Prado in Madrid (catalog O00085) of the late sixteenth century, which presents the upper part carved in concave double gallons and shows vegetable prints and fruits in festoons and tapes This difference does not detract from the work, quite the contrary: it shows the attachment to the designs of simple lines and Gothic vegetal and geometric decorations that were found in the centers far from the creative capitals, whose influence can be appreciated, even in works of the Baroque.
Similar examples can be found in very few private collections and only in some important museums. For example, similar bernegales from the 16th century are preserved in the Valencia de Don Juan Foundation (Madrid), and those of the 17th century are more abundant, as shown by those of the Lázaro Galdiano Museum (inventory 3910 and 3916)."
· Size: 16x16x4 cms.
Ref.: Z6296
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Jug. Silver. Madrid, 1790.
With contrast marks.
Silver jug in its color that features an oval base with staggering based on smooth moldings; smooth tear-shaped body, with a somewhat pronounced beak and enhanced with engraved lines; hinged lid and decorated with line and plant element to lift this part; The handle, in the form of "ce" with a scroll in the lower area or "uneven" that, has a series of lines and an element in the upper part with Rococo memory.
Contrast marks are found on the lid and three on the base. Those of Villa and Corte de Madrid place the realization of the piece in the capital and in the year 1790 or 1791. A mancerina is known in private collection with this same variation in the years of the date (cut with 91 and villa with the 90).
Stylistically, the jar shows a clear neoclassical influence along with that mentioned detail found in Madrid pieces closer to the Rococo. In 18th-century Spain, it was the capital that marked the pattern in silverware: the baroque, rococo and neoclassical styles coexist, but the first trend is soon abandoned, replaced by the second one that is introduced around 1740, with the Neoclassicism appearing approximately in 1770 and gradually imposed since 1780. Weight: 930 grams."
· Size: 17x10x23 cms
Ref.: ZF0599
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Bernegal Silver. Peru, 17th century.
Trembling or catavinos made of silver in its color, handles in the form of "that" (or "ce" with lower end) with scrolls and masks, and the rest of the piece smooth. Bernegales and scrapiers were more common typologies in 17th-century Spanish silverware (although in the 18th century they were still popular, especially in centers away from the main creative nuclei). In the case of this piece it is the handles that could indicate an American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this piece with works such as Antonio Sánchez's scrapie, dated between 1655 and 1689 of the Convento de Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 270 gr."
· Size: 19.5x14x8 cms.
Ref.: ZF0553
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Crown. Silver in its color. Century XVIII.
Royal crown closed with a glow made of silver in its color. A smooth hoop for the most part (except for a fine line with simple plant elements) supports the basket decorated with undulations (alternating luster finish with other polished ones) and a composition starring a series of "ces" fronted surrounding a each couple flower, a motif surrounded by rockery compositions; the wide bands of the clasp (decorated with four-petal flowers and combining a smooth finish with a luster finish) end in a four-leaf or leaf-shaped finish and consists of a smooth molding, a sphere and a Greek cross with decorated arms vegetable and spikes at the junction of the crossbars. The blast or glow alternates smooth rays topped with seven-pointed stars with shorter wavy "sun" rays. Inside the base ring, there are two pieces of metal to fix the crown to a sculpture.
These types of crowns are commonly used to enhance a sculpture of the Virgin Mary. Compare, noting similarities and differences, with outstanding pieces such as the one known as the "crown of enamels" of the 18th century from the Royal Archconfraternity of María Santísima de Araceli (Lucena, Córdoba), or with the one made in 1654 by Diego Cervantes Pacheco known as Corona of Our Lady of "El Antigua" in the Cathedral of Granada, for example. Weight: 674 gr."
· Size: Diam. 10.5 boca
Ref.: ZE119
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Salva cordobesa in silver, 1759-1768.
With brands.
Weight: 820 g.
Salva in silver Rococo style, with punches of Cordoba and the score Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised streaks and other simple motifs of a classic type, announcing the change of language towards neoclassicism. However, the dish itself is still distinctly Rococo, with a profile of curved mitering that translates into edges in the eaves.
Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in very trapezoidal frame and surmounted by a fleur-de-lys in three-lobed projection. To this punch Gálvez y Aranda will add since 1768 the chronological mark, so this salvo would be dated between 1759 and 1768.
It is also an especially interesting piece to come from Cordoba, the main center of Spanish silverware of the Rococo period, from whose workshops came religious and profane pieces of high quality, aimed at customers not only local but throughout the Iberian Peninsula, reaching even the Canary Islands and Latin America. The great diffusion of the Cordovan silversmith will take place, in fact, in the last quarter of the 18th century, through the so-called master silversmiths. These characters acted as trade corridors, according to Pérez Grande, visiting the churches and fairs held throughout the country. The activity of these silversmiths was also favored by tax exemptions."
· Size: 32x32x13 cms.
Ref.: Z6259
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Arqueta for the saints silver oils. XVII century.
The silver box has elaborate legs, fixed in the corners of the same, which are a combination of volutes in C, plant elements and a lower end reminiscent of a claw. The rectangular body has a decoration embossed in light relief based on ribbons in ce (or "of tornapuntas in C", as they are also known) faced around a diamond (two pairs on the fronts and one on the sides), it is framed by stepped moldings straight down and not staggered and thinner above. The lid, slightly curved, appears decorated with the same composition of the fronts repeated four times and symmetrically, and has a top knob with two adjacent C volutes and topped by a pearl, and a chain that hangs from an edge and It serves to ensure the closure of the piece. Inside, it has a silver plate with two circular holes, and the legend "OL * M" (possibly the contrast mark of the piece) is engraved on it.
The decoration of the whole work is of clear classicist influence, recalling in certain details Renaissance works. Take a look, for example, with the first-quarter seventeenth-century Castilian foot of the Lázaro Galdiano Museum in Madrid to appreciate a similar composition (note also the differences), which would remain for a long time in the Spanish silver and is already in before the Baroque (as evidenced by the censer of the sixteenth century preserved in the Diocesan Museum of Sacred Art of Álava).
As for its function, this small chest was made, surely, intended to contain the Holy Oils, a function for which both a noble material (silver) and decoration is required according to the importance given to its content. Weight: 470 grams."
· Size: 13x9x9 cms.
Ref.: ZF0047
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Silver pyx, 16th century.
Cylindrical body with engraved and acanthus decoration of braces and acanthos, and top decorated with small crest, conical shape and decoration with the same techniques resembling a fabric cover. It follows the most common typology at the time for this type of pieces, intended to store or transport the Sacred Form.
Weight: 184 gr"
· Size: 10x10x10 cms.
Ref.: Z5726
Show detail
Pair of scrapie or catavinos in silver. 1739. (Along with Ref.z5831)
No contrast marks. With inscription on the front.
Both equal, each one is formed by a circular bowl with smooth mouth and bottom of smaller diameter decorated with two handles in S and an inscription in the outer edge that reads: "I am of the noble conzefo de Santiux of which we presented them our vezino Jul of the Cuevas Zeballos year of 1739 ".
In the Spanish silverware the tendencies of the Baroque were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms are already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these novelties in Madrid, which would spread slowly through the rest of the centers, according to zones and teachers. This survival of the forms of the seventeenth century can be seen in the handles of the scrapie: grotesques with human heads are highlighted by plant motives very moved, abundant decorative contrasts with the clean lines of the rest of the work but it is common in this type of work.
The lack of contrast marks does not allow locating the work or the artist, although it is precisely this that speaks in favor of a secondary silversmith center, where the absence of control of these works was more usual due to the lack of teachers and means to ensure compliance with the marking regulations. Throughout these first two thirds of the 18th century, the monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia compared to the importance of Valladolid and Salamanca was noticeable. in the Cantabrian environment.
The inscription clarifies the purpose of the tembladeras: they were a gift to the Council of Santiurde de Reinosa (Cantabria) of Juan de las Cuevas Ceballos, a native of this town and neighbor of El Puerto de Santa María de Cádiz who, moreover, proved its nobility in 1733 before the Hall of the Hijosdalgo of the Royal Chancery of Valladolid. It treats therefore of two pieces realized for civil use, detail that increases his importance by the shortage of this type of works."
· Size: 15x11x6.5 cms.
Ref.: Z5829
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+Jeanne Takenaka @JeanneTakenaka
Sometimes it's easier to see the hard than the hope.
Have you ever been in a season where all you could see was the hard? When those seasons become prolonged, our energy is drained, our spirits deflate, and our bodies become weary. And our thoughts?
Our thoughts have the power to help us frame our experiences. We'll see them through the lens of hard, or we'll see them through eyes of hope.


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Back to the Groomer Directory index
Rose The Groomer
: low stress groomer in Mandurah and Willagee
Rose The Groomer prides itself on low stress grooming and high quality styles. Currently located in two separate locations including Peekaboo in Mandurah and Doggy Dazzlers in Willagee. If your pooch is in need of some one on one time with a calm and down to earth stylist then you are looking at the right place to go.


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A magical path.
How to get
Available from the Commodore's Bounty Season 1: you will receive a maximum of 3x (free) and 27x (premium) if you collect all of the daily prizes.
See also
Commodore's Bounty, Golden Path, Rainbow Fence, Rainbow Gate
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West Virginia State University Drain-Jordan Library
Collection Development Policy
Government Documents
Revised November 2018
These are the guidelines for acquisition and withdrawal decisions, the allocation of resources, and long-range planning in accordance with the library mission statement of West Virginia State University.
The Drain-Jordan Library has been a selective depository library for the United States Federal Depository Library Program (FDLP) since 1907. Currently the library selects 10.39% of all items offered. (1066 items of 10258) (November 2018).
The Government Documents collection is managed in accordance with the Legal Requirements & Program Regulations of the Federal Depository Library Program (February 2018), and the legal requirements found in Title 44 U.S.C. 1901-1916 (2018).
The Government Documents Collection of the Drain-Jordan Library serves the students and faculty of West Virginia State University and members of the 2nd Congressional District of West Virginia.
Federal depository resources are available and usable for the general public regardless of library affiliation, disability, age, residency, or other customer status. Any member of the general public may use depository resources in all formats at a Federal Depository Library free of charge and without impediments.
Scope of the Collection:
The library selects all formats offered by the federal government: print, electronic, microfiche, and online. The collection is comprised of materials that are required by the FDLP and selections that best complement the current general and reference collections. By 2023, the Drain-Jordan Library is planning on eliminating microfiche and tangible electronic formats (CD/DVD) in order to have a primarily online, electronic, and paper collection.
Material Type:
All government publications are selected in the appropriate available formats considering content, usage, service, and storage. While the library selects all format types, preference is given to online, electronic, and print formats, except where space is a concern (ex. Congressional Records are still received in microfiche, although by 2023 the Congressional Records Collection will be entirely online).
Internet accessible computer workstations are located on the main floor of the library and provide patrons with unimpeded access to electronic resources. Free Wi-Fi is also available in all areas of the library and throughout campus.
All other tangible government document collections comply with accessibility standards set forth by the ADA and the State & Federal Accessibility Guidelines and Laws for Education (2017).
Withdrawal and Deselection:
Collection Evaluation:
The Government Documents Librarian will evaluate the collection periodically (at least once a year) for items that can be withdrawn and item numbers than can be deselected. Ideally, a large scale weeding and deselection process will be completed no less than every five years.
Using resources provided by the Government Publishing Office, the Government Documents Librarian will also review the format of currently selected items with the goal of deselecting microfiche and CD/DVDs, and shifting primarily to an electronic and paper print collection by 2023.
Cataloging, Classification, and Location:
Resource Sharing:
Government publications not selected by the library can be acquired through WorldShare Interlibrary Loan. Many current documents unavailable through the library catalog are also available online by searching the Catalog of U.S. Government Publications on FDsys (http://catalog.gpo.gov/). Many older documents can be found online by searching the Hathi Trust.


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Health center on Valley Avenue evacuated Thursday morning following reports of smoke
Author: West Bend Police | Posted in Uncategorized No comments
Feb. 2, 2017 – West Bend, WI – Fire Call – 200 Block of Valley Avenue
On Feb. 2, 2017, at 9:45 a.m., an employee at Aurora Advanced Health Care, 205 Valley Avenue, reported smoke in the ventilation system.
The health center was safely evacuated and the investigation determined that a power surge had occurred in the electrical system causing the smoke. There was no fire in the system or building. The center was closed temporarily for maintenance on the electrical system. There were no injuries associated with the incident.
Photo courtesy Jorge Alberto Landeros Ramirez