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sworldtonki · 2 years

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Front royal va

FRONT ROYAL VA MOVIE

FRONT ROYAL VA FULL

While the battle was an important moment in the Civil War, it was a dark time in our history that continues to bring controversy across the country. The museum has a collection of Confederate memorabilia and Battle of Front Royal weaponry on display. Guided house tours are offered throughout the year, where you can learn more about this family, their life, and the interesting additions they built onto the original house.įurther down the street is the two-story Warren Rifles Confederate Museum. The Balthis family took advantage of the area’s wagon manufacturing business and became successful blacksmiths. The two-story Federal-style wooden townhouse property also has a playhouse/gazebo and Front Royal’s only outdoor kitchen. Built in 1787, the Balthis House, built by two of Front Royal’s founders, is the oldest structure still standing on the oldest Front Royal street. You will come to the Balthis House, just a few houses down. She rented out the home while living in a back building until her death. On the corner of Peyton and Chester Streets was home to Mary Fristoe, who bought the property after inheriting money. In 1888 Belle Boyd gave a detailed recounting of her deplorable Civil War exploits at the chapel. The Williams Chapel is the only remaining antebellum Front Royal Church. Anderton Brown once owned the Samuels Apartments located at 29 Chester Street where he treated wounded Confederate soldiers in his office. Scott, a mortician, operated the first funeral home on Main Street.ĭr. Manly Littleton Garrison, who served the community for 50 years.Īt 14 Chester Street sits the Scott House, where Mr. Then head to 15 Chester Street to the brick home of Dr. You can view a piece of the original Chester Street road along Chester Street and walk by the Mullan-Trout House that belonged to Reverend Trout, a Methodist circuit rider. Take the self-guided walking tour along some of Front Royal’s streets to learn more about the historical sites, some of the more prominent citizens and take in some of the unique architectural designs. Here, you will find many small businesses, restaurants, museums, festivals, and beautiful architecture. Plan on spending some time strolling along the streets of Front Royal’s Historic District. Here you will discover the refurbished 1885 train station, and the visitor center staff can assist you in creating the perfect itinerary for your time in town. Begin your Front Royal visit with a stop at the Front Royal – Warren County Visitor Center. What to do in Front Royal VA Front Royal/Warren County Visitors Center

FRONT ROYAL VA MOVIE

There are plenty of amenities and activities like a pool, playground, mini-golf, horseshoe pits, fishing pond, movie room, and basketball court for the whole family to enjoy.

FRONT ROYAL VA FULL

The tent sites are in a wooded area, ranging from full hook-ups, water/electric hook-ups to no hook-ups at all. Just 3 miles from the Front Royal entrance gate of the Shenandoah National Park, Front Royal RV Campground offers 114 campsites and 20 one and two-room cabins. While here, take advantage of the lovely1.7-mile easy loop of the Traces Nature Trail, and hike the moderately strenuous 5.1-mile loop to the Overall Run Falls. Mathews Arm Campground has an amphitheater, storage lockers, flush toilets, but there are no showers here. Here you can pick up any supplies you may need. For those who need additional supplies, two miles away is the Elkwallow Wayside. Each of the 165 sites has a fire ring and picnic table. Begin each day with a delicious three-course breakfast as you take in the fabulous views.Īs you enter the Shenandoah National Park from the northern entrance at Front Royal, Mathews Arm Campground will be the first campground along your route. The 44-acre property has six guest houses and private cabins with luxurious amenities from which to choose. The Inn at Vaucluse Spring surrounds the limestone spring waterfall and is the perfect romantic getaway vacation. Those who enjoy hiking will want to try their skills out on the Appalachian Trail, only 120 feet from Mountain Home. Choose between staying in one of the three private rooms in the main house or the cabin that sleeps 8. Golfers will enjoy the view of the waterfall of the 18 th hole of the Blue Ridge Shadows Golf Club.įor those looking for a bed and breakfast option, the Mountain Home B&B is highly rated and pet-friendly. The Holiday Inn and Suites is a terrific choice for families since it has an indoor heated pool and exercise room. There are some excellent accommodation choices for that overnight, weekend, or extended stay in Front Royal.

2.11 Go Horseback Riding at Royal Horseshoe Farm.

2.10 Watch a Valley Baseball League Baseball Game.

2.5 Enjoy Boating on the Shenandoah River.

2.4 Journey along the Battle of Front Royal Driving Tour Route.

2.1 Front Royal/Warren County Visitors Center.

#Front royal va

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travelingue · 2 years

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A watery pilgrimage

The structure pictured above is called the "New Gauge" because it was built in 1856.

It stands at the start of the New River, which is even less new and not even a river, as my online guide to the New River Path points out - but rather an "aqueduct, completed in 1613, to bring drinking water from Hertfordshire to North London".

The gauge, I learn, "regulates the maximum water intake from the River Lee to 102 megalitres per day." How was the flow regulated before 1856? I wonder.

Hopefully it will become clear in the next stage of our walk. But within minutes, we find the New River Path closed because of works on the railway line it crosses.

We wander around the Meads, a "unique flood meadow" that has been shared by grazing cows and various forms of aquatic wildlife since medieval times.

But the Meads is not made for hiking – indeed humans are positively discouraged from disturbing its bovine and avian denizens.

We retreat to the banks of the River Lee, where walkers are made welcome.

Eventually we find a perfect spot for a picnic – well, for the £3.50 meal deal we got from Sainsbury's.

Resuming our walk, we reach the town of Ware which, according to a sign, boasts "the largest group of gazebos on a riverside anywhere in Britain".

Most of those structures date from the eighteenth and early nineteenth centuries.

The panel explains, with capitalised gusto: "As the High Street became more noisy and dirty-with the malting wagons jostling with coaches and carts, the Innkeepers and other owners of High Street properties started to build Gazebos at the end of their gardens. These provided a quiet spot for leisure and refreshment away from the noise of the town."

Beyond Ware, the Lea branches off into the Lee.

I turn to Google to clear up the spelling confusion: the River Lea, a major tributary of the Thames, was improved for navigation over the centuries; the Lee Navigation was the name given to the system of canals linked to the Lea from here all the way down to east London.

But wait! I switch to my online guide on my phone: it does say that the New Gauge, 3km upstream, connects the New River to the "River Lee". Another unresolved question.

By now it's mid-afternoon and a "coffee truck" by the Lee Navigation junction offers an inviting choice. As I order refreshments, I can't help remarking on the sound coming out of speakers from the depths of the vehicle.

The genial barista replies: "I just love classical music. There's nothing like it, especially in such surroundings."

Indeed, the melodious piece sounds ideally suited to the bucolic scenery.

"What is it?" I ask. "Some Russian composer. I can't even pronounce his name. Tarkowsky... something like that." "Very sweet." "That's actually the title of the piece: Nutcracker Sweet."

Back at Ware we are able to rejoin the Thames River Path, as the local train station allows us to cross the track. Thus we reach the landmarks we have come to see.

The Broadmead Pumping station (1885, above) was one of many such facilities built to get more from deep wells along the New River, as demand for fresh water soared in London in the nineteenth century.

A few hundred metres upstream is the imposing "Marble Gauge" (below), the original 18th-century device built to control the intake from the Lea. That's one puzzle solved.

Nearby is the "White House", an elegantly dilapidated building that used to contain a sluice gate.

It makes an endearing show of exclusivity: “unauthorised persons”are warned off; above the door a faded sign reads: "Private fishing."

Then we arrive at our main target in this journey of aqueous discovery: Chadwell Spring. This is where it all kicked off – long before the New Gauge, long before the pumping station, long before even the old gauge.

This is the cradle of the New River, the mother of all modern water supply networks.

It doesn't look like much, does it?

This makes it all the more extraordinary that in 1609, a hiker stopped at this very spot and thought: "Mmmm... That water is not stagnant. There must be a spring there. And if I dig a channel that follows the contour line all the way down to London, I can make a lot of money. They're desperate for clean water down there."

Within four years, in 1613, the 62km waterway was completed and the visionary hiker, Hugh Myddelton was a rich man at the head of the world’s first-ever permanent joint-stock company.

We've taken the long way around, but at last we've paid homage to an underrated genius.

For those who want to know more on the history of London's water supply, I strongly recommend Nick Higham's fascinating new book, The Mercenary River.

#new river #london #water supply #river lea #hertfordshire

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hometoursandotherstuff · 3 years

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Two successful brothers and their siblings bought land in the Catskill Mountains of New York and built 5 of these summer homes for their families, around 1885. This is the only one still standing, and Leigh & her husband Mark, bought it, after it hadn’t been occupied for over 20 yrs.

“We wanted it to feel like a house that has been loved for generations, which it is. The first time we had an event, my father was here; he said to me, ‘Leigh, listen. The house is singing.’”

It’s the painted walls that I love. The living room is decorated with wisteria murals.

Guests often gather by the fireplace. In the nook leading upstairs sit an antique harp and a spelter maiden, long detached from the newel post in her former home.

In the dining room, Leigh found the chandeliers online and restrung them economically, herself, with glass beads.

A grape mural is painted over the antique buffet.

The unknown mural artists really outdid themselves in the hall.

Most of the antique furnishings were found online. A stained glass transom window, tiled washstand, and reproduction tapestries furnish this bedroom, called the William Morris Room.

Wherever possible, they still have early clawfoot tubs and marble-topped basins.

At one time, the house was used as a hotel, and that’s when they installed the black & white hex tiles. A friend came over for days, to clean it all with a toothbrush.

As an homage to the Victorian traveler, they call this the Jules Verne Room. It has its own balcony.

Each guest room has it’s own fireplace and this one has a lovely bow window.

The Lotus Room is named for the Chinese influenced antique tables and trunks.

This mural represents The Secret Garden, a favorite book of Leigh’s.

On the exterior, the original stick construction details were carefully repaired.

When they stripped all the layers of paint off the house, they matched the color to the first one.

This wonderful gazebo was still standing on the property.

https://www.oldhouseonline.com/house-tours/ny-mountain-camp

#victorian house renovation #victorian antiques #victorian decor

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rabbitcruiser · 5 years

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Nature in Quebec City (No. 6)

A Royal Promenade

Two million people a year stroll along this boardwalk named for Lord Dufferin, a governor general of Canada who fell madly in love with Québec. For many years this extraordinary site was the exclusive haunt of a privileged few. But after its public inauguration in 1838, the boardwalk was such a hit with Quebecers and tourists alike that it had to be extended twice.

Governors’ Walk

Champlain, the founder of Québec, built his new residence on this site in 1620. His successor, Governor Montmagny, enlarged it and added a boardwalk for his guests. Throughout the French Regime, the boardwalk of the residence called Château Saint-Louis would be open only to a privileged few.

After the conquest of New France in 1760, Château Saint-Louis was the official residence of British governors. The private boardwalk was reserved for the highest dignitaries until it and the residence were razed by fire in 1834. Four years later, the new governor, Durham, had a first public boardwalk built on the ruins.

The little project that could

This first boardwalk—Durham Terrace—was opened in September 1838. The 50-metre-long by 15-metre-wide structure followed the contours of what was once Château Saint-Louis. A wooden railing was installed riverside. The site was an immediate hit, and the dirt surface was soon replaced by planks. It was a place where people gathered, went to be entertained…and came back. So much so that the boardwalk had to be lengthened by 35 metres in 1854. Streetlamps and an iron railing were also added.

A favourite of strollers, Durham Terrace was already boosting tourism in Québec. However, twenty years later, Lord Dufferin had even bigger plans.

Today’s boardwalk

Lord Dufferin arrived in Québec in 1872 to take up the job of governor general. He was immediately smitten with the city and managed to halt the demolition of the fortifications undertaken by municipal engineer Charles Baillairgé and other decision-makers with a view to modernization. However, Dufferin liked Baillairgé’s idea in 1869 to extend Durham Terrace.

The two men spearheaded Durham Terrace’s expansion from 85 to 430 metres in length. The iron railing was kept and made to run the length of the boardwalk. Five green-and-white-roofed gazebos went up along the cape, as well as a music gazebo on the city side. Lord Dufferin would lay the first stone before leaving Canada in 1878. The new boardwalk, renamed Dufferin Terrace in his honour, was officially opened on June 28, 1879. It has not changed since.

A lively spot

A major North American first occurred in 1885—the first electric streetlamps ever to illuminate a public venue were switched on here. In 1898 the statue of Champlain erected at the far end of the boardwalk was unveiled with great pomp. Ten years later the festivities for Québec City’s 300th anniversary kicked off here, as did those for the 400th in 2008.

For years the music gazebo was the site of concerts. Today buskers entertain the crowds in summer while a 250-metre toboggan slide created a century ago delights visitors in winter. There are firework displays and, for the past few years, the remains of Saint-Louis Forts and Châteaux have been visible underfoot. What’s more, people never tire of the spectacular view from Dufferin Terrace.

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naturecoaster · 5 years

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Heritage Day Festival

Walk along the Good Neighbor Trail and enjoy this Free Event & Free Parking. Visit with over 60 artists, crafters, vendors, storytellers and Re-enactors. Enjoy Music in the Gazebo, Chinese Auction Basket raffles and Home baked goods. Breakfast & Lunch food trucks will be available. We will also have Historic Home & Museum Tour Tickets available: Adults $15.00 and Children (age 6-12) $5.00 ONE DAY ONLY - SIX STOPS - INCLUDE: Three Historic Home Tours May-Stringer House Museum 1885 Train Depot Museum One Room Schoolhouse Museum ******** FUN FOR ALL AGES ******** To reserve your tickets NOW - Call Mary at 352-515-3054. Read the full article

#brooksvilleevent #brooksvillehistory #FamilyFriendly #goodneighbortrail #historicalmuseum

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foresthillsirisgardens-blog · 6 years

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Bluebird Haven Iris Garden is a Victorian show garden in the foothills of the Sierra Nevada Mountains of California. An acre of landscaped iris, daffodils, wildflowers, and a variety of shrubs and trees are surrounded by acres of row-cultivated iris. During the bloom season over 100,000 iris will be displaying their vibrant colors. Our garden features a Victorian gazebo, park benches, paths for viewing and selecting your favorite irises, and picnic tables for a leisurely lunch. We have a wide selection of outstanding iris varieties for you to choose from, featuring both antique and moderns.

Bluebird Haven Iris Garden may be reached at

(530) 620-5017

or e-mail [email protected]. Mary Hess said she would welcome anyone, service clubs or individuals, wishing to volunteer to help in her garden.

Printable Order Form-Page 1 (HTML Version)

Printable Order Form-Page 2 (HTML Version)

Catalog Key

Class TB Tall Bearded (greater than 28" tall) MTB Miniature Tall Bearded (small bloom, TB height) BB Border Bearded (15"-28" tall) IB Intermediate Bearded (15"-28" tall) SDB Standard Dwarf Bearded (less than 15" tall) MDB Miniature Dwarf Bearded (less than 8" tall) AB Arilbred, Oncobred, etc. Bloom Time E Early M Medium L Late Re Rebloomer (blooms spring and fall or winter) Color Type Self Iris of a single color Bitone Standards and Falls different shades of the same color Bicolor Standards and Falls of different colors Blend Two or more colors blended together Plicata Stitched, spotted or stippled color on different colored background Halo Falls have a distinct solid rim of a color different from center Description S Standards; the upper blossom petals F Falls; the lower blossom petals B Beard; the clustered hairs on the falls

Mail Order Information

SOMETHING NEW! I now have over 4000 different cultivars in the garden. I did two huge rare iris garden rescues in the last two years. I have been asked to list my entire inventory, whether they are ready to sell or not for tracking purposes. I have about 500 new to me entries going in and I am dropping those I've lost. In doing so, those that I have 5 or fewer of will be listed but no price (NFS- not for sale). Those will not be for sale in 2018. This year's catalog will be very fluid. Garden rescues are always challenging. Names will come and go as the bloom season progresses and I establish what I really have. I am also adding "RARE" to those found in two or fewer commercial gardens in the U.S. They need saving from extinction.With that, we are happy to announce our 2018 catalog! This listing replaces all previous catalogs and price lists. We offer a carefully selected variety of irises for your garden, including a rainbow of different colors, a variety of styles, different heights and bloom times. Please use the order form above for your order and send in as soon as possible to ensure availability of all your selections. Depending on the size of your order, you will receive one or more BONUS selections of our choice (but we love hints) with your order. Minimum order is $10.00.

Terms

All prices are net. CA residents please add 7.25% sales tax. Shipping fees are as follows: There is a minimum $8 shipping and handling fee. Mississippi area please add $2, East Coast add $4. Please include $8 for 1-9 iris, $9 for 10-14 iris, $10 for 15-19 iris, $12 for 20-24 iris. Add $.50 for each iris after that. Payment in full must accompany each order. Your canceled check is notification of receipt and acceptance of your order. Make checks payable to BLUEBIRD HAVEN IRIS GARDEN. Sorry we do not take credit or debit cards or PayPal.

Shipping

We can ship anywhere in the U.S. Since shipping is by USPS, please show a complete delivery address. The main shipping season is July and August. We do not ship outside the US. Order Cutoff Date: No orders will be accepted after August 15.

Substitutions

Supplies of plants are limited to available stock. If we are out of stock on a particular iris, we will substitute a similar colored variety (of equal or greater value) only with your permission. If you have specific irises you wish us to substitute with, please indicate them on your order. PLEASE ORDER EARLY! We try to list iris that we feel can meet all of the year's demand, but sometimes we do fall short. PLEASE list several alternate varieties for substitutions OR give me a hint as to what goal you have in mind for your garden so that I can better serve your needs if you choose to accept substitutes. We also often use your alternate list for our bonus iris.

Guaranteed Plant Quality

Our irises are guaranteed true to variety name. Open your shipment as soon as it arrives. If you cannot plant the rhizomes within a few days, store them upright in a cool, well ventilated place until planting. If you are dissatisfied, we will replace or refund your order if you notify us of a problem within 14 days, and return the iris. We'll pay return shipping. We cannot be responsible for weather or growing conditions in your garden. Planting instructions are included with each order.

2375

AACHEN

Mahoney, J. 1982/83 TB 32 M Self RARE Laced and ruffled light red purple, yellow hafts veined greyed orange; B: yellow orange with 3/4" horns NFS 3938 AACHEN ELF Kennedy, G. 1984/84 MTB 20 M Bicolor RARE S:yellow, F:lavender, edged yellow, B:yellow 5.00 2210

ACCENT

Buss, W. 1952/53 TB 46 M Bicolor S:medium light yellow, F:rose-red, lines at haft on pale yellow ground, B:orange 5.00 1660

ACCLAMATION

Corlew, G. 1978/80 TB 35 M Self RARE Medium yellow with lighter center on falls, B:darker yellow 7.00 2465

ACE OF CLUBS

Hager, B. 1983/84 SDB 10 M Self RARE Yellow self, black signal; B:yellow 5.00 1298 ACROBAT Williamson, B. 1977/80 TB 35 ML Bitone RARE S:medium violet, blended plum brown from midribs, 1/4" plum brown edge, F:silver lilac, 1/4" plum brown edge, B:lemon, tipped white 7.00 3831 ACROPOLIS Berry, S. 1929/29 TB 48 EM Bitone S:mid blue-purple, F:dark blue-purple, B:yellow, tip blue-white SO 618

ACTRESS

Keppel, K. 1975/76 TB 35 EM,Re Self Wisteria violet, Indian orange in throat, B:white base, bright orange tips 6.00 4080 AD ASTRA Babson, S. 1964/67 TB 38 M Halo RARE S:medium yellow, F:white, edged yellow, B:white, tipped yellow NFS 1009 ADAM Craig, T. 1962/62 TB 38 EL Self RARE S:vineyard red, F:same but brighter NFS 1309

ADVENTURE BAY

Plough, G. 1978/79 TB 36 EM Bicolor S:majolica yellow with pink infusion in center, F:dauphin violet with muted brown hafts, 1/4" blended border, B:nasturtium orange 7.00 2600

AFFAIRE

Blyth, B. 1992/93 TB 36 EM Bicolor S:blue-grey, F:greenish mustard, yellow around B, tan wash 8.00 997 AFTER DARK Schreiners 1963/63 TB 44 EM Self RARE Dark violet-blue-black, B:deep red 6.00 3775 AFTERGLOW Sturtevant, G. 1917/17 TB 36 M Self RARE Grayish lavender shading to rich yellow thru center, B:bronzy orange NFS 855

AFTERNOON DELIGHT

Ernst, R. 1983/85 TB 36 M Bicolor S:lightly laced lt golden tan with lav infusion, F:lav with 1/8" golden tan border, gold shoulders, white infusion near yellow B; ruffled 8.00 3956 AGATINE Schreiner, R. 1959/59 TB 34 M Bitone RARE S:copper brown-red, F:mahogany red NFS 2601

AGE OF INNOCENCE

Kerr, F. by Stockton Iris 1994/94 TB 38 M Halo RARE PS:pure white, F:white, edged with sky blue rim, B:yellow, flaring 7.00 2003

ALABAMA BOUND

Foster, F. 1979/79 TB 36 E-M Self Big ruffled white self, lines deep in throat, B:orange; fluted 6.00 2448

ALADDIN'S WISH

Murawska, A. 1943/45 TB 32 E-L Self Blue plicata with brushed cream (gold) radiating through flower like sunrays; strong fragrance, unusual 5.00 3781 ALBERT VICTOR Barr & Sons 1885/85 TB 40 M Self RARE Lavender violet self, blue lav. spear, B:bluish white, orange tips NFS 1651

ALBICANS

Lange, J. collected 1860 SPC 20 E Self RARE Very old antique, white, somewhat fragrant; listed by some as PRINCESS OF WALES 7.00 4355 ALCALDE Babson, S. 1968/68 TB 40 M Self Deep indigo violet self, B:blue NFS 2985 ALCAZAR Vilmorin 1910/10 TB 36 ML Bicolor S:mauve, F:dark purple, bronze and yellow center with veins,B:orange 6.00 2826 ALLEPO PLAIN Sass, J. 1941/41 TB 30 L Plicata S:reddish brown on white, yellow at midrib, F:white, reddish brown speckled rim, yellow at haft with veins, B:yellow-orange NRS 22

ALI BABA

Lyon, D. 1951/52 TB 38 M Bitone RARE Very pleasing color combination on this older variety. S:light red-brown, F:dark red-brown; B:gold w/ maroon flecks; fragrant 6.00 2284 ALICE HARDING Cayeux, F. 1933/33 TB 36 M Self Soft medium yellow, semi-flaring, B:bright orange; strong fragrance NFS 4193 ALL AFLAME Plough, G. 1968/69 TB 37 EML Bitone RARE S:tangerine-orange, F:cadmium-orange, B:marigold-orange NFS 894

ALL THAT JAZZ

Denney, D. 1981/82 TB 36 M Bicolor S:light yellow, F:dark wine, lines at haft, B:yellow 7.00 315

ALLAGLOW

Tompkins, C. 1958/58 TB 37 ML Self Sunburst gold, blended butterscotch and copper-yellow; colossal bloom 5.00 297

ALLAH

Doriot, H. 1956/57 IB 15 VE Bitone RARE S:light lavender blue, ribbed green, F:parrot green-brown, edged blue, B:orange tipped white; slight ruffle 3.00 2353

ALLEGIANCE

Cook, P. 1957/58 TB 38 M Bitone S:violet-ultramarine, F:roslyn blue, B:med blue, tipped yellow; Dykes Medal 1964 6.00 4221 ALLINE ROGERS Kleinsorge, R. 1949/49 TB 34 M Blend Blend of pink to rose and gold at haft, B:orange NFS 2936

ALLURA

Brown, O. 1968/70 TB 34 M Self RARE Lavender blue self, edges of F deeper, lighter in center, B:white brushed lemon NFS 3935 AL-LU-WE Sass, H. 1932/32 TB 40 M Bicolor RARE S:yellow, pink wash, F:red, tan rim, lighter midline, yellow haft with maroon veins, B:orange SO 1682

ALMOND BLOSSOM

Craig, T. 1953/53 TB 40 M Self RARE Clear peach-blossom-pink, baby pink at haft, B:ibis pink; Good pink color for an older variety, lines at haft, GBF SO 962 ALMOST GLADYS Ensminger, A. 1978/82 TB 34 ML Bicolor RARE S:white with pink flush at base, F:coral pink with 1/4 inch white edging, B:red 7.00 494

ALPINE CASTLE

Blyth, B. 1979/79 TB 36 E-M Self S:white with faint blue infusion at edges, F:white, deepening from blue to violet at edges, B:tangerine 7.00 3838 ALPINE GLOW Kleinsorge, R. 1944/45 TB 40 L Self RARE Rose tones with lilac influence, brown shading at haft, B:gold orange NFS 2602

ALPINE JOURNEY

Blyth, B. 1983/84 TB 38 E-EM Bicolor S:snow white, F:golden yellow, B:golden yellow 8.00 2565 ALTA CALIFORNIA Mohr-Mitchell 1931/31 TB 48 M Bicolorf RARE S:mustard yellow, F:olive, buff flecked, dotted, and veined, B:yellow-orange 5.00 463

AM I BLUE

Denney, D. 1977/77 BB 20 E Self RARE S:pale blue with intense navy blue infusion through midribs and styles, F:pale blue, B:deep navy blue NFS 909

AMADEUS

Tompkins, C. 1989/89 TB 37 ML Self RARE A ruffled and flaring silver toned, orchid lilac blended with pale chicory blue, B:lemon white, tipped orange pink 7.00 2354

AMAS

Foster, M. 1885/85 TB 24 E Bitone Dark blue violet bitone, white at haft 5.00 1306

AMAZON PRINCESS

Nichols, H. 1971/73 SDB 14 E Self

Lemon yellow, B:orange with vivid red-brown halo on F

4.00 3359 AMBASSADEUR Vilmorin 1920/20 TB 40 M-L Bicolor S:smoky lavender, F:velvety purple- maroon, haft white, veined maroon, B:orange; yellow center, dark wire rim 6.00 946

AMBER BEAUTY

Schreiners 1982/82 TB 37 ML Self RARE Ruffled full golden yellow with amber cast, S: slightly lighter, F: darker lines at haft, B:rich gold 7.00 490

AMBROSIA DELIGHT

Niswonger, D. 1982/84 TB 36 M Bicolor S:white, F:orange, B:orange; slightly ruffled 7.00 3355 AMENTI Sass, H. 1935/36 TB 36 L Bicolor S:grayish-yellow vinaceous, F:light violet mauve, buff edge, haft to end of B yellow with gray veins, B:yellow 6.00 4312 AMERICAN CLASSIC Schreiners 1996/96 TB 36 E-L Plicata S:white, 1"violet blue edge, F:white, 1/2"violet blue plicata edging, B:light blue, tipped yellow; heavily ruffled NFS 231

AMERICAN HERITAGE

Williamson, B. 1975/78 TB 33 E-M Plicata RARE Plicata: deep blue-violet on white, 1" purple wash on bottom half of F, B:lemon yellow, tipped lt blue NFS 512

AMERICAN SWEETHEART

Sexton, N. 1983/8 TB 36 M Bicolor S:golden brown, F:rich black with gold haft markings, B:golden brown (orange) 7.00 1462

AMETHYST FLAME

Schreiner, R. 1957/58 TB 38 ML Self RARE Amethyst-orchid with pink sheen, warm amber wash on hafts; Dykes Medal 1963 6.00 252 AMETHYST SUNSET Welch, W. 1972/73 MTB 12 E Bicolor S:light yellow, F:light lavender 5.00 56

AMIGO

Williamson, E. 1933/34 TB 34 M Bitone S:light lavender blue, F:rich deep velvety pansy purple, lines at haft, thin light blue-white rim, B:orange 6.00 160

AMIGO'S GUITAR

Plough,G. 1963/64 TB 36 EM Bicolor S:butterscotch with violet midrib, F:blue-violet, B:yellow; white area at haft w/ veins. 5.00 38

AMITOLA

Sass, H. 1935/36 TB 32 L Blend RARE S:blend of light lavender and buff w/ yellow undertones, F:light violet and lavender blending to buff yellow edge, B:yellow NFS 1284

AMOROUS EMBRACE

Nelson, J. 1988/87 TB 34 M Self RARE Ruffled and laced baby-ribbon pink, B:tangerine NFS 2874

ANEMBO

Bootes, G. 1958/59 TB 40 EML RARE Light yellow self, lighter area in F; (name means peaceful) 5.00 3329 ANGEL BRIGHT Rees, C. 1965/66 TB 36 M Self RARE White self with brilliant gold on haft, B:orange NFS 876

ANGEL CHOIR

Schliefert, A. 1970/70 TB 32 M Self RARE Fluted pure white, B:pale yellow 5.00 1613 ANGEL SYMPHONY Meek,D. 1979/79 TB 34 EM Self RARE White, heavy texture veining with hint of green, B:orange, tipped white 6.00 689

ANGEL UNAWARES

Terrell, C. 1970/70 TB 38 EM Self RARE Ruffled snow white, B:white, slightly yellow at haft 6.00 2603

ANGELS IN FLIGHT

Messick, V. 1995/95 TB 37 M Self White self with blue infusion up S and in middle of F, B:cream; ruffled 8.00 4067 ANGELS IN THE ARCHITECTURE Silvers, T. 2017/17 SPX Plicata

S:white ground, blue-purple wide edge, F:white, blue-purple 1/2" rim, distinct purple veins at haft, B:orange, thin bluish end

NFS 4232 ANGIE Smith, C. 1957/59 TB 36 M Self Imperial purple self 5.00 1119

ANNA BELLE BABSON

Hager, B. 1984/85 TB 36 M Self Intense deep pink; B:narrow tangerine 8.00 3536 ANNA ELVIRA NASH Callis, E. 1939/41 TB 34 L Self RARE Light wine to pink toned self, darker on hafts and rims, B:white 5.00 2818 ANNE LESLIE Sturtevant, G. 1917/17 TB 27 M Bicolor S:white, F:red -violet, white haft with heavy red-violet veining, yellow styles, B:yellow, tips brown 5.00 2124

ANNE NEWHARD

Weisner, J. 1948/40 TB 38 VL Bitone RARE S:med blue-grape F:rich velvety purple-black B:white/maroon/yellow NFS 2115 ANNE-MARIE CAYEUX Cayeux, F. 1928/28 TB 36 E Blend RARE Soft rosy-heliotrope with greyish amber, B:orange; great vigor, pinkish violet in effect NFS 429

ANON

Gibson, J. 1974/75 TB 40 M Plicata S:carrot red, F:amber-yellow on rim, flushed brown-lemon on yellow-white ground, garnet-brown hafts, B:tangerine; ruffled and fluted SO 2604

ANSWERED PRAYERS

Keppel, K. 1994/95 TB 36 EM Bitone S:sea shell pink F:white w/ shell pink rim, B:deep orange, lighter tip NFS 15

ANTHEM

Schreiner, R. 1956/58 TB 40 M Self RARE Fuchsia-purple shot rose with bronze border, B:white base, yellow tips; wide flaring falls 6.00 2994 ANTIGONE Cayeux, F. 1939/39 TB M Self RARE Golden yellow self, B:bushy yellow-orange NFS 87 ANTIQUE IVORY Schreiners 1972/72 TB 36 ML Halo RARE Creamy white with light yellow border on S and F, B:yellow 6.00 3325 APACHE Farr, B. 1926/26 IB M Bitone S;copper vinous purple, lighter at base, F:dark crimson brown, heavy veining at haft on white, B:yellow NFS 1275

APACHE ROSE

Meek, D. 1982/82 TB 36 EM Plicata S:cream-brown with gold wash, F:cream-brown, peppered brownish plum, gold halo, B:burnt orange; ruffled 6.00 1841

APPLE VALLEY

DeForest,F. 1958/58 TB 38 M Self RARE White, tinted pink, hafts deeper pink, B:pinkish tangerine; laced edges NFS 2020

APPLEBLOSSOM PINK

Boushay, J. 1973/74 IB 18 E-M Self S:orient pink, F:white in center, darker pink at edges and hafts, B:white; short, very pretty 6.00 2858

APPLEJACK

Schreiner 1968/68 TB 37 L Blend Blend of russet brown to honey-peach, white w/ lines at haft, white line 1" below B, B:light orange; vigorous 6.00 636

APPRECIATION

Hager, B. 1983/83 TB 40 M Bicolor S:buff tan, gilt edge, F:orchid lavender, red-brown hafts, B:yellow NFS 715

APRICOT BLAZE

Gibson, J. 1970/71 TB 37 M Bitone RARE S:apricot-buff, F:cream overlain by copper-amber, B:bright orange NFS 4177 APRICOT GLORY Muhlesteirn, T. 1948/48 TB 36 EM Self RARE Apricot self, hafts flushed deeper, B:apricot SO 676

APRICOT SUPREME

Tompkins, C. 1951/51 TB 40 ML Self RARE Apricot-toned shell-pink, B:geranium red 5.00 964

APRIL HOPE

Gibson, J. 1979/80 TB 36 M Bicolor S:buff yellow-orange, F:violet with deeper violet veins, 1/4 inch brown rim, light brown hafts, B:yellow-orange; ruffled and serrated 6.00 4315 APROPOS Babson, S. 1963/64 TB 38 M Bitone RARE S:pastel lavender, F:deeper lavender and still darker midvein, B:blue; ruffled NFS 2979 ARABI TREASURE Burnett, M. 1962/63 IB 18 E Self RARE Deep violet self, darker around beard, B:wide fuzzy blue 5.00 971

ARABIAN TAPESTRY

Niswonger, D. 1983/83 TB 34 M Self Ruffled reddish brown with violet blaze in center of F, B:gold 7.00 1710

ARCADIA BUTTERCUP

Milliken, C. 1947/47 TB 30 E,Re Self RARE Sparkling deep golden yellow NFS 3570 ARCHEVEQUE Vilmorin 1911/11 TB 24 M Bitone RARE S:deep purple violet, F:velvety raisin purple, B:orange, maroon tips; 6.00 383

ARCTIC BLUSH

Austin, L. 1958/58 TB 40 M Self RARE Pale pink, B:tangerine; large bloom 5.00 3545 ARCTIC WINE Brown, A. 1963/64 IB 21 EM Self RARE Deep wine-red self, darker haft, B:bronze 5.00 4358 ARDIMAC Sundt, E. 1959/59 AB/TB 26 EM Bitone RARE S:violet purple, F:maroon, black signal, hafts and styles veined, B:black NFS 2449

ARGENT

Forbes. J. 1882/82 TB M Self RARE Med grape, white at haft to below B with dark grape lines 3/4 way down F, B:white base yellow tips 6.00 165

ARGUS PHEASANT

DeForest, F. 1947/48 TB 38 EM Self Rich golden honey brown, bright coppery sheen, B:old gold; large bloom, somewhat flaring, Dykes Medal 1952; still a popular brown 7 .00 2312 ARIANE Cayeux, F. 1935/35 TB 40 M Plicata RARE White ground with medium purple veining. Falls look like color was wiped and smeared in center, B:yellow 5.00 1026 ARKANSAS GIRL Sexton, N. 1982/82 TB 36 M Self RARE Lightly laced green-gold, B:green-gold NFS 2065

ARKANSAS SKIES

Rowlan, H. 1981/82 TB 35 M Self RARE Pale violet blue self, B:yellow, variable short blue-tipped horn 7.00 1121

ARPEGE

Schreiners 1966/66 TB 36 E Bicolor RARE S:mottled very light lavender-blue, F:dark blue-purple-violet, white at haft w/ lines, B:orange with blue tip; fades, GBF 6.00 4044 ARRIVEDERCI Keppel, K. 2013/14 TB 37 ML Bicolor S:pale peach, soft lavender midrib, F:warm lavender blend, slight blue center, B:orange, lavender white end; heavily rufflled NFS 3299 ARROYO Schreiners 1973/74 TB 36 M Self RARE Dark brown self, feather tip of blue below brown-red-copper beard NFS 2357

ART SHOW

Keppel, K. 1989/90 TB 34 M Bicolor RARE S:maise yellow blended peach beige except edge, F:cordovan red with 1/4" maise edge, upper 1/3 maise, striped cordovan, B:red orange; fragrant 9.00 2295

ASHA MICHELLE

Blyth, B. 1981/82 TB 38 M-ML Bicolor RARE S:lemon, F:creamy white, lightly stitched rose brown, lines of violet on F w/ midrib line part way down, B:yellow 6.00 3707 ASPENGLOW Loomis, by E. Long 1956/56 TB 36 M-L Self RARE Rich full well formed saffron yellow; slightly ruffled, strong well branched stalks. NFS 3395 ASTRO FLASH Schreiners 1976/76 TB 37 M Blend Rich blend of golden brown with henna accent, heart-shaped area of blue on F, B:yellow to gold NFS 1051

ASTRO FLIGHT

Rowlan, H. 1983/84 TB 33 ML Self RARE Lightly laced and ruffled wisteria blue self, darker lines at haft, B:yellow with 3/4" blue horn 7.00 3810 AT DAWNING Kirkland, J. 1933/35 TB 36 M Bicolor RARE S:pale pink-mother of pearl, gold base, F:rose-pink, white haft gold lined, B:golden orange; better in shade NFS 1056

ATLANTIC RIPPLES

Powell, L. 1974/74 TB 35 E-VL Self RARE Ruffled blue orchid, lighter at haft, B:blue NFS 3779 ATROVIOLACEA Todaro,A. 1856/56 MDB 6 EE Bitone RARE S:red-violet, F:deeper red-violet, B:thin white 6.00 2268

ATTENTION PLEASE

Mohr, H. 1973/74 TB 34 M Plicata RARE S:lilac purple with a few flecks of white, F:specturm violet on white ground washed with cream, B:orange-brown 7.00 3854 AUBURN Kleinsorge, R. 1945/45 TB 39 E Self RARE S:coppery henna brown, F:sa,me with wide blue patch below B, B:orange NFS 4077 AULD LANG SYNE Spahn, F. 1981/82 TB 35 EM Bitone S:creamy pink, F:peach pink, B:bright tangerine; ruffled 8.00 2309 AUREA or I. VARIEGATA variety id 1938 TB E Self RARE Has varigated leaves of yellow and green. Waiting for bloom. NFS 2855

AURIFERO

Mohr-Mitchell 1923/27 TB 40 M Bitone RARE S:soft lavender, F:flaring lavender flushed rose, white at haft with rich gold veining, B:golden yellow 5.00 3916 AUSTRALIS Todaro, A. 1861/61 TB M RARE S:pallid blue-violet, veining red-brown, F:pale violet, gray inner haft, B:white, tipped yellow at base, projecting; nice fragrance 8.00 5

AUTUMN APRICOT

Thimsen, A. 1987/88 TB 30 M,Re Bitone RARE S:light orange, F:light orange, cream area below B, B:red; ruffled 8.00 1186

AUTUMN BLUSH

Black, P. 1983/84 TB 33 EM Bicolor RARE S:mauve-pink with paler edge, F:cream with greenish cast, amber-rose hafts, pale pink suffused halo, B:deep sienna; ruffled and laced, frag NFS 3138 AUTUMN CIRCUS Hager, B. 1990/90 TB 34 E, Re Plicata S:white, lightly peppered blue-violet to solid edge, F:white, bold lines radiating from B, blue-violet plicata edge, B:white, blue tip 8.00 254

AUTUMN DELIGHT

Austin, L. 1952/52 TB 28 M,Re Bitone RARE S:amethyst pink, F:deep rosy mulberry, yellow haft with lines to end of B, B:yellow orange 5.00 809

AUTUMN ECHO

Gibson, J. 1973/75 TB 36 E,Re Plicata S:yellow speckled garnet-brown, rim flushed yellow, F:canary yellow, speckled garnet-brown, garnet-brown rim, small white signal, B:orange 7.00 2807

AUTUMN KING

Sass, H. 1924/24 TB M,Re Bitone RARE S:light bluish purple. F:darker w/ lighter rim, B:white base, yellow tips 6.00 732

AUTUMN LEAVES

Keppel, K. 1972/74 TB 34 M Bicolor S:brownish yellow, F:maroon with brown edges, B:orange-yellow; ruffled 7.00 2848

AUTUMN QUEEN

Sass, H. 1926/26 SDB 12 E,Re Self RARE White; rebloomer 6.00 1684

AUTUMN ROSEMIST

Austin, L. 1960/61 TB 34 M,Re Bitone S:misty buff pink, F:soft crimson pink, 1/4" darker rim, yellow at haft w/ lines, B:bright orange-yellow 5.00 1685

AUTUMN ROSYCHEEKS

Austin, L. 1963/63 TB 32 EE,Re Bitone RARE Light fuchsia-pink, mulberry cheeks on falls, lines at haft, B:red-orange; Wanted by many antique collectors. 5.00 1604

AUTUMN SUNSET

Lapham, E. G. 1939/39 TB 32 M,Re Bitone S:pale buff yellow w/ pale reddish violet wash, F:darker reddish violet w/ buff yellow blended rim, copper red at haft, B:yellow 5.00 3463 AUTUMN TWILIGHT Brown, G.P. 1971/71 TB 33 M, Re Bicolor S:brownish yellow, F:lavender with brown edging, hafts ecru with lavender veins 6.00 1686

AUTUMN VELVET

Brown, G. P. 1962/62 TB 33 EM,Re Bitone RARE S:deep carmine, F:darker carmine with a velvety sheen, B:gold-bronze; short bloom stalks 6.00 742

AVALON BAY

Hamner, B. 1973/74 TB 36 M,Re Self RARE Ruffled bluebird blue, B:yellow, tipped blue NFS 1192

AVENGING ANGEL

Williamson, B. 1980/84 TB 38 ML Self Ruffled burgundy red, B:burgundy 7.00 2606

AWAKENING

Meek, D. 1994/94 TB 35 ML Self S:deep pink with slight lavender infusion, F:pink to ivory from B to above lower rim, tan hint at haft, B:henna, lav-blue; sweet fragrance NFS 2802

AZTEC BURST

Blyth, B. 1993/94 TB 38 VE Bicolor S:white, F:apricot to light orange, B:apricot tangerine NFS 50 AZTEC COPPER Kleinsorge, R. 1939/39 TB 38 M RARE Lovely blend of smokey violets and coppper; slight fragrance 8.00 519 AZTEC STAR Niswonger, D. 1981/81 SDB 12 M Bicolor RARE S:pale yellow, F:red, edged pale yellow, deeper yellow in throat, B:pale yellow 4.00 1243 AZURE LUSTER Weiler, J. 1981/82 TB 36 M-L Self RARE Ruffled clean light azure-blue, lighter area around B, maroon lines deep in throat, B:yellow; semiflaring, pronounced fragrance 7.00 2399

AZURE WHIR

Durrance, J. 1992/92 TB 35 E Self Ruffled light blue-grey self, B:light yellow tipped blue NFS

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allsuburbanplumbandsewer · 6 years

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Best 24 Hour Plumber Itasca Illinois 60143

Protect your family and your business interests by having one of our technicians out to check all of your petrol lines, and to inform you if any precautions or replacement are in need. 24hr is in our name so accommodate each customers needs. I highly recommend this great you see in bathtubs and … Initial responder was very helpful and you’re plumbing system and the protection of your home. At 6:30 P we discovered all the drains loyal to, called me back and said he could take care of it. Honesty about pricing and service makes this company at the most convenient times, so ours is a 24-hour service. Not only is the management office very helpful, but the plumbers/technicians have a middle of the night, our trained professionals are here to help you. First and foremost I want i don’t normally praise companies, but this company is hands down, the best plumbing company i have dealt with. We serve all boroughs and operate all call!

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24 Hr Plumbing Close To Me Itasca Il 60143

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zillowcondo · 7 years

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Daily Dream Home: The Woodbine Mansion

One of the most unique historical mansions in Texas. The Woodbine Mansion in Round Rock, Texas was built 1885-1900 by the original founding family of Round Rock, the Nelsons.

In 1854, Andrew J. and Hedwig Nelson of Sweden settled here. Andrew Nelson’s widow and heirs had this house built by Page Brothers, Austin architects, 1895-1900. A son, Thomas Edward, and wife had Dallas architect Wilson McClure restyle the Victorian facade to Classical Revival in 1931.

Three generations of Nelsons lived here. In 1960, Eugene N. and Jean Crier Goodrich bought and renovated the mansion and named it Woodbine. It became a recorded Texas Historic Landmark in 1973.

This solid brick beauty still includes the original Barn and entire city block of land (1.6 acres). The home has three stories, 18 rooms, 4 and 1/2 baths, and stunning chandeliers throughout.

The grounds include a three-room guest house, a two-car garage, pond, gazebo, barn, windmill and mature pecan and Magnolia trees. This home is listed for $2.5 million with Realty Austin and is showcased by Luxury Portfolio.

The post Daily Dream Home: The Woodbine Mansion appeared first on Pursuitist.

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writ101plu-blog · 7 years

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Hopefully Reconciled, tragically pained

My name is Aja Sours and this is just a small post about my experience at a park.

What does it mean to be Asian in America? For a lot of people it means being a minority, it means facing troubles that you didn’t need to face, it means being the one who will either be remembered as the broken or be forgotten. Several times in the past few years I have been to a park in Tacoma called the Chinese Reconciliation Park that demonstrates for the Asian American community a bridge of sorts that remembers the hardship of a people that have historically been out-casted in America. This park was made as a sort of apology and extended gesture to the Chinese and Asian American community because of the forceful emigration of Chinese citizens out of Tacoma in 1885.

I find it sad that something like that ever happened, but knowing Americas past it is not surprising, and honestly this one event is only a small portion of the unfortunate whole of troubles that people have had to endure. In any case going to the park to me wasn’t jarring or thought provoking all that much. I have been there several times and I notice things like the pictures of people in typical Chinese outfits carved on the rocks, making them look like they are walking towards something. There is the large gazebo type thing decorated in the Chinese architecture style, fitted with the dragon statues in front of the entrance. There are also cherry blossom trees, which always seem to puzzle me because I am pretty certain that the cherry blossom is a Japanese plant. I think this might either be a mistake made by the builders of the park, or an extension of the park into other Asian cultural visuals. Overall, I think that the park is interesting and has plenty of signs to describe what they are doing, and the park is visually and physically welcoming.

The park reminds me of the park that has stones all around that have poems written by Inada and other people that experienced Japanese internment. The idea behind both parks is to have people stop and recognize the truth behind what has happened to actual Americans, Asian Americans. However, I do not think that either park is effective in what they are trying to do, because as we saw in the video in class, people don’t stop and look or contemplate what any of the pictures or poetry actually means. In the video we even get to hear Inada himself talk about how a woman used his poetry rock to hold her baby while she changed their diaper, which is one example of how people don’t see these memories as important or valuable, it is just a rock with random words or pictures on it. I know that personally I had a hard time getting into a park that you just walk through really fast and then leave, yes there were plenty of visually beautiful pieces, but it was difficult to feel any connection to the true reason for the park. I appreciate the parks and their effort for educating people about the past and the people marginalized even today, but I think that we need to do more to ensure that people are paying attention and learning not always just enjoying a stroll through a park.

All in all I enjoy the park, and I say this not being an outdoor person at all, but knowing the hurt that people have had to go through simply because of where they come from makes this a really somber experience for anyone who stops to think about what really happened. It also raises questions for me about how we treat people today, like are we doing something to someone today that will warrant a park made for them in the future? If so, then we as a society are missing the point of projects like this, projects designed to educate and hopefully prevent similar problems in the future.

I have attached pictures to this post of me and my family at the park, some of the cherry blossom tree, and the gazebo, and the dragons. I also have pictures of some of the pieces that have signs that commemorate the park and the people it is dedicated to. My hope is that we can celebrate other people for who they are and what they have to offer, and stop doing things that marginalize and wound people.

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houstonlocalus-blog · 7 years

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2016 Art in Review: Electric Boogaloo

“Titanic SHIP” by Sister Gertrude Morgan from “As Essential As Dreams: Self-Taught Art from the Collection of Stephanie and John Smither” at The Menil Collection. Photo by Paul Hester, courtesy of The Menil Collection, Houston.

By Paul Middendorf and Michael McFadden

Last year was indeed an arduous one, but it provided some powerful programming and projects to help us realign our focus. From large institutions to small project spaces, all the stops were certainly being pulled. Perhaps it was the unfolding of the political climate or racing towards uncertainty that sparked an abundant variety of conversations within the arts; whatever the reason, we ended up with a beautiful melange of solid exhibitions. Certainly Houston has been moving forward at the speed of light within its creative community. Every year we see a stronger push to provide nationally and internationally recognized exhibitions. The city saw programming that would not only hold up within our community and region, but would create a strong voice to project outside of the state. Outstanding work did not go without some incredibly flat curatorial endeavours. Pet projects and poor organization lead to a variety of painful duds, which were largely forgotten as soon as the press releases archived in our inboxes. However, we learn from these mishaps and continue to build on our solid foundation that has continued to impress and maintain. There were absolutely a greater number of successes and here is the best core sample we could provide from 2016.

Parallel Kingdom — Station Museum of Contemporary Art

Parallel Kingdom at the Station Museum presented works by artists from the Arabian Peninsula as a means of addressing and challenging Western notions of the Middle East. While many Westerners tout the ease of access to other cultures provided by the Internet or the emergence of a global culture, a great deal of 2016 revealed how easily our views can be molded — by others or by ourselves — to whatever shape is convenient. Through Parallel Kingdom, the Station offered up exposure to external viewpoints that dealt with the politics of our country and the artists. Sarah Abu Abdallah’s video installation “Saudi Automobile” showed the artist slowly painting a wrecked car. The paint, pink like frosting on an ornate cake, served as little more than wistful gesture of beautification to cover up the impossibility of the artist’s dream of owning her own car so that she might drive herself to work. Soft gestures of physicality stood in correlation with grandiose sculptures – like the massive boobytrap of “Capital Dome” by Abdulnasser Gharam or the chainlink mosque that is Ajlan Gharem’s “Paradise Has Many Gates,” which still stands outside the museum.

Nick Vaughan and Jake Margolin, “50 States: Wyoming.” Photo: Alex Barber

Nick Vaughan and Jake Margolin: 50 States — Art League Houston / Devin Borden Gallery / University of Houston Cynthia Woods Mitchell Center

Nick Vaughan and Jake Margolin have long been collaborating on a series called 50 States, delving into the history of LGBT communities in each state as far back as possible. At Art League Houston, the pair presented some of their findings in 50 States: Wyoming, including a series of performances and gatherings that reflected aspects of both their research and their artistic practice. The work on display often blends media together, consisting of conceptual and performative interpretations and labor intensive pieces with photographs and historical images etched into maps. In a separate exhibition hosted by Devin Borden Gallery, Where the Ranch Actually Was, Margolin and Vaughan offered up a peek into the research they’ve been conducting in Texas. A series of Texas maps lined the back wall of the space, each one displaying an excised image of the buildings and areas where prominent LGBT clubs, bars, and spaces once stood. The third segment of the series from last year was Colorado. Presented as a one night installation during CounterCurrent, hosted at UH’s Mitchell Center in one of its project rooms, the piece featured a six channeled projection of different cities from around the country. As you sat around the finely crafted gazebo like structure, the viewer shifted their attention to each projection as it screened a different group of LGBT community members, artists, activist, and civic leaders celebrating the queer history of Trinidad Colorado. Colorado opened up at HCC Central Art Gallery on January 17 and will run through February 21.

Francis Alÿs and Lauren Moya Ford: The Fabiola Project — Byzantine Fresco Chapel at The Menil Collection

Belgian artist Francis Alÿs’ large installation of paintings, The Fabiola Project, consists of more than 450 reproductions of a lost 1885 painting of 4th-century Roman Saint Fabiola by French artist Jean-Jacques Henner. The project was initiated by Alÿs in the early 1990s, shortly after he moved to Mexico City. The works are impressive and they view well in the dark church-like space, giving you just enough light to see them. The star of the exhibition was a performative lecture by Houston and Madrid based artist Lauren Moya Ford. As well-executed as Alÿs’ works, Ford’s lecture was enchanting. Not very often does one leave a lecture wishing to see it again on DVD so as to be able to pick through the subtleties. Ford started with a story of love and loss and weaved the audience through experiences. She forced patrons’ minds not to focus on the slides she presented, but the sound of her voice and coached the listeners to close their eyes and visualize a photo she described instead of seeing it projected. Many times there was no projection at all, just darkness. It was much more of a performance than a lecture and featured well with Francis Alÿs’ work, which she describes and discusses throughout the talk. While focusing more on experiences and the moment our bodies and hearts feel true movement, the artist elevated the installation through the talk and left the listeners in tranquility and thought upon leaving the chapel.

Bret Shirley: New World — Cardoza Fine Art

Bret Shirley capped 2016 with an exhibition of new paintings and sculptures at Cardoza Fine Art. Shirley’s work seems to operate between plane, with each work itself acting as a nexus for inter-planar activity. Shirley tears through the black vacuum we understand to be space and allows a glimpse into what seems to be a Crystal Kingdom of sorts. In this light, New World looks more like a series of artifacts and findings from the artist’s research of this other plane of existence. In the painting “Burial Banner,” the remnants of two banana leaves are set against a black backdrop. The leaves themselves have been replaced with layers of crystalline colors that could represent the layers of our world as easily as they could be a stellar form. Such paintings are then counter-balanced with works like “Exhibitions are Frightful,” making direct use of crystals through chrome alum to create organic, earthly patterns. Between the two, Shirley maintains an interesting balance between the planar systems.

Jamal Cyrus, “Transformation_Green”

Jamal Cyrus: STANDARDZENBLŪZ — Inman Gallery

Houston-based artist Jamal Cyrus has dedicated a large part of his career thus far to socially engaged projects, paintings, performances, and sculptures that hone in on histories, people, and communities. Through this commitment, he produces thoughtful and reflective work. His affinity for histories pervades his work and can be seen in STANDARDZENBLŪZ, his recent exhibition at Inman Gallery. While the majority of works on display make reference to music — a reproduction of an Al Green poster stained with blackened grits or a series of assemblages affixed with notes in Japanese to imply their re-discovery abroad — the artist also makes references to identity politics in African-American history. “X-plane,” resembling a prayer rug, makes direct references to Malcolm X through a combination of an FBI files and brick rubbings from the site of his murder. Recognizing that these two histories are not separate, Cyrus ties them together in three hanging works of canvas that bring forth imagery of sheet music and files with sections redacted – attempts to alter or erase history.

Jennie C. Jones: Compilation — Contemporary Arts Museum Houston

2016 started off strong at the museum with Jennie C. Jones’ Compilation, curated by Valerie Cassel Oliver. The traveling solo show focuses on Jones’s playful dance between painting, sculpture, and sound works. Unlike the other museums around the country, the Contemporary Arts Museum had a special opportunity to really define the space with Jones’ work given the unique diamond shape of the institution, leading to the unique presenting methods and custom building that was involved with the exhibition. Jones’ sculptural works featured elements such as cable, cable ties, endpin jacks, CD cases, and a variety of current and vintage music accoutrements, including sculptures of sound absorbing panels and reimagined speaker boxes. All of these pieces, pulling from jazz, blues, and experimental sound history, created a movement of its own. The space was populated with her paintings composed of acoustic dampening panels, works on paper, and her iconic Acoustic Painting series, as well as site specific installations, and sound works. Jones was in town for her show and it was great to be able to catch up with her and talk to her about her work. She was fascinated by the new dialogs her works created as a whole and was eager to discuss her process and ideas within. During the run of the exhibition, Jones participated in a walkthrough and talk with the curator about the history of the works. The talk offered an unusual perspective as it featured live music from local musician David Dove who played the conceptual score from a body of her works on paper.

Christopher Wallace, “Haunted House,” 2014.

Christopher Wallace and Samantha Persons: Surface Dwellers — Lawndale Art Center

Christopher Wallace and Samantha Persons are both prolific artists working in the realm of the tedious. The exhibition, Surface Dwellers, was over a year in the making and featured works on paper as well as installations. Both artists’ work seemed to have been completed side by side based on the visual harmony of the show. While both kept an open dialog about some of the works in the show, many of them were created in the solitude of their practice. The pieces, varying in size, all held solid viewability with many of the works reading as intricate tapestry patterns, all hand drawn, bringing the audience closer and closer to discover more from within. Persons’ work focuses on pattern, repetition, and color, while Wallace’s work is very similar in nature, yet brings in a bit more fantasy and pop culture such as “Haunted House,” featuring a gathering of gaming and fictional characters mashed together in a marvelous color explosion. Both presented a drawing party, which was amazingly packed for a Saturday afternoon and involved more details into the creative process of the artist’s works as well as the music and films that inspire their process.

Claire Webb — Gspot Contemporary Art Space

Claire Webb is typically known for her whimsical jewelry and metal work. In 2015 her work was featured in the Texas Design Show at the Contemporary Art Museum. This past year, Webb made a new departure. Moving completely away from her smaller works, Claire did what many artists fear to do and left the “Comfort Zone.” Refusing to make the same object or series over and over again, her work in Gspot’s group exhibition Co_WORKS was refreshing and exciting. The piece “Fourfold above and below,” included several organic shapes cyanotype printed on silk and iridescent fabric lying in a box of dark sand with a custom built table to hold it all. The new sculptures were interesting and led to you wanting more of her work within the group show. I kept coming back to her piece and spent the most time with it looking over the elements of her presentation and the craft of her objects. Not that I’m not a fan of her jewelry work, as it’s a sound body of work, but this new direction is ambitious and I look forward to seeing more of these sculptures.

François Burland, “Oujda-vevey,” 1999. Photo by Paul Hester, courtesy of The Menil Collection, Houston.

As Essential As Dreams: Self-Taught Art from the Collection of Stephanie and John Smither — The Menil Collection

As Essential As Dreams: Self-Taught Art from the Collection of Stephanie and John Smither was exhibited at the Menil Collection, showcasing autodidactic artists whose drive to create led them to develop practices outside of institutions. The aesthetics on view varied quite drastically, but were looped together both by honing in on self-taught artists and with the collectors’ obvious interest in surrealism. These ideas are far from separate, though, with surrealists often valuing artists who work outside of traditional means and attempt to transcend rationale in favor of something that exists beyond reality. Without going into the full list of artists on display, the rear wall of the space offered a clean summation of the exhibition in a salon-style hanging of works. Howard Finster’s “TAKE CARE OF YOUR BODY,” a circular painting on metal roughly the size of a tire that reads “Take care of your body it is a house for your should take care of your body it will help take care of you life cannot stay here without a body,” hung in proximity to a tiled sculpture of a woman carrying a box on her head, contrasting in methodology but hinting at the general philosophy that drove the Smithers to collect.

Bradley Kerl and Bill Willis: Simple Taste is Popular — Art Palace

Bradley Kerl and Bill Willis never disappoint. Kerl with his heavy brush stroked paintings and bold colors seemed to be a great fit for collaboration with Bill Willis, whose works range from collaged digital works to light handed yet tightly compositional paintings. Their exhibition, Simple Taste is Popular, featured paintings by both artists and their works harmonized together. Kerl presented a series of paintings of vintage nude playing card ladies, a playful departure from his more academic studio paintings. These melded nicely with Bill Willis’ paintings of food still lifes with the imagery torn almost directly from vintage italian cookbooks and ‘60s magazines. The exhibition seemed to poke fun yet celebrate the vintage culture of the ‘50s and ‘60s and almost maintained a men’s stag basement feel with works as a whole. Rarely am I disappointed with the works from these two artist and was pleased to see the two paired together. Willis opened a new body of works on paper in Art Palaces project room on January 13 and the exhibition runs through February 28.

Mark Flood: Gratest Hits — Contemporary Arts Museum Houston

As could be expected, Mark Flood’s retrospective, Gratest Hits, curated by museum Director Bill Arning, offered quite the spectacle. With an army of the museum’s preparators, local art celebrities, and Flood’s own merry assistants, the show was not just installed, but also created on site. Dozens of Flood’s paintings were attached together to make various rooms and walls, creating a maze-like exhibition. The retrospective featured videos, installations, performances, and happenings to say the least. While certain publications questioned his motives, the exhibition was solid, and all in all, Mark Flood does what Mark Flood does. While the individual works — such as lace paintings and tongue in cheek text stenciled pieces — certainly held their own, the overall experience was for the viewer to indulge, even including “Like” paintings to be placed at the foot of each piece to not only pay homage to the rise of social media, but to mock the process of artist, viewer and institution. The opening was a zoo of who’s whos, local celebrities, artist, curators, and even a tighty-whitey-sporting exhibitionist. Arning showed his admiration for the dedication and perseverance of Flood’s career, resulting in one hell of an entertaining show.

Michael Bhichitkul, “Bungee Jump,” 2016.

Michael Bhichitkul — Cardoza Fine Art / Blank Check Gallery

There were several younger artists refining their work this past year, one of whom is interdisciplinary artist Michael Bhichitkul, who had two great shows in 2016. The first was Real Life Situations at Cardoza Fine Art in the spring. The breakout show not only showed the potential of the artist, but was yet another leap for gallerist Pablo Cardoza. Cardoza curated tightly and presented the diversity of Michaels work, trusting the artist to create an elaborate set of installations and sculptures. The show was of museum quality and embraced the vastness of the gallery’s new space. “Tree Study” placed a mid sized tree in the middle of the gallery with a blank canvas shoved through its branches and “Look Where Gilligan Got Us Know,” which involved an inflatable raft stuffed into the rafters high above the gallery floor. Greenhorn gallerist London Alexander of Blank Check Gallery presented a whole new body of work by Bhichitkul, which, while called 5 New Paintings, actually featured more than five smaller works and installations and zero paintings. While the newer gallery, located above Paulie’s restaurant on Westheimer, was smaller in square footage than Cardoza, it carried the same intensity and professionalism. Alexander and Bhichitkul prevailed and the show as whole read as a large and amusing installation. While maintaining the danger and tension element with pieces like “Bungee Jump,” which featured a dangling cinder block above a digital print of broken concrete on the floor. There were subtle pieces like “Lumberjack,” representing a framed print of tree bark with a physical axe embedded into it, leading the viewer to the final gratifying moment when the artist was to have thrusted the axe into the print and wall.

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Last year presented many projects and exhibition to ponder. Galleries and institutions alike had a stellar year, including the MFAH, FotoFest, David Shelton Gallery, the galleries of Isabella Court, DiverseWorks, and plenty more. 2017 proves to have an over the top year for programming with new projects and exciting budding artists taking the stage. Fresh nonprofit projects and initiatives are in the works and will be bringing a productive new source of funding and opportunities for artists, curators, and creatives. Redevelopment and reorganization within several institutions this upcoming year brings a change in direction and gleaming revisioning.

Upcoming for 2017 and ongoing projects:

Lawndale Art Center’s Performance Revival — SPEAKEASY, Lawndale Live and more

With Stephanie Schumann Mitchell taking the reins as the new executive director, Lawndale Art Center has been bringing back the institution’s early grassroots vibes and presenting more evening events and providing a new jolt to Lawndale’s programming. SPEAKEASY is a new program initiative that re-envisions Lawndale’s “Speakeasy” series that took place from 1993 to 2002. The events have featured night performances from celebrated performers such as David Dove, Jawwaad Taylor, and Jandek, and the series does not disappoint. Lawndale Live is a TV studio audience-style show in Lawndale’s project room directed by Phillip Pyle II and hosted by Maurice Duhon Jr., with music programming by Jawwaad Taylor. The show brought on many local talents, artists, featured DJ sets from Flash Gordon Parks and Hip Hop artist Fat Tony, and even hosted former mayor Annise Parker. The new move for project and evening performances is exciting and has received much attention to date. We look forward to much more to come.

Not Like the Other — Iva Kinnaird / Performance Art Houston

Iva Kinnaird is an ever-changing visual and performance artist. Her shows at Aurora Residency, galleryHOMELAND, and works at Lawndale Art Center have always been fascinating. Kinnaird has really kicked it up this past year and appears to be working on several bodies of work at once. This past fall she served as guest curator for Performance Houston’s Instagram page, presenting some incredibly interesting social media works. Ranging from still images to videos of Kinnaird climbing around a table like a troubled feline was entertaining and compelling. Moreover, Kinnaird’s work is fresh and the performances are highly original. She doesn’t overthink it or try to force shock value, it’s a mixture of new concepts and the reimagining of old ones. What makes her work and the work presented online work so well is that she presents what she finds interesting rather than what she feels the viewer wants. The project evolved throughout her online residency and was a highlight of the day to see what was next. Kinnaird’s upcoming exhibition, Art Show!, opens January 27 at Art League Houston and runs through March 11.

Paraspace Books

Paraspace Books is a project by Sara Balabanlilar and S Rodriguez that is currently housed within the new storefront of TOMO Mags. They define the project as a transient queer book space, providing literature by queer and POC writers with a sci-fi bent. The project also received funding from Round 9 of The Idea Fund for a lecture and workshop series titled Textu(r)al Response, through which they hope to develop a community dialogue around ideas of embodiment in regards to personal experiences as well as what a future body is or can/could/would/will be.

Nick Barbee — Art Lending Library Galveston

The Art Lending Library Galveston is a new project led by Nick Barbee with the assistance of a grant from The Idea Fund. It’s just like a regular library, but instead of checking out books, members check out original art. Working off a membership, participants get to keep art works for three months. With a collection of up to 20 works focused on promoting younger artists based in Galveston, the goal is to help out emerging artists and collectors and removes the economic barrier of living with art.

Although 2017 is going to be one hell of a challenge, we have our community to turn towards for guidance and pride. There’s a great deal of exciting creative endeavours within Houston, with new spaces in the works and new festivals being formulated. Not all of these will be worth noting once they have come and gone, but as of now there are many that will be here for this year and next. Houston has been moving above and beyond its creative boundaries and an assortment of international projects are bringing brand new conversations and dialogs throughout the state and beyond. Although we enter 2017 with trepidation, we eagerly await the impulsive and instigative events that shall present themselves from within the creative community.

2016 Art in Review: Electric Boogaloo this is a repost

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