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Jacques Villon
French Painter, Illustrator, and Printmaker
Born: July 31, 1875 - Damville, France
Died: June 9, 1963 - Puteaux, France
Salon Cubism
Synthetic Cubism
The Game of Solitaire (Les cartes) (1903)
Self-portrait (1909)
Little Girl at Piano (Fillette au piano) (c. 1912-14)
Color perspective (Vertical) (1922)
The Kitchen Garden at La Brunie (1941)
Man in Jail: The Grand Testament of Villon (1960-61)
"I want to reduce everything to the absolute."
"Painting is my second existence. My first one was graphics. As a matter of fact, one should have four existences."
"I have always been, fundamentally, a figurative painter. I follow nature, taking certain liberties, I will admit, but it has always been reality that I seek to express."
"We paint to discover ourselves, to explain our deepest nature."
"If I am to complete all the pictures I've been thinking about, I must hurry on with it, you know."
Summary of Jacques Villon
Villon had established himself as a leading printmaker working within the Belle Époque style long before devoting his considerable talents to painting. He was, with brother Raymond, co-founder of the influential Puteaux Group and he named, and helped stage, the 1912 Salon de la Section d'Or, a seminal exhibition in the history of the Cubism and Orphism movements. His own style of painting was driven by mathematical theory through which he married the flat geometric forms of Cubism with a luminous color palette that saw him referred to by some as the "Cubist-Impressionist". Indeed, his preference for a more expressive palette is credited with helping widen the appeal of Cubism amongst a somewhat sceptical public. As his career developed, he experimented extensively with color theory, and dabbled with pure abstraction, before devoting himself to landscapes and prestigious limited-edition print projects.
Not satisfied with the limited "brown" color palettes of the earliest forms of Cubism, Villon experimented with truncated forms and planar shifts which incorporated comparatively saturated colors and thick chromatic contrasts. Associated with the so-called Salon Cubists, his more expansive, more animated, take on Cubism helped make the movement accessible to a wider audience; especially so in America where he featured prominently in the famous Armory Show.
Early in his career, Villon stated that he saw painting both as "a method of prospecting, a manner of expression. With color as bait." His pre-Cubist paintings sat thus somewhere between Impressionism and Neo-Impressionism in a way they married Villon's youthful inclination towards loose brushwork with a more considered engagement with scientific theories in color and optics.
Before dedicating his life to painting, Villon made his name as an illustrator and multi-color intaglio printmaker working in the Belle Époque style that had been made famous by Henri de Toulouse-Lautrec a decade earlier. These works, which captured the ambience and gaiety of life in Montmartre, brought an added element of refinement and sophistication to printmaking making him hugely popular with the Parisian public.
As his career progressed, Villon became more-and-more absorbed with the idea of "a science of colors". In his abstract works, he applied blocks of pure colors - predominantly red, blue, and yellow - to flat surfaces as a means of redefining pictorial depth. His abstractions were the product of a method he devised whereby figurative works (such as horses and riders) were systematically distilled until they were transformed into pure geometric compositions.
The Life of Jacques Villon
Despite his various generic detours, Villon never renounced the principles of Cubism: "I begin from studies of nature", he stated shortly before his death, "But from them I make emerge a construction, a play of arabesques and rhythms".
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Important Art by Jacques Villon
Artwork Images
The Game of Solitaire (Les cartes)
Having arrived in Paris for a second time (following a break for military service) in 1895 Villon studied at the Montmartre atelier of Fernand Cormon. Here he created his first lithographs and earned his living selling illustrations to Parisian newspapers and satirical journals such as Le Chat Noir, Gil Blas, Lassiette au Beurre and Le Courrier Franqais. He also produced numerous posters and prints in the Belle Époque style popularized by Henri de Toulouse-Lautrec in the 1890s. With the backing of the printer Eugène Delâtre, and the publisher Edmond Sagot, he had produced a little short of 250 multi-color and single-color intaglio prints by 1910.
Capturing the street-life of the "bohemian village" of Montmartre, Villon chose to depict a woman playing the game of Solitaire (as the title confirms). Against a red background, the woman is laying on a red bed and, although she is supposed to be playing on her own, the subject (possibly a prostitute or courtesan) invitingly gazes out at the viewer, with a hand placed defiantly on her hip. She is semi-naked and is (a little incredulously perhaps) sporting an oversized yellow hat. A Jack Russell terrier provides her with loyal companionship.
The precision and lightness of Villon's draftsmanship confers a great sense of vivacity on this print. The bold use of color creates a warm and gay atmosphere with Villon employing nuances of red - ranging from light pink to bright red - in a single plate. Villon uses here the aquatint and etching technique with an element of watercolor. In 1904 he became a founder member of the Salon d'Automne, at which he regularly exhibited his own prints. Historian Bill Lieberman suggested that Villon's Belle Époque prints had "the boldness and brilliance of Toulouse-Lautrec touched with the elegance and charm of [the French pastel artist] Paul-César Helleu".
Aquatint and etching, ed. 25 - The Museum of Modern Art, New York
Although he claimed that he never properly appreciated its theoretical principles, this painting sits closest to the sphere of Neo-Impressionism and shows Villon's natural inclination towards intellectual enquiry and artistic self-expression. Moving away from the free spontaneity of the Impressionist landscape, the Neo-Impressionists were concerned with modern urban life and scientific developments in optics and how colors are perceived by viewers. Neo-Impressionism was in fact considered the beginnings of modernism's gradual move towards abstraction. But although Villon would become absorbed by color theory, and would go on to produce abstract pieces of his own, by his own admission he could never fully abandon his commitment to the figurative. It is significant too that he chose to represent himself in a bad mood. The young Villon seems unsatisfied, the image of an artist in search of a solution to his creative impasse.
In his self-portrait, Villon uses stripes of colors to create space and volume; the different directions and sizes of the brushstrokes conferring a sense of motion across the composition. "Til about 1910", he once declared, "I painted as the birds sing, following my instinct, without thinking too much". Yet this painting, while retaining some of the freedom and gaiety of Impressionism, shows Villon already contemplating a new language through which to express himself. The Pointillist influence of Seurat (that is an art based on mathematical rules) is visible here, and it is significant, when looking at how his career developed from this point forward, that Villon would be more impressed by Seurat than by, say, (the Impressionist) Monet. Indeed, like Seurat, Villon is starting to deconstruct his image, drawing attention to each unnatural color applied with a thick brushstroke. It was a style that the art historian Miguel Orozco called "a new vitality [that] came from the mind".
c. 1912-14
Little Girl at Piano (Fillette au piano)
This painting was included in the first exhibition of the Section d'Or group in 1912 and, the following year, it was shown at the Amory Show in America. It is formed of concentric lines around the figure of the girl playing the piano in the center of the frame. The bent lines create an effect of curvature and fluidity. The forms are broken into pyramidal planes and triangular shapes of different sizes and colors according to the details of the figure. The triangles are smaller in the face but larger for the dress. Villon's repetition of the triangle sequence for the hands creates a sense of movement. He also wanted to free Cubism from the severe planes and lines in tones of blacks, grays, and ochres. Here they are replaced with rich blues and greens.
The artist indicated that for portraits of these years, the placement of the limbs and the outlines of the figure were not determined by observed features but by his pre-established mathematical division of the canvas. The canvas is also an oval shape which is unusual for a portrait. Villon did not see the value of repeating the style of nineteenth century family portraiture even though his sitter is Madeleine, Villon's youngest sister.
Orozco wrote that John Quinn, "the most important collector of the epoch, and the person that made the Armory Show possible [and] the father of modern art collectionism [sic] in the United States" had succeeded in convincing the US Congress to overturn the so-called "Payne-Aldrich Tariff Act" of 1909 which put an excessive duty on foreign works of art less if they were less than 20-years-old". Orozco states: "Quinn opened the 1913 Armory Show exhibition with the words: 'it was time the American people had an opportunity to see and judge for themselves concerning the work of the Europeans who are creating a new art'". True to his word, Quinn purchased three Villon works, including Little Girl at Piano (for $ 270).
Color perspective (Vertical)
Villon explained to the art critic Dora Vallier how he had started to "worry about colors" from around 1920. He said: "[before then] I felt a blue, I used a blue. But from that moment I wanted to base myself on a science of colors. I wanted to create in the absolute. I would have done well, in time, to know the theories of the Neo-Impressionists, my research would have advanced faster. I had to do the whole way again on my own. Little by little, I learned a lot from the experience, and I finally knew how to profit from the science of color. It was around 1930 ".
This painting is composed of superimposed polygonal shapes well defined by straight lines. Pure colors are applied in flat surfaces that both define and break the space. The central yellow area tends to come forward while the other colors recede into specific positions. Villon derived his abstractions from figurative works that he gradually distilled into pure geometric compositions. In the 1920s, he started a series of jockey pictures which portray a horse and rider in motion. It is known that the artist used toy horses and jockeys to study the different angles, sides, and colors as a way of recreating all the figurative combinations in abstract form. The numerous drawings, paintings, and prints testify to the meticulous and deconstructive Cubist methods that Villon held so dear. This painting is the outcome of Villon's research; the yellow area being the ultimate schematization of the jockey on his saddle.
For Villon, color was "a weight in the balance of emotions, and this weight will be all the heavier when Red, Blue and Yellow are in the required balance as dictated by the chromatic scale [...] Colors become values which through their interplay ... produce a state of receptiveness [...] I take one of these two colors first, then the other and each after its place in the color wheel calls up two new colors on the canvas. And, doing so, all the colors come to be placed in the painting according to their interference in the light, and the surface covered by each one depends on the arrangement of the planes".
Oil on canvas - Yale University Art Gallery
The Kitchen Garden at La Brunie
Villon executed many landscapes while he was living in La Brunie during the war. In this painting, nature has been transformed into an intersecting network of geometric forms and thin black lines. The diagonal lines on the foreground suggest the rows of the vegetable garden while the long intersecting lines on the horizon lines seem to refer to the city of La Brunie itself. Tall trees can be spotted in the distance as well as gardeners on the foreground. Villon, thanks to a complex network of lines, reintroduced a clear sense of perspective. The organization of the space is carefully fragmented into small geometric shapes based on a linear grid. The architectural element becomes predominant and creates the dynamism of the whole composition. One can also recognize in the structural construction the many triangles that were so fundamental to the painter's thinking.
At the same time, these lines create an abstract pattern on the canvas. The colors used in the spaces left are not truly representative of Villon's work. He uses here pastel and subdued colors in transparent planes, creating an effect of luminosity by juxtaposing different hues. Art historian Edward B. Henning writes that the colors chosen by Villon, rather than describing the landscapes, "create an autonomous composition of pure color which reinforced and enhanced the linear structure".
Oil on canvas - The Cleveland Museum of Art
Man in Jail: The Grand Testament of Villon
In the years between 1959 and 1963, Villon created a series of lithographs and etchings that featured in limited edition books and published portfolios. Made between 1960-61, Villon produced two portfolios dedicated to the poetry of Francois Villon: one consisting of eighteen color ink lithographs without text and published in a limited edition of fifteen; the second portfolio, with text, was a limited edition of 148. All copies were numbered and signed by the artist and were printed, according to Villon's stated instructions, by master printers Pierre Gaudin and Fernand Mourlot after Villon's death in 1963. Reproductions of the original prints were also featured in the anthology, The Grand Testament of Villon (by Francois Villon), published by Henri Jonquieres, also in 1963.
This image shows a figure seated on a long chair in a jail (identified by the title and the bars in the window). The artist relies on straight, parallel, and cross-hatched lines to represent the space and the volumes. His technique of hatching and cross-hatching was developed during his early Cubist experiments and was modified throughout his life. The result in this late career print is a dense work where the lines decompose and compose the figure at once. Villon planned the composition very carefully. The figure seems to advance while the background recedes thanks to contrast between the diagonals of the chair and the cross-hatched background. The empty spaces filled with colors, meanwhile, help define the body shape. The figure is probably meant to be the poet himself. The preface to the book features a quote from the artist: "I did not take the name of this poet by chance, there is between him and me an incontestable spiritual kinship".
Lithograph in color
Biography of Jacques Villon
Jacques Villon was one of four - with Marcel, Suzanne, and Raymond - Duchamp siblings to leave a mark on the early-twentieth century artworld. Born Gaston Emile Duchamp, he was the eldest of the six children born to Eugene and Lucie Duchamp. As Notary in the provincial Normandy town of Blainville, Eugene held the most influential civic position and was able to provide a comfortable life for his family. But it was from their mother, herself an accomplished musician and amateur painter, that the Duchamps inherited their love of art.
Gaston's maternal grandfather, Emile Frédéric Nicolle, was a successful maritime broker, and printmaker of considerable repute, working in the northern port-town of Rouen. When the 16-year-old Gaston was sent to the Lycee Corneille boarding school (in Rouen) he would spend his weekends at his grandfather's house where he learned from him the fundamental principles of engraving and printing. Jacques later recalled how he became quickly accustomed to the feel of copper plates, the smell of etching acid, and the sound of melting varnish. He executed his first prints, portraits of his father and his grandfather, in Rouen in 1891.
Eugene had wanted his eldest son to pursue a career in the law and, in January 1894, he sent Gaston to the capital to study law at the University of Paris. He soon returned to Rouen where he took up an apprenticeship with a local law office. He found time to study art part-time at the Rouen School of Beaux-Arts where he became enraptured by the art of Henri de Toulouse-Lautrec. Gaston submitted many drawings to newspapers and magazines, some of them with leftist political orientations, where his talent started to get noticed.
Gaston wanted to return to Paris to study art but his father was reluctant to let him leave since Raymond (himself destined to become one of the most important Cubist sculptors) had already abandoned his medical career to pursue the life of an artist. Father and son were, however, able to reach a compromise: Gaston could take art classes with his father's blessing if he did not give up on law school. In 1895, Gaston joined his younger brother in Paris and began study at the Ecole des Beaux-Arts - where he became enamoured by the works of Vincent van Gogh and Chaim Soutine - and frequented the painter Fernand Cormon's studio.
Despite his pact with his father, Gaston quickly lost interest in his law studies. He devoted more and more time to drawing. He drew Paris scenes and people and started to contribute to satirical newspapers such as Le Rire and le Courrier Francais, joining a stable of prominent illustrators including Toulouse-Lautrec, Theophile Steinlen, Adolphe Willette, and Louis Forain. It was around this time that Gaston took the name "Jacques Villon". His adopted surname paid tribute to the French medieval poet Francois Villon, while "Jacques" was derived from "Jack", the eponymous hero of Alphonse Daudet's bestselling novel. Gallerist and Villon collector Jack Leissring suggests that the artist may have decided to adopt a pseudonym so as not to displease his father by disassociating his art from the Duchamp name. He started signing works "Jacques Villon" (even "Jack Villon" on a few of his earliest drawings) and Raymond soon followed suit by adding "Villon" to his own name (Raymond Duchamp-Villon).
After serving his military service as an infantryman in 1897, Villon established his own studio in Montmartre in 1898. He soon met Francis Jourdain, a politically radical painter and decorator, who persuaded him to revive his interest in printing. Many painters were experimenting with lithography around this time but, with the notable exception of Mary Cassatt and Eugene Delatre, color etching was becoming a rather neglected skill. Villon joined their workshop and began exploring the possibilities for the medium. He soon became a master of the techniques of color printmaking using etching and aquatint. Inspired chiefly by the milieu of the bohemian "village" of Montmartre, Villon presented a vivid portrait of the capital at the turn of the century. In 1899, the esteemed publisher Edmond Sagot took Villon under his wing. He produced about 175 color prints and posters for Sagot, all of which sold. Such was his success that in 1903 Villon helped organize the drawing section of the first Salon d'Automne (soon to become one of the most significant annual modern art exhibitions). In 1904 Villon engraved Sagot's business cards and Delatre's greeting cards as a token of his appreciation for their support and patronage.
Art Historian Miguel Orozco writes that Villon had found "a style, a formula and a niche and could have been content with such easy success". However, the artist feared he was becoming repetitive and grew increasingly drawn to painting. Between 1904-05, he studied at the Academie Julian where he painted in a Neo-Impressionist idiom. His first gallery exhibition, which he shared with Raymond, was held at Galerie Legrip in Rouen, in 1905. He also exhibited at the 1905 Salon d'Automne which was witness to the public inauguration of the Fauve movement.
Villon was, however, tiring of the Parisian life and in 1906 he relocated to the quieter suburban town of Puteaux with his favorite model Gabrielle Boeuf. He later rued, "If I hadn't left Montmartre then I wouldn't have done a thing in the whole of my life". A year later, Raymond followed him and moved into a nearby studio apartment with his wife Yvonne. Marcel (Duchamp) was then living in Neuilly, a nearby city and would frequently visit his brothers. Puteaux was also home to other artists, including the Czech painter and graphic artist, Frantisek Kupka, with whom Villon remained friends throughout his life.
In this quieter environment, Villon devoted more and more of his time to painting. He became much closer to his brother Raymond who was a cheerful and enthusiastic man and may well have played a role in his elder brother's full-time conversion to painting. They would meet frequently with other artists, including Kupka, Albert Gleizes, Robert Delaunay, Fernand Léger, Francis Picabia, and poet Guillaume Apollinaire. On Mondays, the brothers would meet at Jean Metzinger studio in nearby Courbevoie, and on Sundays at Puteaux, in Villon's residence. Far from central Paris, the Puteaux Group, as they became known, would debate the on-going artistic developments of the capital and share their ideas on new innovations.
It was during these gatherings that Villon became aware of the potential for Cubism. It represented for him an approach based on rigor, order, and the search for a sculptural and volumetric effect (rather than the "simple" representation of the subject). The Group, which was critical of the dour palettes preferred by Picasso and Braque (neither of whom ever joined a Puteaux meeting), started discussing the stylistic and conceptual possibilities for this otherwise revolutionary practice. As the art historian Miguel Orozco writes: "Villon wanted to free cubism from the severe planes and lines in tones of blacks, grays and ochres. Puteaux actually opened the way to Synthetic Cubism, characterized by simpler shapes and brighter colors. Villon wanted to saturate color, to give it all its brilliance and depth".
Villon was profoundly influenced by Da Vinci's Treatise of Painting, especially the Renaissance master's theory of pyramidal perception. Villon was fascinated with the pyramid and ideas on how proportions might further develop through Cubism. Villon declared that "By superimposing on the painting this pyramidal form [...] one gives it a density in which the interaction of echoing colors produces depth - a depth creating space". For Villon, Da Vinci's pyramid and the balanced golden section principle could provide the symmetrical structures to render Cubism a classical art form. (Such was the intensity of his drive to intellectualize art, his brother Marcel wrote a mocking pun on one of his glass paintings which read: A regarder d'un oeil, de près, pendant presqu'une heure (To Be Looked at, With One Eye, Close to, For Almost an Hour). Beneath this de-facto title, Duchamp added the comment "Nobody would want to look at anything following this prescription".)
Villon's print production significantly decreased during these transitional years and, in 1910, when the publisher of Le Courrier Francais died, he ceased his work with the newspapers altogether. The illustrative aspect of his art had all but disappeared with his former patron Sagot refusing to edit and sell his prints. Meanwhile, the gatherings at Puteaux were providing real intellectual stimulus for Villon as it was for other participants; especially Metzinger and Gleizes who developed many of their ideas about the new painting technique. When Futurism arrived in Paris in 1911, it was a topic of great interest to the Puteaux group. Marcel Duchamp was one of the most interested in their development, even though he never formally aligned with any single movement, while "new" artists joined the Puteaux discussion group, including Juan Gris and Alexander Archipenko.
Cubism was by now taking hold within the Parisian art scene and many avant-gardists were trying to expand its aesthetic boundaries, including the Puteaux group. At the 1911 Salon des Independants, they even exhibited in the same hall as the Cubists. The following year Gleizes and Metzinger published Du Cubisme based largely on the discussions in Puteaux. It proved a landmark publication that became a kind of instruction manual for the group. The Puteaux artists soon decided it was time to put on their own exhibition and Villon choose the group/exhibition title: La Section d'Or, or the Golden Ratio, in homage to Da Vinci's sacred proportions. The mathematical reference clearly signalled the difference in method to the more intuitive approach of Picasso and Braque.
The Section d'Or show opened in October 1912 at the Galerie de la Boetie. The inauguration was held from nine until midnight, invitations were widely distributed prior to the show, and many of the guests had to be turned away on opening night. Lectures by Guillaume Apollinaire, Olivier Hourcade and Maurice Raynal were advertised, and a review, also named La Section d'Or, was published and distributed amongst attendees. The review featured contributions by, among others, Apollinaire, Roger Allard, Max Jacob, and André Salmon. Twenty-one artists exhibited more than 200 works. it was the most exhaustive pre-war exhibition devoted to Cubism and the new, but related, movement of Orphism (associated chiefly with Robert and Sonia Delaunay and named by Apollinaire after the Greek poet and musician, Orpheus, because of its colorful fluidity and its leanings towards an abstract "musicality").
Attending the inaugural Section d'Or exhibition was the American planning committee for the famous Armory Show which would introduce European avant-garde art to an American audience. Walter Pach, Arthur B. Davies, and Walter Kuhn selected nine of Villon's works for the 1913 exhibition. Although the Armory Show was a career high for Villon, it also marked the point when Marcel, the younger brother whose talent he had nurtured till now, produced the Show's most infamous, and most successful, exhibit, Nude Descending a Staircase No. 2. Marcel had in effect overtaken Villon to become the most important of the Duchamp siblings.
Busy as he was with his artistic endeavors, Villon and Gabrielle Boeuf married in October 1913. They would remain married for the rest of his life. Villon represented Gabrielle many times in his work (starting as early as 1904 in fact) and she was great support to her husband throughout his life. The war, meanwhile, brought an abrupt halt to the artistic effervescence of the Parisian avant-garde. Villon enlisted in 1914 and he fought on the Champagne and Artois fronts before joining the camouflage unit in 1916. Several artists were mobilized there, in fact, and Villon became closely acquainted with Dunoyer de Segonzac and Andre Mare.
The return to Paris in 1920 was hard for Villon. His brother Raymond had died in October 1918 having contracted typhoid while fighting on the front. Marcel kept in touch from New York where he was now living, while his youngest sister, Suzanne (and closer to Marcel in age and in character), married the Dada painter Jean Crotti and was setting out on her own artistic career in Paris. Villon had his first solo exhibition in the United States at the Societé Anonyme, New York, in 1921 but that event aside, he was unable to work freely on his painting since his involvement in the war meant he had no paintings to sell.
Villon was obliged to accept two projects which consumed most of his time during the 1920s. For the review Architectures, published by the Éditions de la Nouvelle Revue Française, Villon engraved 36 detailed black and white architectural drawings made by Andre Mare, Louis Sue, and Paul Vera. For the other project (arranged for him by his new brother-in-law, Crotti) Villon worked for the Bernheim-Jeune gallery in Paris making interpretation prints based on the works of modern artists such as Cézanne, Van Gogh, Renoir, Matisse, Picasso, and Modigliani.
During the 1920s, he had such little time to spend on his own work that he etched fewer than twenty plates, all printed in black and white, and all in an abstract style. His lack of original output meant that his standing within the Parisian art world slipped considerably. The master printer Fernand Mourlot, who worked with many important artists and on interpretation prints, revealed in his second book of memoirs that Villon had described to him how Matisse had rebuked Villon (who had addressed him informally) by telling him to "call me Mr. Matisse". Nevertheless, print curator William Lieberman explained that Villon worked on his commercial work without the aid of photomechanical processes and that "the resulting prints are miracles of the engraver's art" (indeed, most of these plates have since been acquired by the Chalcographie du Louvre). Little by little, Villon's finances improved and, after finishing the Bernheim-Jeune project, he was finally able to focus once more his energies on his own art.
The 1920s and 1930s had been witness to the rise of Dada, and then, Surrealism. Villon, however, had remained steadfast in his commitment to geometric investigation. In 1932, the painter began to exhibit with the Abstraction-Création group. This new group formed a challenge to the Surrealists and included amongst its members Theo van Doesburg, Jean Arp, Jean Helion, Auguste Herbin, František Kupka, and Albert Gleizes. Villon exhibited with the Group in several exhibitions and produced abstract paintings that saw the artist focusing more on color theory.
Villon's affiliation with the Abstraction-Création Group was short lived because he could never give up completely on figuration: "I did not feel at ease despite great sympathy for the movement - but impossible to let the earth go", he later stated. Villon immersed himself rather in scientific treatises on color, such as those formulated by the American physicist Ogden N. Rood and Rosenthiehl's 1934 publication, Traite De La Couleur, whose color charts were especially inspirational for the Frenchman.
By the mid-1930s Villon had started to work on landscapes and developed color theories of his own. By his own admission, his choice to work in near isolation meant he was ignored or, at best, regarded as a marginal figure, within the French art fraternity. Villon was still well regarded in America where his works graced several avant-garde collections. Indeed, he and Gabrielle took a brief excursion to New York in 1936 where he painted two notable cityscapes (featuring the New York skyline). Upon his return to France, Villon continued to work almost exclusively on landscapes. When the Second World War broke out, the Villons fled to Tarn in the safe Occitania region of Southern France.
While in Tarn, Villon was able to paint landscapes for long periods without interruption: "I sat for three months almost every evening in front of [...] nature and I drew wisely by measuring and painting" he said. Speaking of his preference for landscapes over still lifes of isolated human figures (the two thematic preferences of the Cubists) he added that the "superiority for me of landscapes [...] is that there is a group, a whole: the trees, the houses, the sky and the earth [which] play a drama or a fairyland; there is a dynamism that only needs to be highlighted". Villon did not abandon his penchant for philosophical enquiry, however, and sought ways of marrying Cubists concepts with the scientific theories of the Impressionists. Indeed, this unique field of experimentation saw Villon sometimes referred to by some as the "Cubist-Impressionist".
Once it was considered safe to do so, the Villons returned to Puteaux. Then, in 1944, on the back of an important presentation of his work at the Galerie Louis Carré, Villon signed a contact with the dealer Louis Carré who had recently opened a gallery in Paris. Carré purchased Villon's fresh stock of paintings and even paid for the installation of electricity at his Puteaux studio. As his exclusive dealer, Carre organized a solo exhibition in 1945 which boasted a catalogue prefaced by the poet Rene Char. Villon was finally beginning to achieve the widespread recognition that had hitherto eluded him. His ascendency was confirmed in 1950 when he won first prize at the Carnegie International exhibition of paintings and the Grand Prize for Painting at the 1956 Venice Biennale. The following year, the National Museum of Modern Art in Paris dedicated a vast retrospective to the 76-year-old's career.
During these later years Villon continued to work out of his studio in Puteaux. He would take on many more projects, including, with Marc Chagall and Roger Bissière, stained glass window designs for the Metz cathedral in 1957. In 1960 he produced the illustrations for a book by the poet from whom he borrowed his last name. In 1963, he was named Chevalier of the Legion d'Honor (posthumously promoted to Officier and then Commandeur) and died soon after, in his studio, on June 9, 1963, aged 87. He was buried in the Rouen cemetery in a tomb where he rests with the other members of the Duchamp clan.
The Legacy of Jacques Villon
Adverse to self-promotion, and eclipsed somewhat by the celebrity of his brother, Marcel Duchamp, Villon's achievements were nevertheless substantial. He is remembered mostly today for his contribution to the advancement of Cubism in the early 20th century. As co-founder of the Puteaux Group, he developed a Cubist art based on pure mathematical concepts and was instrumental in the staging of the landmark Salon de la Section d'Or exhibition of 1912 (which he also named). Paris based artists including the likes of Henri Fautrier and Serge Poliakoff took inspiration from his work but as the so-called "Modern School of Paris" yielded to the "New York School" as the citadel of modern art, Villon's latter career, which featured figural and landscape painting, was somewhat overshadowed.
His impact on the art of engraving and etching was also impressive. Indeed, Stanley William Hayter, founder of the Atelier 17 printworks studios in Paris and New York, and perhaps the most important printmaker of the Anglo-Saxon world, called Villon the "unacknowledged father of modern printmaking". In the preface for the exhibition at the Museum of Modern Art in 1961, curator and historian Bill Lieberman added that, "six decades after his first etching in 1891, Villon can look upon a production of printed work which in variety and technique is surpassed by no other living artist".
Albert Gleizes
Jean Metzinger
Edmond Sagot
Jean René Bazaine
Henri Fautrier
Serge Poliakoff
Roger Bissière
Frantisek Kupka
Pierre Gaudin
Fernand Mourlot
Olivier Hourcade
Maurice Raynal
Modern School of Paris
Useful Resources on Jacques Villon
Jacques Villon, Cubist work on paperOur Pick
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Jacques Villon and his Cubist printsOur Pick
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The Duchamp family of artistsOur Pick
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Jacques Villon né Gaston Duchamp (1875-1963)
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By Miguel Orozco / December 2020
Jacques Villon: A New Appreciation of His Graphic Art
By William S. Lieberman / The New York Times / February 2, 1962
By Robert Pincus-Witten / Art Forum / November 1970
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Conference about Jacques Villon at the University of Rouen
Raymond Duchamp-Villon
Content compiled and written by Pich-Chenda Sar
"Jacques Villon Artist Overview and Analysis". [Internet]. . TheArtStory.org
First published on 23 Sep 2021. Updated and modified regularly


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A Winter in the Pit: Washing Dishes in the Alaskan Arctic
On a weekend holiday to Fairbanks, I stepped into Big Ray's shop, where walls and racks were festooned with down jackets, wool hats, gloves, boots and face masks of every style and function imaginable. I have read that one measure of the dominance of winter is the number of words available to describe snow in the native languages of that region. I now knew that another indicator was the abundance and variety of long underwear available at local retailers. Each pair was categorized by the level of cold it was designed to withstand, one labeled "Very Cold" and the other "Extreme Cold."
As I approached the man at the front counter, I explained to him that I was new to Alaska but I didn't want to overdo it by getting the really heavy-duty stuff when regular heavy-duty would suffice.
"I'm from Chicago," I added helpfully, to let him know I wasn't a total wuss when it came to cold.
"I don't think there's anything you can do that's gonna properly prepare you for what you're about to experience this winter," he said. He wasn't smiling.
I opted for both pairs and some wool socks.
Coldfoot Camp is located on Mile 175 of the Dalton Highway. At 60 miles north of the Arctic Circle, it's the world's northernmost truck stop. It's been featured on the show Ice Road Truckers, and its hiring website indicates (with wicked glee) that it is 260 miles north of the nearest stoplight, in Fairbanks.
The opening was for a dishwasher who could start that summer and stay on for the winter season. I'd previously dished at a four-diamond, all-vegan resort on the coast of Northern California. It would be difficult to find a more antithetical restaurant experience than a truck stop in the Alaskan Arctic, where an order of biscuits and sausage gravy with hash browns and two eggs any-way-you-like-'em was listed on the menu as the "Trucker's Favorite." But dishing is dishing, anywhere you go. I applied. Two weeks later I was standing on the dirt runway of Coldfoot's airstrip.
At each stop along my journey north the planes grew smaller until I eventually sat aboard a 9-passenger bush plane with a honking pair of headphones clamped over my ears. Once airborne, our pilot flicked the controls into autopilot and turned on the local sports station. It faded to static as we passed beyond the range of Fairbanks's airwaves and into a sprawling landscape of boreal forest and tundra, pockmarked by lakes and slithering with rivers. The vista was daunting, but its most dramatic feature lay buried beneath a cloak of green. The presence of permafrost — a permanent layer of frozen ground beneath a thin slip of soil — was indicated by dwarf trees, blocked from digging deep root systems that anchor taller growth.
"Winter is a constant, though usually hidden companion during the short Arctic summer," writes John Milton. "The quickness of summer intensifies an awareness that warmth here is only a brief respite from cold, that light will soon be followed by a deep and much longer-lasting darkness. This mood dominates the land and everything living in it."
Or as MudD, our maintenance man would later put it to me, "Summer's almost over before it begins."
From the air, two feats of human industry can be traced zigzagging north towards the Arctic Ocean like scars on an otherwise unmarred landscape: the Trans-Alaska Pipeline, and its correlating artery, the Dalton Highway. The pipeline pumps oil from Prudhoe Bay 800 miles to the port of Valdez, while the highway supplies the truckers and pipeline crew necessary to keep it flowing.
Coldfoot Camp is the midway point for anyone headed north or south on the Dalton. It's a big dirt lot with a little oasis of gas pumps — open pasture for semi trucks. On one side of this lot was the cafe where I would be spending much of my time. It was a modest building with a slightly less industrial feel than anything else around it and the only commercial enterprise for hours in either direction. Rising 20 or so feet from its roof was a conical red flag, the kind that inflates and turns its narrow end to indicate the velocity and direction of the wind. On breezeless days it looked like a sad, droopy hat.
Across the lot sat a pair of long, white buildings with a likeness to a couple of heavy-duty trailer homes. ATCO units installed in the 70's for crew workers on the Trans-Alaska Pipeline, they've since been rechristened as the Coldfoot Inn. Glamorous, not so much, but a person doesn't come to the Arctic to admire the wall art.
Another set of ATCO units behind the cafe housed my fellow coworkers and me. Over the course of my time living in the crew quarters, I grew quite fond of my room with its decades-out-of-fashion, wood-paneled walls and ominous red carpet stain. Though I doubt I'll miss the ancient heating system, which seemed to have two modes: Off or Inferno. There were -40 degree nights, window wide open, that I woke in a slick of sweat.
Coldfoot's owners employ the word "rustic" to describe the feel of the place, though some might find that to be a coy description. Personally, I think it fits. The cafe was scuffed and chipped from the floor to the dinner plates, exactly how an Arctic truck stop ought to be. An amateur mural featuring trucks and mountains stretched the length of a wall. Laminated posters provided information on note-worthy events in the construction of the Dalton and the Trans-Alaska Pipeline. Pinned above a bay in the building was a large Christmas wreath with a toy semi truck inside of it. It was all wonderfully earnest. I would have been thoroughly disappointed had I come this far north only to find a brightly lit, standardized retail space across the street from a McDonalds and an outlet mall. There was an authenticity in the homeliness that reminded me why I continue to seek these kinds of places out.
Life at a Coldfoot was like life on a ship. You worked together, lived together, ate together and sat on the same toilets. Some co-workers dated each other. Several tied the knot. You had your own room, but walls with the soundproofing capabilities of cardboard meant privacy was limited. In the dead of winter, when gray light crept into the sky for no more than four hours a day and temperatures dropped below -40 degrees, taking a walk to clear your head became an expedition, conditions that reduced certain among us to periods of locking ourselves in our rooms, getting drunk and madly scribbling in Sudoku puzzles.
The job attracts interesting people. We went by a collection of names that, read off a roster, made us sound like a band of pirates. There was Maniac, the sweetest, most demure person I've ever met; MudD, a body-building movie-holic; and Tugboat, who spent over 100 days out of the year sleeping in a bivy sack on the side of the Colorado River.
Then there was Cast Iron, a big-bellied man in his 60's enraptured by the Arctic. "I got up here late in life," he liked to say. "There's just too much for me explore to think about going anywhere else."
Cast Iron put most of us to shame with the enthusiasm he displayed tromping out into sub-zero temperatures or riding his bike along the Dalton. He invited me out to his campsite in the woods where we heated our dinner over an open fire. Flames crackling in the fierce cold, we sipped our hot soup under a sky smattered with stars.
First it was a gold mine. Then it was a ghost town.
Miners settled what was originally known as Slate Creek in the final years of the 19th century. They established a gambling hall, two roadhouses, two stores and seven saloons. The name Coldfoot is supposedly a jab at the ones who got cold feet and tail-ended it back south. The area must have proved to be less a fountain of wealth than the miners had hoped, so the mining operations relocated to Wiseman, about 12 miles up the nearby Koyukuk River, between 1911 to 1912. Some of the local topography owes its name to the original camp's ladies of the night. Today, Emma Dome looms over the highway.
In 1968, an estimated 10 billion barrels of recoverable oil was discovered at Prudhoe Bay, inciting the construction of the Trans-Alaska Pipeline. Coldfoot had a second coming as one of 29 camps housing some of the 70,000 pipeline construction workers from '75 to '77. The pipeline years were followed by another period of disuse.
Then along came Dick Mackey: Iditarod champion, Alaskan legend and an ambassador of sorts for the Dalton highway.
Mackey realized that Mile 175 was an ideal spot for truckers who needed to hit the head on the trip between Fairbanks and Prudhoe. So in 1981 he parked an old school bus there and started serving them coffee. Coldfoot's wood center pole is inscribed with dozens of names, truckers who put a hand in helping build the cafe up from its humble beginnings. It is a chronicle of the Dalton Highway and the people who've driven it since its inception, as well as the literal backbone of the building.
Our main customers were those truckers driving materials up to America's largest oil field by way of America's northernmost state-maintained road. The road was completed in 1974 in preparation for the construction of the Trans-Alaska Pipeline. Truckers still refer to it by its former name, the Haul road. By 1995, all 416 miles of the Dalton were open to the public. Anyone wishing to drive to its northern terminus at the gateway to Prudhoe Oil Bay, Deadhorse Alaska, (and grab a drink at the local Starbucks, I'm not kidding) can do so, but most of the road remains unpaved, and it is prone to chewing cars up and spitting them out.
Some say that the Dalton's notoriety is overstated, but cars go off the road every year. Their metal carcasses haunt the roadside for months or even seasons on end before anyone gets around to hauling them out. Semi trucks command the Dalton, hurdling by, snow or dirt gusting up from their tires, engines bellowing miles off like gargantuan creatures prowling their territory. No surprise I found myself tensing up around a few curves while hitching a ride in one of these monsters back to Fairbanks one day.
As I gazed out his mud-splattered windshield, my ride Jim kept me entertained with stories of harrowing moments on the job. Heating a frozen jack with a blowtorch while changing a tire in -30-degree weather, flash blizzards that obscured visibility to the point that you couldn't tell whether you were driving down the middle of the road or over the edge, and the rush of vertigo brought on by snow whipping sideways past your window.
In one particularly vivifying story, Jim had parked his truck on an icy slope after realizing he wasn't going to be able to make it to the top. Just as he finished wrapping his tires in chains, the truck began to slide backward. Jim raced around to the driver's side but couldn't manage to jump in before it picked up speed. He watched in horror as the semi's back end began jack-knifing towards the side of the road. Then the chains caught. The wheels rolled over on their brakes and ground to a halt, their back-most members dangling over a steep descent. Listening to him talk I couldn't help sense the potential for a T.V. show. And then I remembered, there already was one.
So why live in a truck stop in the Arctic? The least romantic answer: It's lucrative.
Many of us were travelers. With no rent, no grocery expenses and nowhere to spend our money (except the internet, thank you Amazon), saving up for future trips became incredibly doable. Zero commute and less commercial distractions allowed a person to focus on what's important to them. The ability to come and go without the anchor of a lease agreement made the live-where-you-work factor ideal for roaming. All that being said, the most obvious reason for living in the Arctic was that you got to live in the Arctic.
The foothills of the Brooks Range rose up beyond the rooftops of camp, massive rock faces poised to capture an array of colors as resplendent as the Arctic is ongoing, from the deep pinks, reds and violets of dawn and dusk, to the burly slate and steel blue of frigid winter days. We name them, claim them, divide them by political boundaries, but all that seems like nonsense when you're staring up at one. Nobody conquers a mountain. It gazes down upon our line drawing and nation building like someone watching a child carve moats and sandcastles on the beach. If you have any thoughts to the contrary, walking up one will help dispel the illusion.
A hike during the warmer months most likely means stream fording and bushwhacking, as this country is backcountry, and trail systems are almost exclusively the product of wildlife. There is no gift shop at the top of these Arctic mountains, no gondola ride from the summit. You earn only the steps you take.
In my case, I also earned an encounter with a very large brown bear. A bear can be happened upon in one of two states: either it's hibernating or it's hungry. I decided this one belonged to the second category, calculating how many seconds it would take to reach me if it charged (a bear can cover 40 feet in a second: so about two, I figured). The canister of bear spray that had cast an aura of safety around me up until then, bouncing on my hip like a trusty revolver, seemed about as useful as a can of DEET under the purview of an actual bear. After a few pulsing moments, the bear turned its nose down the mountain, a mutual disinterest in pursuing further relations with one another agreed. We went our separate ways but I was shaken for the rest of the day, glancing over my shoulder in case the hulking, furry animal changed its mind.
Beyond bears, the cold itself became a beast. As winter turned full tilt and temperatures fell below nose hair-freezing levels, the urge to escape the doldrums of the ATCO units during the slim hours of daylight grew strong enough to suit me up in nearly every article of cold weather gear I possessed and scoot me out the door.
This was, admittedly, on a warmer winter day, somewhere in the negative tens. The hike that followed took me through open tundra and over frozen lakes, at one point descending steeply through a strip of boreal forest in snow so deep and powdery that even with snowshoes I sank to my waist and on to the top of a deceptively squat-looking mountain called the Nub. Six hours round trip, during which I sweated through my down jacket and thanked my lucky stars I'd thought last minute to stuff another into the bottom of my pack, I stripped off one and pulled on the other. The wet rag (formerly my jacket) made a crinkling sound as it solidified into a hunk of ice.
It could be easy while among the creature comforts of a central-heated truck stop and crew quarters to feel immune to nature's elements. During the short walk between the two buildings, the cold became a nuisance rather than a death threat. Hiking the backcountry, however, provided plenty of reminders that this was still the Arctic. It didn't care where you came from or who you knew. It had no qualms turning you into a permanent fixture of the landscape.
Inside the main entrance of the crew quarters was a landline telephone. The sign posted next to it read: "Welcome to Coldfoot, one of the last places on Earth where your cell phone doesn't work." By the time I arrived, that sign was out of date. The first cell tower to be erected along Mile 175 had gone active a few months earlier. An outpost on the edge of human civilization feels a lot less rugged when the person next to you is thumbing around on Facebook.
Over the long winter haul, I woke in the dark, rubbed my eyes, pulled on my uniform and trudged to work. Some mornings, when I questioned what I was doing out there when I was feeling less like a frontiersman and more like a dishwasher, it was worth looking up. Within seconds, eerie rivers of green and pink light could flood the sky and just as quickly dissipate again. The Aurora appeared now and then as a kind of reassurance that the world was still a wild, beautiful place.
My bags were packed. It was mid-May and spring was just finally bursting up through the snowpack. People were outside in T-shirts tossing around a Frisbee. Incredible. An hour after clocking out of my final shift I was on a plane headed south. I was meeting a friend in Fairbanks for an Alaskan road trip, during which we'd both get miserably sick but have a hell of a good time anyways.
The plane pitched to turn us south, offering one last glimpse of the small cluster of buildings by the highway that was Coldfoot Camp: gold mine, truck stop, outpost, Alaska.
By Maximilian Armstrong
Maximilian Armstrong has a penchant for adventure and stories. He's backpacked Canada, hitchhiked America, motorbiked Vietnam and wintered in the Alaskan Arctic. His current expedition is thru-hiking the Appalachian Trail.
© 2020 TheExpeditioner.com

redpajama_set_name: RedPajamaCommonCrawl


1. Please take a moment to read and understand these instructions before installing your Flowmaster cold air intake kit.
2. Use the parts drawing and list (front page) to verify your kit's contents.
In the unlikely event that any parts are missing, please contact FLOWMASTER Technical Support for replacements.
To simplify assembly and avoid cross-threading fasteners , identify and separate the ¼-20 screws, item (15) (used with nuts (21)), and the M6 screws (7) (used with filter adapter (3)).
• We highly recommend that you retain all factory air intake system parts.
• Please refer to vehicle manufacturer's recommendations regarding removal of factory components.
• Disconnecting the negative battery cable erases pre-programmed electronic memories. Write down all memory settings before disconnecting the negative battery cable. Some radios will require an anti-theft code to be entered after the battery is reconnected. The anti-theft code is typically supplied with your owner's manual. In the event your vehicle's anti-theft code cannot be recovered, contact an authorized dealership to obtain your vehicle's anti-theft code.
3. Turn off the vehicle's ignition and disconnect the negative battery cable.
4. Remove the engine cover by firmly lifting it straight up to release it from its friction clips.
5. Use a flat-tip screwdriver to separate the coolant hose clamp from the intake duct, then remove the clamp from the hose.
6. Disconnect the electrical plug from the Mass Airflow (MAF) sensor.
7. Loosen the hose clamp securing the air intake duct to the throttle body..
8. Loosen the hose clamp securing the air intake duct to the MAF sensor, then disconnect the intake duct from the MAF sensor.
9. Carefully pull the breather hose off the breather line (just inboard of the oil filler neck – shown disconnected).
10. Lift the intake duct resonating chamber straight up, just enough to release it from its friction clip.
11. Disconnect the intake duct from the throttle body, and remove the duct from the vehicle.
12. Remove the assembled airbox and MAF sensor by grasping the sensor and lifting straight up (to release the airbox mount pins from their rubber grommets), then sliding the airbox inboard to release it from its shelf.
13. Remove the MAF sensor from the airbox. CAUTION: The sensor is delicate! Handle it with care, and place it in a safe location until reinstallation.
14. Remove the airbox shelf mount bolts, and remove the shelf. Retain the bolts for installation of the heat shield at Step 20. NOTE: During removal of airbox shelf mount bolts, if there are any differences in bolt length, note each bolt's location, in order to maintain proper hardware clearance at reinstallation.
15. Assemble air filter adapter (3) to heat shield (18) using M6 screws (7), lock washers (6) and flat washers (5).
16. Attach long bracket (16) to heat shield using ¼-20 screw (15) (against the bracket) and nut (21), lock washer (20) and flat washer (19) (against the heat shield). Do not fully tighten hardware at this time.
17. Attach short bracket (17) to heat shield using ¼-20 screw (15) (against the bracket) and nut (21), lock washer (20) and flat washer (19) (against the heat shield). Do not fully tighten hardware at this time.
18. Attach gasket (4) to heat shield as shown. Starting at one end, firmly press the gasket onto the edge, gradually working around the heat shield. When you arrive at the ending point, use metal-cutting shears to trim the gasket to length.
19. Slip two hose clamps (8) onto a 3¾" - 4" coupler (14). Push the coupler's 4" end onto the air filter adapter, all the way against the heat shield, and tighten the clamp. Orient the MAF sensor so that the airflow arrow points away from the coupler, and push the sensor fully into the coupler, so that its lip touches the coupler, then tighten the clamp.
20. Place the assembled heat shield in the vehicle, and secure it with the 4 bolts retained at Step 13. NOTE: To maintain hardware clearances, use the correct length bolt at each location (as noted in Step 14). Then tighten the heat shield bracket screws.
21. Apply 2 wraps of nylon thread tape to threads of 3/8" barbed fitting (9), and install it in the intake tube (13). Note the Filter and Throttle Body ends of the tube (for the next two steps).
22. Slip two hose clamps (8) onto the other 3¾" - 4" coupler (14). Install the 4" end of the coupler on the Filter end of the intake tube, and snug (but do not yet tighten) the hose clamps.
23. Slip the last two hose clamps (8) onto the 4" coupler (12), then install the coupler on the throttle-body end of the intake tube. Snug (but do not yet tighten) the clamps.
24. Install the intake tube in the vehicle. The tube will pass under the coolant overflow line (A), and over the two radiator lines (B).
27. Adjust the intake tube as necessary to avoid contact with surrounding components (such as the radiator hoses). When the tube is aligned as desired, tighten the two tube clamps.
28. Push one end of hose (11) onto engine PCV tube (A). Cut the hose to length and secure it to the barbed fitting (B) with the pinch clamp (10).
29. Plug the MAF sensor lead into the sensor until it clicks, then verify the connection is secure.
30. Slip clamp (2) onto air filter (1), install filter on filter adapter, and tighten clamp.
31. Install the engine cover by aligning it with its mount posts, then snapping it into place.
Congratulations, the installation of your FLOWMASTER cold air intake kit is now complete!


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PGA TOUR wives hit TPC Scottsdale for charity, embrace 'hilarious' 1980s theme
By Helen Ross, PGATOUR.COM
Meagan Laird dragged her husband Martin to the range on Monday, and they hit balls for about an hour.
But it wasn't to fine-tune the three-time PGA TOUR champ's game in advance of this week's Waste Management Phoenix Open. Actually, Meagan was the one who needed the practice time.
"I have a tendency to — Martin laughs (at me) — swing a little hard," she explains. "I try to go all in instead of like, you know, break myself. So, I was more afraid I was going to pull a muscle or something."
Luckily, though, Meagan had no injuries to report after playing in Tuesday's PGA TOUR Wives Classic on the Champions Course at TPC Scottsdale. And while she felt she "wasted all my good shots" on the range — "It looked like I'd never touched a club," Meagan said — her team finished in a three-way tie at 8 under.
Of course — the nine-hole scramble, which began in 1987 — was all in fun, as well as to raise money for charity, with half of the proceeds staying in the Phoenix area. This year, the PGATWA is funding Blessings in a Backpack at Nevitt Elementary School to provide food on the weekends for children who might otherwise go hungry.
The winning team, in a scorecard playoff, was Melissa Lehman, Rachel Chapman, Jennifer Smith and Cynthia Allen while Laird's group of Ashley Teater, Casey Sloan and Ina Kim finished second. Also coming in at 8 under in third was Andrea Knox, Alicia Zuckerman, Kelly Hoge and Alyssa Cejka.
Martin was among the husbands and significant others driving the cart – wait, make that, caddying — offering advice, at times, and moral support always. At times, though, Meagan noticed her husband was a bit distracted – he was texting his coach and his own caddie, trying to get the loft right in one of his wedges.
"And I looked at him, your job is here right now," she said. "He just kept laughing. I'm like, where's your head right now? You're not helping me. He was like, yeah, no, I don't have anything big going on this week, you know?"
Each couple received three mulligans where the husband was able to use his wife's clubs to re-do a shot. Some of the wives were using rentals. Meagan brought her own set with senior flex shafts.
"So, you have a bunch of all the guys, these TOUR players, most of them are hitting ladies-shafted clubs," she said. "But Martin, every year I always laugh … He just makes it look so effortlessly. I mean almost snapped in half the club, but it's funny to see them play with (what is) not their equipment.
"And Josh Teater (when he hit), he's like, well I've got to take off my bib, I got to take off my glasses. I got to take off, like had to de-dress for him to hit his shot. I mean it was just so funny."
Not that the mulligans were always used judiciously, though. On one particular hole, Laird's group squandered four of the re-dos on a 12-foot putt to one of several holes cut about three times bigger than normal.
"So, we all hit our putts and the guys are like, 'Oh my God, how can you not make that?'" Meagan recalled. "And we wasted like four mulligans and like each of them tried once and then someone tried twice and none of us could make it — and that'd be the guys. And we all were like, I mean, I thought it was easy. Come on, come on we just wasted four mulligans and no one made it.
"The hole was huge. Josh is, like, everyone says, just think of the hole as being bigger. And he's like, I swear that makes it worse."
The theme for this year's tournament was the 1980s. Some of the guys wore neon-colored short one-piece jumpsuits that were "hilarious," Meagan said. There were mullet wigs and an '80s workout vibe to some costumes.
Laird's group paid homage to "Caddyshack," wearing jeans and some red t-shirts and hats that she found with the Bushwood Country Club logo.
"They don't wear a belt in the movie and (Martin's) like, my pants are falling off," Meagan said. "I mean it was, it was quite funny."
Meagan, who served three terms as vice president of community outreach and another as president of the PGATWA, grew up around golf. Her father was a teaching pro in Steamboat Springs, Colorado, and her mother handled merchandising for the pro shop. Her brother played golf at Wyoming.
While she was introduced to the game at a young age and remembers competing in tournaments as a child, Meagan gravitated to soccer and tennis as she got older. Two children under the age of 5 now keep her busy but golf remains a part of her life – and not just because it's what her husband does for a living.
"(It) is funny now because I actually genuinely like playing," Meagan said. "Like if Martin and I get a time to go out I genuinely enjoy it."
Particularly when he has to caddie, of course.
golfpga tourPGA Tour Wives


Shimano Sojourn 7' Spinning Rod, Medium, 2 pc.
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Length: 7' Power: Medium Action: Fast Pieces: 2 Mono Line Rating: 6-14 lb. PowerPro Rating: 10-20 lb. Lure Rating: 1/4 - 3/4 oz.


Report on the Advanced Networking Workshop "Engineering the Virtual Silk Highway"
The ancient Silk Road was not only a trade route but also an all-important road for the transfer of information and knowledge between major regions of the world. A new multi-year NATO computer networking project plans to bring highly cost effective, global Internet connectivity to the Caucasus and Central Asia through state-of-the-art satellite technology, thus creating a modern information network.
The academic and educational communities in the eight countries concerned will be connected to the Internet by way of a common satellite beam. New technology makes it possible for each of the countries to have its own minimum bandwidth capacity and at the same time make use of unused bandwidth of other participating countries. In addition, the use of modern data caching techniques, enabled by the choice of satellite technology, should allow further improvement in the effective bandwidth achieved.
Since the first delivery of Silk Project satellite equipment and the successful link-up to Uzbekistan in August, work has been underway to establish links in four more countries.
Good news from Ashgabat, We have installed satellite dish and have established connection to Gamburg today. Photos will be ready on Monday.
Best regards, . . . .
28 August 2003 - With these short words from the Virtual Silk Highway team, sent by e-mail from Ashgabat, Turkmenistan on 22 August 2003, a major endeavour by the NATO Science Programme came to a successful conclusion.


text:
'TOO MANY SIMILARITIES'
Dad of boy, 6, who vanished in Portugal 11 years before Madeleine McCann has 'no doubt cases are linked'
Nick Pisa
11:58 ET, Jun 9 2020
A DEVASTATED dad whose son vanished in Portugal eleven years before Madeleine McCann believes the two cases were connected.
Rene Hasee, six, went missing from a beach while he was on holiday in Aljezur just 25 miles from Praia da Luz where Madeleine disappeared in 2007.
⚠ Click here for the latest news on Madeleine McCann
German cops investigating Christian B have contacted the family of René Hasee to say they were looking into his 1996 abduction again
Christian B, 43, is the prime Madeleine suspectCredit: Bild
Last night heartbroken Andreas Hasee told The Sun: "I have no doubt Madeleine and Rene's cases are linked.
"The evidence is just too much and the police are looking again at my son's disappearance.
"He was a lovely boy, my first child and I will never get over what happened.
"I think of him every day and imagine what sort of man he would have been and what we would have done together.
"Just look at both of the children, you can see how handsome Renee is and how beautiful Madeleine looks and they were almost the same age.
"I strongly believe both children were taken there is no doubt of it."
Initially when Rene vanished in 1996 Portuguese police said he had drowned and failed to carry out any proper searches of the sea for two days.
He ran ahead during a family walk on the beach to go in the sea.
After losing sight of him they never saw him again and were left with just his clothes lying on the beach.
Andreas said: "They were convinced he went into the water but I know in my heart he didn't. He was taken. I know it and I can feel it.
"I have no doubt Madeleine and Rene's cases are linked."
Andreas Hasee
"An expert showed that even if he has drowned the waves would have brought his body back but they never found him.
"But he would not have gone into the sea on his own and his footprints just stopped in the sand. The police investigation in Portugal was not thorough enough and I see the similarities with what happened to Madeleine."
Madeleine's prime suspect Christian B moved to the Algarve in 1995 shortly after being convicted of molesting a six-year-old girl in his native Germany.
The court heard he only stopped when she started screaming and he said he had "felt nothing" during the attack.
Andreas added: "The Portuguese police kept saying we don't get kidnappings here, it's not a big city it's a holiday destination but they were wrong.
"Two children were taken from there and who knows how many others.
"When I saw the picture of the man in prison all I could see was evil and then when his record came out and the fact he was living nearby just made me convinced he must be connected.
"When I think that Rene and Madeleine may have ended up in the hands of that paedophile it makes me sick. He is a convicted paedophile and always will be. Those tendencies never leave.
"It has brought everything flooding back for us and my poor father in law travelled back and forth to Portugal from Germany so many times to look for Rene and in the end it made him sick.
"We all offered to help the Portuguese police to look for Rene but all they did was shrug their shoulders and say 'what can you do?'".
It comes as the German prosecutor investigating Madeleine's disappearance fears Christian B may have committed more crimes against British victims.
Hans Christian Wolters said he has "evidence" Madeleine is dead but not enough to charge Christian B.
He told Sky News: "We think our suspect has done more crimes possibly against British, Irish or American people.
"All these people are asked to call us so we can solve these cases."
Most read in UK News
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Andrew's servants ordered to arrange teddy bears on his bed every night
He added: "All indications we have got that I can't tell you points in the direction that Madeleine is dead.
"The hard evidence we don't have, we don't have the crucial evidence of Madeleine McCann's body.
"We expect that she is dead, but we don't have enough evidence that we can get a warrant for our suspect in Germany for the murder of Madeleine McCann."
Madeleine McCann disappeared when she was just three-years-old
Public prosecutor Hans Christian Wolters said that prosecutors were missing the "hard evidence" for the suspect to go on trial
Little Madeleine was on holiday with her family in Portugal
Madeleine's parents Kate and Gerry McCann have never given up hope of finding their daughter alive
Plane crashes after getting caught up in wind gust after taking off
SECRET SNAPS
Tiffany Trump shares pics of billionaire fiancé's proposal at the White House
Snow totals revealed on map as winter storm batters New York and other states
DEADLY SHOT
Cops reveal shock update after Cracker Barrel shooting suspect kills manager


Nitecore SRT Range of torches feature smart ring technology to allow for easy selection of brightness and mode selection with infinitely variable output. Nitecore SRT-3, SRT-5, SRT-6 and SRT-7 LED flashlights.
Max output 960 lumens.Powered by 2xCR123 or 2xRCR123 or 1x18650 Battery.
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Max output 750 lumens.Powered by 2xCR123 or 2xRCR123 or 1x18650 battery.


text:
Q: Raster display problem When I zoom too much on a raster the layer does not appear anymore.
How to make it appear anyway?

A: It sounds like you have Scale Dependent Visibility set on your raster layer. Have a look under the Rendering tab of the Layer Properties dialog of your raster layer and make sure that the check box for Scale Dependent Visibility is unchecked.

redpajama_set_name: RedPajamaStackExchange


text:
Sonic Rivals es un videojuego desarrollado por Backbone Entertainment en exclusiva para la videoconsola portátil PSP. Con unos gráficos pseudo-3D, el jugador deberá superar las etapas antes que lo hagan sus oponentes (que pueden sen humanos o controlados por el juego). Es el primer juego de la saga Sonic que es realizado por una compañía canadiense.

Argumento
Una misteriosa masa de tierra llamada "Onix Island" aparece de repente como si saliera de la nada. Sonic y Tails van a buscar pistas para saber que ha pasado. Una vez llegado a la isla, encuentran al Doctor Eggman. Dr. eggman tiene un cromo en la mano. Sonic y Tails están sorprendidos por ver que en el cromo aparece un dibujo de Amy. Mientras Sonic simplemente se olvida de la historia ridícula del Dr. eggman, Tails toma las cosas muy seriamente. Mientras que la voz de Tails llega al oído de Sonic, hay un flash fotográfico repentino, y cuando desaparece el flash, Tails se ha marchado. En la mano del Dr. eggman hay un nuevo cromo con un dibujo de Tails. Sonic le admira en pánico hasta que aparece Knuckles. Dr. eggman sonríe, sacando de su saco mágico otro cromo, apreciado con un dibujo de la Master Emerald. Luego él se marcha volando. Sonic y Knuckles prometen rescatar a los personajes que aparecían en los cromos. Al mismo tiempo, Shadow y Silver aparecen. Rouge entra secretamente buscando a Shadow. Sonic y Knuckles tendrán una peligrosa aventura para rescatar a Amy y Tails.

Personajes

Jugables
Sonic the Hedgehog
Knuckles the Echidna
Shadow the Hedgehog
Silver the Hedgehog
Metal Sonic

Villanos
Dr. Eggman
Eggman NEGA

Secundarios
Miles "Tails" Prower
Amy Rose
Rouge the Bat

Badniks
En cada zona hay tres tipos de badniks. Dos de ellos son comunes a todos las zonas.

Egg Pawn
Egg Flapper

Zonas
Hay 6 zonas en total, cada una tiene 2 actos y un jefe (excepto Sky Park Zone).

 Forest Falls Zone: Una zona con plataformas cubiertas de hierba y cascadas de agua, parecida a Green Hill zone de Sonic the Hedgehog, Emerald Hill de Sonic 2, Angel Island de Sonic 3, Green Grove de Sonic 3D Blast, y Green Glade de Sonic 1 Hack. Los badniks únicos a esta zona son robo-arañas llamadas Venooms (Venoom se basa en una palabra en inglés, "venom", que significa "veneno"). En esta zona hay que tener cuidado con las caídas al vacío. También están los clásicos "loopings" en esta zona. El jefe se llama Egg Turtle (tortuga).

 Colosseum Highway Zone: Una zona con majestuosas columnas, caídas al vacío, pendientes empinadas, y espinas dolorosas, parecida a Marble Garden de Sonic 3 y Rusty Ruin de Sonic 3D Blast. Los badniks únicos a esta zona son robo-buitres llamados Vultures ("vulture" significa "buitre" en inglés). En esta zona hay muchos "caminos-sacacorchos" y "aros potenciadores". El jefe se llama Egg Falcon (halcón).

 Sky Park Zone: Un parque de atracciones muy salvaje, consiste principalmente de una montaña rusa con pendientes, loopings, puestos que venden ositos de peluche, y hasta carricoches super-rápidos que esquivar. Los badniks únicos a esta zona son unos robo-payasos llamados MonoClowns ("clown" significa "payaso" en inglés). Aquí deberías propulsarte usando resortes, puntos de velocidad y "plataformas de forzudo" (donde debes poner presión para saltar alto). Este nivel no tiene jefe.

 Crystal mountain Zone: Zona congelada con espinas cristalizadas y plataformas con espinas. El Jefe es Egg Lince, un lince mecánico que lanza espinas de cristal.

 Death Yard Zone: Es una zona desértica donde hay muchas caídas, péndulos, máquinas aplastantes y fuego, es como una fábrica con ácido y aguas negras. Los banicks son Metal Hounds (Sabuesos Metálicos), su jefe es el Egg Kong (Egg Gorila).

 Meteor Base Zone: Esta zona es espacial tienes que llegar antes de que usen las cartas como energía aquí en modo historia Sonic, Knuckles, Shadow y Silver se ayudan entre sí para llegar al jefe Egg Rocket aquí pasas por ventiladores y portales evitando a los badnicks Drills Worms (Gusano Taladro).

Referencias

Enlaces externos
 Página de Sega Europa
 Página oficial del videojuego

Videojuegos para PlayStation Portable
Videojuegos de Sega
Videojuegos de Sonic
Videojuegos de 2006

redpajama_set_name: RedPajamaWikipedia


text:
Q: Select menu behaving strangely with AJAX I have a dropdown whose options get filled dynamically:
function populateDropdown(dropdownNum) {
// invokeWebService uses $.ajax
json = invokeWebService("GET", "/webservice/dropwdownOptions");
optionsHtml = "";

$.each(json, function(count, jsObj) {
             optionValue = jsObj.name
             optionsHtml+="<option>" + optionValue + "</option>";
             });

var dropdownId = "#NRdropdown_" + dropdownNum;
$(dropdownId).html(optionsHtml);
}

function display(blockNum) {
var url = "/webservice/blocks" + blockNum;
var response = invokeWebService("GET", url);

var replacementHtml = "";
var currBlock = "blah";

$.each(response, function(i, block) {
                 currName = block.name;
                 var textfield = "<input type='text' id='blockValue" + block.id +
                                 "'>";
                 var dropdownMenu = "<select id=\"NRdropdown_" + i +
                                    "\"onClick=\"populateDropDown(" + i +
                                    ")\"><option>Existing Blocks</option>"

                 var submitButton = "<input type='submit' value='UPDATE' id='" +
                                    block.id + "'>

";

                 replacementHtml = currName + textfield + dropdownMenu + submitButton;
                 });
$("#main").html(replacementHtml);
}

The javascript function "populateDropdown(dropdownNum)":

*

*Makes the ajax request

*Parses the json response for the option values into an html string called optionsHtml

*Replaces the inner html of the select element with the option values via:
var dropdownSelector = "#NRdropdown_" + dropdownNum;
$(dropdownSelector).html(optionsHtml)

1) When I click on the dropdown arrow, I STILL see "Existing Blocks".
2) After 1 sec I see the first dynamically generated option UNDERNEATH the "Existing Blocks" option, I don't see the other dynamically generated options.
3) Then I click outside the dropdown and see the dropdwon showing the first dynamically generated value.
4) Finally I click the dropdown arrow again and it works as it should with all the dynamically generated values.
How do I make it work so that:

*

*When the page first loads, the dropdown shows "Existing Blocks".

*Once I click the dropdown arrow, the dropdown should show all dynamically generated values without the "Existing Blocks" value.

Thanks!

A: the dropdown listener should be for onmousedown, not onclick


text:
Die UCI Africa Tour ist der vom Weltradsportverband UCI zur Saison 2005 eingeführte afrikanische Straßenradsport-Kalender unterhalb der UCI ProTour.  Die vierte Saison beginnt am 1. Oktober 2007 und endet am 30. September 2008.

Die Eintagesrennen und Etappenrennen der UCI Africa Tour sind in drei Kategorien (HC, 1 und 2) eingeteilt.

Gesamtstand
(Stand: 25. August 2008)

* U23-Fahrer

Rennkalender

Oktober 2007

November 2007

Januar

Februar

März

April

Mai

August

September

Weblinks
Rennkalender der UCI Africa Tour 2008 (englisch)

2008
Radsportveranstaltung 2007
Radsportveranstaltung 2008


text:
Кубок вызова АФК 2010 года — 3-й розыгрыш второго по значимости турнира национальных сборных АФК. Проходил с 16 по 27 февраля 2010 года в Шри-Ланке. Победителем турнира стала сборная КНДР, которая получила путёвку в финальный турнир Кубка Азии 2011.

Отборочный турнир

Три призёра Кубка вызова 2008 квалифицировались автоматически, 4 места получили победители отборочных групп, оставшееся место получила лучшая из сборных, занявших 2-е места в отборочных группах.

Таким образом, в финальном турнире приняли участие:
  (автоматически)
  (автоматически)
  (автоматически)

  (лучшее из 2-х мест)

Стадионы
Оба стадиона расположены в Коломбо.
 «Сугатадаса» (25 000 зрителей)
 Спорткомплекс Королевского колледжа

Групповой этап

Группа A

Группа B

Полуфиналы

Матч за 3-е место

Финал

Лучшие бомбардиры

Награды
По итогам турнира были присуждены следующие призы:
 «Честной игры»:
 «Золотая бутса»:  Лян Ён Ги
 «Самый полезный игрок»:  Лян Ён Ги

Примечания

Ссылки
 Кубок вызова АФК 2010 на сайте АФК
 Статистика Кубка вызова АФК 2010 на сайте RSSSF

2010
Футбол в Азии в 2010 году
2010 год на Шри-Ланке
Футбол на Шри-Ланке
Февраль 2010 года


Think you have to give up your sense of style to keep your living room functional once you have kids? Guess again!
I've always been adamant that you don't need to throw away your sense of style when you have kids. Easier said than done, I know. But we've successfully managed to keep our home on-trend and functional without breaking the bank, yet still comfortable and kid-friendly.
This post contains affiliate links. See full disclosure policy for more.
You spend a lot of time looking at the baby gear that you keep out in common areas so it might as well be cute, right? Cute baby gear is a bit of an oxymoron, but I swear it exists! You just have to hunt. Take this IKEA play gym, for example. I loved the wood but wasn't a fan of the bright colored toys hanging off it so I gave it a bit of a makeover.
There's no shortage of cute baskets and bins to use to store toys in. I especially love these vintage wire baskets for storing our wooden blocks, but you can find awesome decorative seagrass baskets or these fun cloth sided baskets that come in so many fun prints!
A chest of drawers or a cupboard where you can stash the toys, puzzles, and games will be the best thing you ever put in your living room. Having this spot to put everything makes clean up a breeze. About once a month I go through our little chest of drawers and put everything back up in the kid's rooms. Eventually, little odds and ends make their way back into the living room and into this little catch-all.
I try not to buy new furniture for several reasons, one of them being that with little kids, I know wear and tear are inevitable (and I'm super cheap!). When you can find great furniture at a yard sale or thrift shop and transform it into a fun and functional piece for the living room, that's a major win. Knowing I can slap another coat of paint on this little side table makes me breathe a little easier when I see the kids using it as a race track.
We are fortunate to have a number of really old wooden toys that date back to my husband's childhood and some go back even further. Not only do I love wooden toys for my kids to play with but I also enjoy looking at wooden trains, trucks, and blocks in my living room. I mean, if I have to look at it, it might as well be aesthetically pleasing, right? If you don't have any vintage wooden toys from your own childhood, you can find great wooden toys at your local thrift shop. We especially love playing with wooden blocks because it really forces you and your child to get creative and use your imagination.
What did I miss? Do you have a tip that you think I'd just love? Leave me a comment and tell me how you keep your living space stylish and still functional.
Make sure you give me a follow on Instagram to take a glimpse into our life.


text:
MPOCC Upbeat About Future of Palm Oil Industry
The Malaysian Palm Oil Certification Council (MPOCC) is optimistic that the palm oil industry will continue to have a bright future.
MPOCC chairman Muhtar Suhaili explained that crude palm oil (CPO) prices have continued to recover and now have reached RM2,400 a tonne; higher than average prices of RM2,299 and RM2,074 for April and May respectively due to the Covid-19 pandemic.
Muhtar Suhaili
He said the price of fresh fruit bunches (FFB) also increased, with Grade A priced between RM476-RM495 a tonne compared to between RM404-RM419 in early May.
"The government initiative as announced in the National Economic Rebuilding Plan (Penjana) on June 5 also gave good news to the palm oil industry as a whole. The government will provide 100 per cent exemption on export duty on crude palm oil, palm kernel oil and processed palm kernel oil from July 1, 2020 to Dec 31, 2020 as Prime Minister Tan Sri Muhyiddin Yassin explained that full exemption from this export duty was made to encourage the commodity sector.
"In that regard, palm oil futures continues to rise with increasing optimism from major consumer countries such as India, China and Pakistan after being delayed by the pandemic. The rise in palm oil prices is also supported by the recovery in crude oil prices, which boost biofuel appeal," he said in a statement yesterday.
Muhtar, who is also Parti Islam Se-Malaysia (PAS) Sarawak deputy commissioner, congratulated the Ministry of Plantation Industries and Commodities on the news that India renewed its purchase of palm commodities.
"I believe through the direction of its minister Datuk Dr Mohd Khairuddin Aman Razali which aims to expand palm products to new markets including Africa and West Asia will provide greater international market space.
"In line with the minister's statement, the ministry through Malaysian Palm Oil Board (MPOB) will conduct a comprehensive review on the market strength in Africa and West Asia in the near future and on behalf of the MPOCC, we will ensure that the palm oil industry remains relevant through Malaysian Sustainable Palm Oil (MSPO) certification as one of the key instruments in branding Malaysia's palm oil as a top choice in the international market," he said.
He further explained that MSPO was launched in 2015 and one of the key principles highlighted is the management of oil palm cultivation through best agricultural practices in accordance with the national law.
"The advantage of the MSPO is that it will leverage and grow the industry itself, making Malaysian palm oil the international choice. It is a government-funded certification scheme to ensure that industry players including smallholders comply with the requirements set out to produce sustainable palm oil.
"MSPO certification can also increase awareness of environmental protection. As of June 4, 2020, statistics show 82.28 per cent of oil palm farms and 88 per cent of oil palm factories nationwide now have MSPO certificate," he said.
Source: https://www.theborneopost.com/


Great War Tommy Owners' Workshop Manual: The British soldier 1914-18 (all models) - An insight into the uniform, equipment, weaponry and lifestyle of the British Great War soldier (Haynes Manuals).
The Telegraph Book of Readers' Letters from the Great War.
Aurum Press Ltd, 2014. Hardcover. Hardcover in dust jacket, solid binding and bright pages, an excellent copy! ex.	More about The Telegraph Book of Readers' Letters from the Great War.
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Still Quiet on the Western Front 50 Years Later.
Morrow, 1965. Hardcover. A good deal of wear to jacket otherwise a very nice copy!	More about Still Quiet on the Western Front 50 Years Later.
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On Course...To Oblivion!: An Analogy of the Kriegsmarine and the Battleship Bismark.
Invictus, 1998. Hardcover. Hardcover in dust jacket, like new condition with only very minor shelf wear, contains a sticker on title page that says "Cruiser Karlsruhe and Battleship Bismark Survivor Bruno Rzonca with his signature below, pages are clean and bright, binding is like new tight, very nice copy! ex.	More about On Course...To Oblivion!: An Analogy of the Kriegsmarine and the Battleship Bismark.
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Sniping in France: With Notes on the Scientific Training of Scouts, Observers, and Snipers.
Lancer Militaria, 1993. Hardcover. Hardcover in dust jacket, book club edition, minor wear, solid binding and bright pages, a very nice copy! ex.	More about Sniping in France: With Notes on the Scientific Training of Scouts, Observers, and Snipers.
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No Man's Land: 1918-the Last Year of the Great War.
Doubleday, 1980. Hardcover.	More about No Man's Land: 1918-the Last Year of the Great War.
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Knopf, 1999. Hardcover. Hardcover in dust jacket, minor wear, solid binding and bright pages, a nice copy! ex.	More about The First World War.
Thomas Nelson and Sons, 1943. Hardcover. A good deal of edgewear, chipping and damage to jacket otherwise a very nice reference copy!	More about They Fly for Victory.
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Over Here : The First World War and American Society.
Oxford University Press, 1980. Paperback. Softcover, 1982 edition, minor wear and age tanning, underlining and notes on inside back cover, else a nice copy.	More about Over Here : The First World War and American Society.
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Dead Wake: The Last Crossing of the Lusitania.
Broadway Books, 2016. Paperback. Softcover, minor wear, solid binding, a very nice copy! ex.	More about Dead Wake: The Last Crossing of the Lusitania.
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Suddenly We Didn't Want to Die: Memoirs of a World War I Marine.
Presidio Press, 1993. Paperback. Softcover, minor wear, light spine crease, solid binding and bright pages, a very nice copy! ex.	More about Suddenly We Didn't Want to Die: Memoirs of a World War I Marine.
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History of the World War (An Authentic Narrative of the World's Greatest War).
New York: Leslie-Judge, 1918. hardcover. Set of Seven hardcovers, no dustjackets. All have shelfwear, reading wear and yellowing. A nice reference set. Binding condition varies by book. above WW 1.	More about History of the World War (An Authentic Narrative of the World's Greatest War).
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Phillip's Maps and Atlases of WWI.
hardcover. hardcover, no d.j., as new.	More about Phillip's Maps and Atlases of WWI.
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Sniping in the Great War.
Pen And Sword, 2008. Hardcover. Hardcover in dust jacket, book club edition, minor wear, very small ink mark on front end paper, pages starting to tan, solid bindng, a very nice copy! ex.	More about Sniping in the Great War.
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Maps & Atlases of the World War I Period: A List of Atlases & Maps Applicable to the World War.
Italy at War and the Allies in the West (The War on all Fronts).
C. Scribner's, 1919. Hardcover. Red hardcover, no jacket. Gold lettering to spine. Soil markings to back cover. Text is clean, binding tight. A very good copy.	More about Italy at War and the Allies in the West (The War on all Fronts).
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Vcs of the First World War Gallipoli.
Sutton Publishing+ltd. Hardcover.	More about Vcs of the First World War Gallipoli.
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Dere Mable-Love Letters of a Rookie.
Frederick A. Stokes, 1918. Thirteenth printing. hardcover. Very good hardcover-NODJ.	More about Dere Mable-Love Letters of a Rookie.
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Isis Large Print, 2007. Hardcover. Pictorial hardcover, large print, minor wear, solid binding and bright pages, a very nice copy! ex.	More about Brothers in War.
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DK ADULT, 2007. Paperback. Oversized softcover, minor wear, solid binding and bright pages, a very nice copy! ex.	More about World War I.
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What is My Idaho Falls Home Worth? Would you like to receive a free Market Evaluation to determine what your home would sell for in today's market? Also, I can give you tips on what to do and what not to do to sell your home for the most amount of money, and go over all the various closing costs that you will incur so you will know exactly what you'll have left in your pocket after all expenses.
This Market Evaluation is free and obligates you to nothing. Fill out some basic information in our Get in Touch form (you will find the form on the right side, or below). Be sure to include your request for a free Market Evaluation and let's get started!
Simplify your search, get my phone app here!
Do current buyers in the market see value in your home?
Condition is how old is the home, is it updated, is it clean, and is it staged well. Two of those parameters are changeable (price and condition), and one is not (location).
So, in essence, buyers will see the value in your Idaho Falls home and write a purchase offer when the combination of price, condition, and location are correct. The better that the condition of the home is, the higher the price is that the buyer will be willing to pay. Conversely, the worse that the condition of the home is, the lower the price is that the buyer will be willing to pay.
Let's look at an example of how condition affects price with a typical Idaho Falls home built in 1998 with 3 bedrooms, 2 bathrooms, 2,400 square feet, a 2-car garage, a 1/4-acre lot, and an unfinished basement. This home is located in the north east section of Idaho Falls in the Bonneville High School school district.
Example A is impeccably clean, has been updated with granite countertops in the kitchen and bathrooms, has tile floors in the kitchen and bathrooms, and new carpeting in the living room and bedrooms. In addition, light fixtures, cabinet pulls, and doorknobs have been updated to brushed-nickel hardware, replacing the original brass hardware. The lawn is mowed and trimmed and landscaping is free of weeds. I would recommend pricing Example A at $165,000, and the seller could expect to sell this home for within three percent of this list price.
Example B is dirty, has stained carpeting in the original dark green and pink colors, has vinyl flooring in the kitchen and bathrooms, formica counter tops, and original brass hardware. The lawn and landscaping is overgrown and full of weeds. I would recommend pricing Example B at $145,000, and the seller could expect to sell this home for within three percent of this list price.
This is a difference of $20,000 in home value, with a cost of materials to update the home at about $6,000!
If you are thinking of selling a home in the Idaho Falls area below are some podcasts that will provide you with very valuable information.
" My husband and I just recently sold our house with Chalmers. Our experience was nothing short of exceptional! Chalmers' expertise helped us to sell our house in 2 short days.
He strategically helped us to maneuver through 4 great offers and carefully explained each step/option. He made sure we felt empowered throughout the entire process to make the best decision for us. His staff were highly trained in their areas and helped us through the entire process of closing. They were in constant contact with us and made the entire experience pleasant. They took care of all the tasks that would have overwhelmed us.
I am so thankful for Chalmers and his amazing staff! " –Katheryn and Scott K.
Communication is the second key to selling your Idaho Falls home. How the market reacts to your Idaho Falls home once it hits the market is of the utmost importance. Is the home getting lots of showings, or little or no showings?
In the average Idaho Falls price range of our example above, the seller should expect to have 4-5 showings per week if the market positioning is correct, and should expect to have an offer within the first two weeks of being on the market. If the number of showings is less than one per week, then the home's price needs to be lowered, and/or the condition needs to be improved by cleaning and updating.
As your agent, I will communicate these recommendations to you in a timely fashion, adjusting the home's market position to cause a buyer to write a purchase offer.
(2) the "perfect buyer" is a myth—your home is not perfect for any one buyer, and buyers make buying decisions based on price, condition and location as compared to other competing homes.
1. Price your home strategically so you're competitive with the current market and current price trends.
2. Stage your home to cast a positive light on the features most important to buyers: uncluttered rooms and closets, fresh paint, and terrific curb appeal.
3. Place "for sale" sign including permanent colorflyer with QR Code and photos.
4. Optimize your home's internet presence by posting information in the Keller Williams Listing System (KWLS) as well as local and global MLS systems, including plenty of photographs, captions, aerial photographs, and an HTML-coded description of your property. We also add your property to our mobile app, click here to preview our app.
5. Produce a video tour of your home, placing it on multiple websites to attract both local and out-of-town buyers.
6. Create an open house schedule and promote online, as well as door-to-door with open house flyers.
7. Target active buyers and investors in my database who are looking for homes in your price range and area.
8. Place Buyer Information Guide in the home containing disclosures, utility records, and marketing material.
9. Provide you with monthly updates detailing current market conditions in your price range, as well as buyer showing activity.
10. Contact you weekly with an update on your home's position in the market.
11. Contact you after each and every showing to provide you with feedback on buyer's comments.