Women's fitness centers are growing in reputation among ladies who are new to physical exercise or who may possibly really feel less confident in a classic co-ed fitness center. As nicely as defending oneself from boredom with a Tv accessory you may to contemplate shaking up your entertainment with a treadmill book holder so you can check out a book or a magazine while you perform out. Raise your hips by pressing your heels into the ball till your legs are straight. Cycling provides you the greatest of both worlds, not only is it a great leg and thigh physical exercise but it also gives you one of the best cardio workouts you can get.
Utilizing this guide you will now be capable to confidently recognize the name of workout machines in the gym and from the above directory you will also get an thought of the price of the machines when constructing your property gym. Also named stair-climbing machines, they operate the user's legs as he/she pumps pedals up and down, considerably like climbing stairs.
Instead of sitting upright and peddling with your legs and feet below you, they are outstretched in front of you. As opposed to a typical exercising bike that imitates a standard push bike (upright position and pedals positions below the body), these workout bikes have a reclined body seat with an airflow backrest and pedal positioned in front of the body providing a better leg exercise.
The debate rages on about machines vs free-kind exercising but I firmly think that when it comes to instruction the reduced body, machines sell you way brief 99% of the time. Here's my challenge to you: if you set out to master the lunge and/or the squat, even with just body weight, you will have legs that are stronger, leaner, a lot more toned and far a lot more capable in six months than in six years of using machines.
Other product and business names shown could be trademarks of their respective owners. These are created particularly to function in conjunction with exercise machines like elliptical trainers, workout bikes and of course operating machines too. No matter whether you get your leg education at property or use the leg exercise machines at the health club it`s critical to use a great balance of compound leg workouts as properly as isolation workout for the legs.


Think of Stephen Posen as Theseus paying out his line, traversing his labyrinth knowing and not knowing what awaits him. Perhaps Posen shares Paul Klee's ambition of 1908 "to note experiences which could translate themselves into line even in absolute darkness." The tacit question is: can a line still be fictive - that is to say, imaginative - in a real space? When certain modernists changed the diction of art schools in the twentieth century, substituting something called "two dimensional design" for the serviceable, old-world "drawing," they erred. Drawing has always been multi-dimensional, since what it figures is movement through space, among many other things. It is always a drawing-upon.
Socrates then sums up the climax of the dancer-dance: "She is feeling herself become an event."
In Posen's imaginative entry into the three-dimensional space there are secret stories. The use of color might be called adjectival, although the artist himself sees it in terms of verbs. His floor is appropriately a pale grey on which he disperses islands of color. These in turn respond and correspond to mysteriously stacked color rectangles that climb, or, perhaps in dancers' parlance, leap, from floor to ceiling. These color elements are like semaphores along the line's way. In Posen's overall scheme they can suggest exits and entrances, but they do not cancel the hint of mythic circularity. Color blossoms unaccountably. It both leads and confounds, but the dance goes on. In talking about his work, Posen refers cryptically to Fred and Ginger. Old movies or Fellini's cunning gloss on them? Colorful, at any rate.
This grand experiment is expansion, this paradoxical combining, was always implicit in Posen's thought and can be traced, partly, to his early experiences with the history of art. As a youth he spent two years in Italy, visiting the hallowed spaces in Florence, Assisi, and Padua. He did not fail to notice the importance of the architectural environment to Giotto's success as a muralist. I like to think, also, that he was smitten in Pompeii. Surely the House of Mysteries puts the spectator in a rotating mode of perception that absorbs the dance in its resounding cadence throughout the room. Speaking of all his Italian experiences with frescoes, Posen once told me: "In those frescoes there is an obstinately physical presence of architecture; I felt the great flexibility of space."
All those questions are still there - wall to object to painted illusion to paradox of illusion - Posen's current parable of the dancer's space and its mirror, but line still leads. It leads us into and out of; from an open space to a quadrilateral space to an open space and back to a circumscribed sacred area in the form of an arabesque, that wondrous infinity sign that always beckons the adventurous draftsman.
As always with Posen's work, the viewer must lend himself to his idiosyncrasies, and of course, accept conundrums. Fred and Ginger? Where? But that's just the point: there is no where there, to paraphrase Miss Stein. Or, to be absolutely crass, the viewer must literally go with the flow. Once he surrenders to these quixotic spaces, he will understand that Posen is not taking leave of the very grounds of drawing and painting, but merely giving them wild accents. the whole history of spaces in the modern era is implicit in his experiments.
No one recounted that history more accurately then Henri Matisse, who discerned new continuums in twentieth-century drawing. The wall around the window, he pointed out, does not create two worlds or spaces. When I'm at work, he said, I feel the space behind me. The man on the ground, he observed more than once, does not see space the way the aviator does. And yet, artists, among them Posen, are well aware that one must draw the line somewhere. As he says, the question might be: how far can a sequence be stretched before it is not longer a rhythm? Perhaps Posen has an inkling of another order, one far more esoteric. Heraclitus is said to have observed: "The most beautiful order of the world is still a random gathering of things insignificant in themselves." Posen has spoken of "divine chance," and it is clear that something daemonic is urging him on in this latest event in his artistic life - a gamble (gambol?) with chance itself.
Posen sees this experiment as largely a matter of scale. In this walk-in drawing there are deliberate and surprising jumps in magnitude - caesurae in the rhythms of line and color that defy traditional ways of reading drawings. And we must not forget the mirrors. They provide inherent rhymes, as well as complications in imagery; that is, the reverse image is never, apparently, precisely the same. The viewer who enters this drawing is in a constant state of re-adjustment, assisted only intermittently by fluctuations of line. It is in the composing of the lines that Posen's own kinesthetic impulses are subtly transmitted. the turn of his instrument, or the pressure of his arm, is governed by long experience navigating delineated spaces. In this event, however, the usual reference to the rectangle is, in his own word, "subverted." The subversion is sustained throughout the work as a whole, as it begins or ends in the open street, but also in the discrete parts: in the quirky repetition of the number three, as Posen stacks high-colored rectangles askew, thinking of them as "totems." Or in the dense green column on the east wall that introduces yet another possibility of tectonic balance only to encounter it with the sense of irregularly scattered shapes on the opposite wall. Perhaps this ambulatory drawing could be experienced as a path through a spring wood, or through an almost impenetrable riot of new growth. But then again, perhaps it is a fanciful corps de ballet. Posen has always been an advocate of mixed metaphors.
I am like a dancer or a tightrope walker, Matisse said. The one is obviously more risky than the other. I think Posen comes down on the side of the tightrope walker whose balance is always a quivering inquiry and whose triumph is to go forward. The viewer who participates in Posen's event must also go forward; must also quite literally follow in Posen's footsteps, as well as his leaps and bounds. and all the while, he must also go forward; must also quite literally follow in Posen's footsteps, as well as his leaps and bounds. And all the while, he must be aware of the numerous footnotes, the asides, the local color, and the peripheral anecdotes. He must respond to the echoes. If the rhythms are not always syncopated, he must winkle them out while strolling. Enter!, commands the artist, who also provides an exit. But which is the entry and which is the exit? Where does the line begin and where does it end? Where are the boundaries? This is an elliptical experience, like a myth, and poses the eternal question: how can you tell the dancer from the dance?


In the end, the greatest snowball isn't a snowball at all; it's fear.
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33 Harry Truman
33rd President of the United States (1945-1953)
Vice President: Alben W. Barkley
Born: May 8, 1884, Lamar, MO
Nickname: "Give 'Em Hell Harry"
Religion: Baptist
Marriage: June 28, 1919, to Elizabeth "Bess" Virginia Wallace (1885-1982)
Children: Mary Margaret (1924-2008)
Career: Farmer, Businessman, Public Official
Writings: Memoirs (2 vols., 1955-56)
Died: December 26, 1972, Kansas City, MO
Buried: Independence, MO
Harry Truman Trivia:
Attended University of Kansas City Law School, Vice President under Roosevelt. May 7, 1945 Germany surrendered ending World War II in Europe. June 19 he flew to Washington State and became the first president to use air travel within the country. June 26, 1945 the United Nations Charter was signed. August 6, 1945 the atomic bomb was dropped on Hiroshima, Japan. The second atomic bomb was dropped August 9 on Nagasaki. August 14, announced the surrender of Japan. On January 17, 1946 Truman proposed a 182 cent per hour wage increase to settle the labor dispute between U.S. Steel and the United Steel Workers union. A walkout was not prevented but it, and most labor disputes in 1946 were settled on that basis. On July 15, he signed a bill authorizing loan of $3.75 billion to Great Britain. November 21, 1946 he ordered contempt proceedings against John L. Lewis when the mine leader, defying a government injunction, called members of the United Mine Workers union out on strike. On December 5 Lewis sent the miners back to work after a federal district court had fined him $10 thousand and the union $3.5 million. March 21, 1947 ordered loyalty investigation of all federal government employees. February 2, 1948 he sent a message to Congress asking for civil rights legislation to secure the rights of the country's minority groups. May 10, 1948 he ordered government operation of the railroads by the army to forestall a nationwide railroad strike. May 14, 1948 he recognized new state of Israel. November 2, 1948 won reelection over Thomas E. Dewey in what was regarded as a major political upset. September 3, 1949 he announced that there was evidence of a Russian atomic explosion.. January 31, 1950 He revealed that he had ordered the Atomic Energy Commission to develop the hydrogen bomb. June 26, 1950 Truman ordered U.S. air and sea forces to aid South Korean Troops in resisting the Communist forces of North Korea which had invaded South Korea the day before. June 30 he announced that he had ordered American ground forces in Japan to Korea and the navy to blockade the Korean coast. General Douglas MacArthur, the American commander in Japan, was put in charge of all U.N. troops in the area, which included forces from other nations. August 25 Truman ordered seizure of the railroads by the government on August 27 to forestall a nationwide strike. November 1 Truman escaped attempted assassination by two Puerto Rican nationalists. December 16 Truman proclaimed a state of national emergency following entry of Communist China into the Korean conflict on November 6, after U.N. forces had taken over most of North Korea. April 11, 1951 Truman relieved General Douglas MacArthur of all posts as commander of American and U.N. forces in the Far East for making statements critical of the government's military and foreign policies in that area. MacArthur replaced by Lt. Gen. Matthew B. Ridgway. March 29, 1952 he announced at Jefferson-Jackson Day dinner decision not to run for reelection. April 8, during the Korean action, Truman signed executive order direction Secretary of Commerce Charles Sawyer to seize steel mills to prevent strike of steel workers. On June 2, seizure was declared unconstitutional by the Supreme Court in a six to three decision. June 14 he laid keel of the USS Nautilus, world's first atomic powered submarine, at Groton, Connecticut. January 20, 1953 Truman attended inauguration of President Eisenhower and then left by train for Independence, Missouri. The middle initial "S" in Truman's name is not an abbreviation and has no significance. At 60 years old, he was the oldest vice president to succeed to the presidency. In recognition of Truman's contribution to medical insurance, President Johnson presented the first two Medicare cards to Mr. and Mrs. Truman. Truman's mother, a Confederate sympathizer, refused to sleep in Lincoln's bed during a White House visit.
Harry Truman Books:
33 Harry Truman: Ebay

redpajama_set_name: RedPajamaCommonCrawl


Intermediate kits represent the most popular style of vaping across the board. They're generally right in the middle in terms of just about everything. Average price, average performance, average battery life, etc. However, these intermediate kits serve just about any purpose you could ask for as a vaper. They can be a device for a first-timer since they're only marginally more difficult to use than proper starter kits. They can be primary setups for just about anyone. Or, they can be backup or travel devices for more advanced vapers. Intermediate kits appeal to a wide range of vapers, and as such, they represent the majority of mods and atomizers on the market.
The most recent iteration of the intermediate kit varies quite a bit in aesthetics, but they all operate in the same way. In general, they all use an LED screen with 3-button operation. They mostly all have temperature control and variable wattage capabilities and come with some type of subohm tank. Some devices have an internal battery and some require separate batteries, but most intermediate mods only use a single battery and cap out around 80W as a maximum. However, for any device with a single battery, any power setting higher than 50W will drain the battery much more quickly. If you need to use a higher wattage, it's recommended to get a device that uses two or more batteries, which would technically classify them as advanced devices. These will be discussed in a future article, but I should point out that there is some overlap between different classes of mods since there's no "official" hierarchy. In general, even though advanced devices may not be more difficult to understand or use compared to intermediate mods, they're designed for vapers that use either more advanced atomizers or rebuildables that require higher power in order to perform optimally. Of course, there will always be examples of mods and atomizers breaking from the norm and not conforming to the starter/intermediate/advanced archetype, so just be aware of that.
For a vaper coming from a starter kit, said starter kit should have given them some idea as to their vaping preference. Do you prefer mouth-to-lung (MTL) vaping or direct-lung (DL) vaping? Do you prefer a warm vape or a cool vape? Are you a cloud-chaser or a flavor-chaser? Once you've determined the answer to these questions, you can look at which intermediate kits fit your needs. For example, if you're a flavor-chaser and you prefer MTL vaping, you might consider one of the Kanger Subox kits, which feature adjustable airflow and a coil that's designed for MTL vaping.
The other great thing about kits at the intermediate level is that you can mix and match. Unlike an AIO device, intermediate kits mostly require an atomizer separate from the mod. So if you're a cloud-chaser who likes DL vaping, for example, you can get something like the iStick Pico Mega and pair it with the Uwell Crown V2 subohm tank. If you happen to like both MTL and DL vaping and want to be able to switch back and forth, you can get multiple coils for the same tank, or get multiple tanks and use them on the same mod. This is the primary difference between starter kits and intermediate kits. They're much more modular and customizable.
For people looking to start vaping by jumping straight into intermediate kits, a little research is required. While not difficult to use, there is certain terminology as well as a sense of consensus about what is good and what is not. The good news is that it's easier than ever to get information about vaping. Brick and mortar stores are far more common than they were 5 years ago, and there's also several forums on the internet that are very welcoming and willing to help get you started. There will still be a learning curve in order to determine which vaping style works best for you, but certain tanks will let you try more than one style. Because of the nature of most intermediate devices, when you do dial in the best vape and have a better idea as to what you like, upgrading only requires you to get a new tank, not necessarily a new mod.
Intermediate kits are the most balanced and varied of all vaping devices, and therefore the most popular. They offer a good quality vape experience while remaining relatively inexpensive and easy to upgrade. Most of them allow you to swap the atomizer that you're using so you can try new vape styles as well as experiment with new atomizers without having to buy an entirely new kit. Generally, if you're willing to do a bit of research and/or talk to some vapers before buying, intermediate kits are a better investment than starter kits. Most people will upgrade from a starter kit at some point, but the majority of vapers settle in the intermediate range. For those of you interested in the cream of the crop, be sure to read the next article in this series to find out more about advanced devices!


Healthy eating and proper nutrition are important at all life stages and are especially vital during adolescence. That's when young people need the most calories and are rapidly growing and developing. Eating poorly as a teen has both short- and long-term negative consequences that can range from a bad test grade to a higher risk of serious chronic diseases.


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UED Explore Peoplehood Antisemitism
The Rise in Global Anti-Semitism
Anti-Semitism feels ubiquitous. There are times when I align with the great Jewish historian Salo Baron, who opposed what he called the "lachrymose conception of Jewish history." He noted that "suffering is part of the destiny of the Jews but so is repeated joy, as well as ultimate redemption." Baron made the argument that we ought not to define the Jewish experience merely with the fight against oppression, persecution, and anti-Semitism.
There are other times, however, during which I think Baron got it wrong: so much of Jewish history is indeed the fight against anti-Semitism, oppression, and persecution.
And recently, I find that the study of anti-Semitism does not remain relegated to history class but has regularly appeared in the context of current events.
With article after article centering around the very real rise in anti-Semitism – emerging from the extreme political right, the extreme political left, and radical version of Islam – we all need to consider how we talk about anti-Semitism.
How does global anti-Semitism impact the psyche of Israelis?
What constitutes anti-Semitism?
When speaking about Judaism with our friends, relatives, and students, how much of our focus should be on anti-Semitism?
How do Israelis feel about global anti-Semitism?
How much should we channel our inner Salo Baron and focus on the joy, redemption, and positivity around the Jewish people, and how much of our time and resources should be dedicated to fighting and responding to anti-Semitism?
It is well-documented that global anti-Semitism has been on the rise as of late. In fact, last year had the largest number of Jews killed in anti-Semitic attacks in decades. The last month has unfortunately showcased much of the same. Just in the last two weeks, over 100 Jewish tombstones were defaced with swastikas in Eastern France, and the iconic Sixth & I synagogue in Washington, DC, was vandalized with anti-Semitic symbols and slurs. Two Jewish teens were violently assaulted in Brooklyn, New York, while in London, England, a Rabbi was beaten up and left bleeding on the side of the street after attackers shouted "Kill Jews" and "F*** Jews." An anti-Semitic Florida pastor referred to impeachment efforts against President Donald Trump as a "Jew coup" on his public YouTube channel, claiming that "when Jews take over a country, they kill millions of Christians." This video was viewed by his thousands of subscribers. Anti-Semitic acts are nothing new in Europe and North America, but it was announced this week that even Australia saw a 30% increase in anti-Semitic acts this past year. All of this in the past two weeks!
Proactive Jewish identity – Some might find it hard to believe that just 75 years after the Holocaust anti-Semitism is once again on the rise. As Jewish communities throughout the world feel the effects of anti-Jewish sentiment in varying degrees, something we're thinking about is how to foster in young Jews a positive, proactive Jewish identity that is not merely a reaction to anti-Semitism. History has shown that, sometimes, it is anti-Semitism that reminds Jews that they are Jewish. How can we build Jewish identity so that it is not reduced to just that? Like we wrote about last week regarding Israel, it might just be about being on the offensive, rather than the defensive. New York Times columnist Bari Weiss aptly wrote recently, "the Jews did not sustain their magnificent civilization because they were anti-anti-Semites… The long arc of Jewish history makes it clear that the only way to fight is by waging an affirmative battle for who we are."
Israel's role in combating global anti-Semitism – Does Israel have a responsibility to combat global anti-Semitism? This is a tricky question. Israel has a history of absorbing Jews facing persecution, specifically in Arab lands and Ethiopia and the former USSR, and its Law of Return opens its doors to all Jews. Should Israel do more for Jews living around the world, or does Israel not necessarily represent all Jews? Find a deep analysis here.
Is anti-Zionism anti-Semitism? Last week, France passed a resolution calling Israel hatred a form of anti-Semitism, as it "encompasses manifestations of hatred toward the State of Israel justified solely by the perception of the latter as a Jewish collective." Debates rage today over whether anti-Zionism is indeed synonymous with anti-Semitism. New York Times columnist Michelle Goldberg and political commentator Peter Beinart are among those who believe that it's possible to be anti-Israel without being anti-Semitic. Goldberg writes, "Certainly, some criticism of Israel is anti-Semitic, but it's entirely possible to oppose Jewish ethno-nationalism without being a bigot. Indeed, it's increasingly absurd to treat the Israeli state as a stand-in for Jews writ large…" On the other hand, at this year's AIPAC conference, U.S. Secretary of State Mike Pompeo said, "Anti-Zionism is anti-Semitism… This bigotry is taking on an insidious new form in the guise of anti-Zionism… Criticizing Israel's policies is an acceptable thing to do in a democracy. But criticizing the very right to exist of Israel is not acceptable. Anti-Zionism denies the very legitimacy of the Israeli state and of the Jewish people." Bret Stephens, Rabbi Jonathan Sacks, and Shuki Friedman are of the same mind. Even as far back as 1973, Israeli Foreign Minister Abba Eban wrote, "One of the chief tasks of any dialogue with the Gentile world is to prove that the distinction between anti-Semitism and anti-Zionism is not a distinction at all. Anti-Zionism is merely the new anti-Semitism" (Congress Bi-weekly, American Jewish Congress, Vol. 40, Issues 2-14, 1973, p. xxv).
Diversity of Perspectives Within Israel
A fascinating survey by the Israeli Ministry of Diaspora Affairs sheds light on what Israelis think of global Jewry and rising anti-Semitism. Forty percent believe that European Jews should move to Israel; 30% believe the solution lies in European legislation against anti-Semitism; 17% believe that work needs to be done toward strengthening the status of the Jew in Europe. Only 20% of respondents accurately named the number of Jews outside of Israel (8 million – most underestimated), yet 40% believe that the Israeli prime minister has a responsibility toward this group.
A different survey of Israelis, conducted by the American Jewish Committee (AJC), found that 44% believe that Jews have a future as Jews in Europe, while 46% believe they should leave now. Of the respondents, 91% believe that a thriving State of Israel is vital for the long-term future of the Jewish people, and 72% think that a thriving Diaspora is vital for the long-term future of the Jewish people.
Back in 2015, after anti-Semitic terror attacks in both Copenhagen and Paris, Israeli Prime Minister Benjamin Netanyahu said, "Jews deserve protection in every country, but we say to Jews, to our brothers and sisters: Israel is your home." Netanyahu's call for Jews to immigrate en masse wasn't well-received by both European political leaders as well as European Jewish leaders; however, it reflected a long-standing Zionist perspective that Jewish people should "return home" to Israel where they will be safe.
In Israeli history, there have been multiple instances in which Israel has gone out of its way to protect Jews outside of Israel. Watch this video from 2015 of current Defense Minister and then-Education Minister Naftali Bennett speaking on Israel's role when it comes to the safety of Diaspora Jews. What is Israel's role when it comes to global anti-Semitism? Do you think Israel is responsible for the safety of all Jews, wherever they reside?
In early Zionist debates over the role of a future Jewish state, Theodor Herzl dreamed that when the Jewish people had their own country and became a nation among nations, anti-Semitism would disappear. On the other side of the debate, Ze'ev Jabotinsky believed that a Jewish state would protect the Jewish people from anti-Semitism rather than eradicate it. Which Zionist thinker do you think had a more realistic view? Now that we have a Jewish state, which of them do you think was right?
What do you think is the best way to fight back against anti-Semitism? Is it learning Jewish history and understanding anti-Semitism better? Is it focusing on Jewish pride and identity instead of the negatives of anti-Semitism? Is it something different entirely? Explain.
Which aspect of being Jewish makes you most proud? Is it a religious quality, like certain commandments? Is it something national, like scientific achievement? Is it something cultural, like food or holidays–or something else? Describe.
Practical Classroom Tips
The Jewish holiday of Hanukkah is coming up. When lighting the candles each night, many Jews sing "Maoz Tzur," which describes several major calamities in Jewish history (and adds one stanza asking God to bring salvation). Learn the words with your students and discuss: Why is this what we sing when lighting Hanukkah candles?
Can your students identify anti-Semitism? Use Natan Sharansky's "3D test" to help your students recognize modern anti-Semitism. Note that Sharansky, like Sacks and many others, identifies anti-Zionism as anti-Semitism. Additionally, the United States Holocaust Museum provides resources on teaching about anti-Semitism.
Play this video by Chief Lord Rabbi Jonathan Sacks on the relationship between anti-Semitism, anti-Zionism, Judaism, and Israel. Engage in a group discussion on the topic using the material above and any additional questions.
Use our past articles and discussion questions/classroom tips there to delve deeper into this topic: Episodes of Anti-Semitism in America, The Israel-Diaspora Relationship, Rep. Ilhan Omar on AIPAC, and The Pittsburgh Massacre.
Why the EU Decision to Uphold Ritual Slaughter Bans Isn't Really About Animal Rights
#NoDenyingIt for Facebook: Combating Antisemitism and Hate Speech on Social Media
Today's Antisemitism: From DeSean Jackson to #JewishPrivilege
Where does the Holocaust Belong in Israel Education?


I'm not really sure where this recipe came from. I just wanted to make something . . . different. And these are different - in a good way!
If there was any kind of inspiration for this, I'd have to say that it came from a vegetarian mu shu seitan recipe that I've made a few times. The cookbook that the recipe comes from is a restaurant cookbook - a place called Cafe Flora in Seattle. Interestingly enough, my dear sister now works at Cafe Flora. Strange coincidence, right?
I've always served that mu shu seitan with flour tortillas. I had an extra bag of flour tortillas that I wanted to use, and the mu shu seitan just popped into my head. Somehow, my idea morphed into lamb and shiitake mushrooms. And five-spice powder. It's not like the mu shu seitan recipe at all! Oh, well.
1. Start the lamb: If necessary, cut the lamb into smaller pieces. (I cut mine into 1/2 inch pieces.) Season with salt and pepper. Heat the canola oil over medium-high heat in a large skillet. Add the lamb and brown on all sides. about 3 or 4 minutes.
2. Add the onions to the pan, lower the heat to medium low, and cook the onion until it is soft and somewhat browned, about 8 to 10 minutes. Add the ginger, garlic, and five-spice powder and continue to cook until fragrant, about 2 to 3 minutes. Add the flour and stir until it is incorporated into the mixture, which will be dry. Add the beef broth and sherry, stirring with a whisk until the mixture is smooth.
Bring the mixture to a simmer. Cook for a couple of minutes until the mixture thickens. Add the mushrooms and salt. Cook, stirring occasionally, until the mushroom have released their juices and are cooked through, about 8 to 10 minutes.
Return to the lamb to the pan, cover, and simmer very gently for about 1 and 1/2 to 1 and 3/4 hours. The lamb should be very tender.
3. While the lamb is cooking, make the slaw: Combine all of the slaw ingredients in a medium bowl. Taste and adjust seasonings. Set aside.
4. While the lamb is (still) cooking, fry the shallots: Toss the sliced shallots with the flour, salt, and cayenne pepper. Pour some canola oil in a small pot until a depth of 1 to 2 inches is reached. (It will bubble up when you add the shallots, so make sure the pan is deep enough!) Heat the oil to 375 degrees. I check this with a laser thermometer. Carefully add a small amount of the shallots and cook until golden brown, about 3 to 4 minutes. Remove the shallots with a slotted spoon and drain on paper towels. Continue this process until all of the shallots are cooked. I did mine in two batches.
5. When you are almost ready to serve the tacos, prepare the tortillas to your liking: Heat the tortillas in a dry skillet over medium-high heat, one by one, until browned but still soft, about 30 seconds to 1 minute on each side.
As they are done, stack them on a sheet of foil. When you have as many as you want, wrap in the foil and set aside. You can keep them warm in a 200 degree oven if you wish. Since this was basically my last step, I didn't need to do that.
6. Assemble the tacos: For each taco, place a tortilla on a plate. Using a slotted spoon to avoid excess liquid, spoon some of the lamb and mushroom mixture down the center of the tortillas. Top with some of the slaw. Garnish with the fried shallots and enjoy!
I have one word to describe these tacos: UMAMI. These are savory, salty, umami goodness. If that's what you're craving, you won't be disappointed.
Frying the shallots is a bit messy, but that's the price you pay for fried-crispy-oniony deliciousness.
These are a little strange if you think of them as tacos, but it's a good kind of strange. We both dug them.


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I'm an aspiring, Norwegian cartoonist who's mostly treating the whole business as a hobby. I started drawing about one or two years ago, doing various illustrations and drawings for different purposes. Over the time, my interest toward art and most notably toward cartoonism has just grown.
I started out with the webcomic Happy Landfill early in March 2008, as a small experiment after being challenged by a friend of mine (who's also a cartoonist, and creator of the webcomic "Pop Goes the Rocket" ) to make a small comic of my own.
I'm also to find, with my comic and all my other artwork, at deviantART.
http://biz3.deviantart.com/
Comics By Biz3
Galactic Wastelanders
last: July 6 2011 |
Galactic Wastelanders is the story of Jaren and Drakgan - two adventurers from each their part of the galaxy who have joined forces to shape their own saga among the stars.
Happy Landfill
16 pages |
A group of people are doing what the can to try and live a somewhat normal life. Unfortunately, fate has decreed otherwise. Thought your life was beyond the ordinary? Think again.
Comics Assisted By Biz3
Comics Recomended By Biz3
'Arctic Blast!' is a comic based on the friendship of a Polar Bear (Brogan), Seal (Hyde), Inuit (Mo) and a lost Flamingo (Tiki).
Cru The DwarF
The misadventures of Cru, a demented dwarf with a questionable grasp on reality and a penchant for perviness.
Misery Depot
A mother awakes inside a humid capsule amidst hundreds, the voice of her daughter echoing in her memory. Lost, she soon joins with a stranger who believes they are in a high-technology concentration camp, and hints that the daughter might still be alive.
Much the Millers Son
Much the miller's son is an ordinary peasant who accidentally winds up as one of Robin Hood's merrie men. Much isn't exactly the physical type, so the prospect of being a wanted outlaw is a bit frightening for him. On the other hand, he's desperately (if
Pinky TA
Pinky TA is a diesel-punk comic set in an alternative version of the 20's. It features the sexy Pinky, war, blood, steel, and fire!
Follow the adventures of Willicus and Monkey as they bumble along on an epic quest of seismic proportions!... What were they looking for, again?
Spade and Diamond
Life's a game! So live like it. Set in the world of gaming the Ace of Spade and the Ace of Diamond are two cards at the top of the deck. Watch as they struggle to survive in the high stakes life of gaming!
The Compozerz
Five classical composers suddenly find themselves swept into the 21st century. They have no choice but to acclimate. Yeah, it's pretty far-fetched (and not too historically accurate)!
When the war between retail chains got too intense, he wanted out. However, in a world where cashiers carry lightsabers and department managers have battle mechs, quitting is easier said than done. This is the record of his final two weeks.
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soulcelshade at 12:43PM, Nov. 21, 2008
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Thanks for the add my friend...hope all is well! :D
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Hey thanks for the nice comment, the add and the recommend! You rawk!


text:
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The Asia-Pacific region is very biologically diverse and hosts a high number of unique ecosystems, with 17 of the 36 global biodiversity hotspots and 7 of the 17 megadiverse countries in the region –it is home to the highest marine biodiversity in the world, with the longest and most diverse coral reef systems in the world, more than half of the world's remaining mangrove areas, and the highest seagrass diversity. However, the region's rapid economic growth, increasing population and the associated increases in consumption and pollution, high rates of urbanization, agricultural expansion, pollution are resulting in extensive biodiversity loss and ecosystem degradation, that are exacerbated by the effects of climate change. In the region, the Sustainable Development Goals related to ecosystems, in particular SDG 6 on Clean Water and Sanitation, SDG 12 on Responsible Consumption and Consumption, SDG 14 on Life Below Water and SDG 15 on Life on Land are not on track to be achieved in 2030.
The Environment and Development Division promotes environmental sustainability, with a focus on safeguarding biodiversity and ecosystems' health. This includes promoting policies that address the interconnected aspects of ecosystem health and the drivers of its degradation, including the socioeconomic drivers of human societies, as well as capitalize on co-benefits between different sectors. The current COVID-19 pandemic has underscored, among others, the need to safeguard ecosystems' health to ensure human health. In this context, EDD promotes the concept of planetary health as a useful framework for the development, implementation, and assessment of ambitious policies that address the linkages between the health of the natural world and human health within the limits of what nature can provide, in alignment with the 2030 Agenda for Sustainable Development, to better prevent and mitigate zoonoses such as COVID-19.
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text:
Series 9: De Hauke & Co., Inc., Records, 1925-1949, undated
In the 1920s César M. de Hauke was introduced by René Seligmann to his cousin, Germain Seligman, head of the American branch of Jacques Seligmann & Co., Inc. Germain Seligman was so impressed by de Hauke's knowledge, interest, and excellent taste in modern art that he decided to help de Hauke set up a new company that would specialize in selling contemporary European and French art in the United States. This was a business venture that Germain Seligman had long wished to try under the auspices of Jacques Seligmann & Co., Inc., but other family members, who were silent partners in the firm, had been reluctant to support the proposition since it was outside the areas within which the company had traditionally dealt.
In 1926 Seligman personally financed the fledgling company, first called International Contemporary Art Company, Inc., and appointed César M. de Hauke its head, but even before the legal documents setting up the company were completed, the name was amended and changed to de Hauke & Co., Inc. Athough the bulk of the new company's art purchases for stock took place in Paris and London, the majority of its sales occurred in the United States.
Seligman and de Hauke worked out an agreement that allowed de Hauke both to purchase works of art that he could sell privately within the de Hauke & Co. gallery as well as to purchase works of art for Jacques Seligmann & Co. Ownership of paintings was often shared among various dealers, involving complicated commission transactions upon completion of sales. The two businesses were deeply intertwined, as evidenced by the fact that Jacques Seligmann & Co. financial records include a great deal of de Hauke material and many of de Hauke's records are written on Jacques Seligmann & Co. stationery. De Hauke & Co. also shared addresses with Jacques Seligmann & Co. in New York at 3 East Fifty-first Street and in Paris at 9 Rue de la Paix or 57 Rue Saint-Dominique. By 1927, de Hauke had joined Jacques Seligmann & Co., Inc., as an employee of that firm.
De Hauke worked actively to bring the work of modern French artists to the attention of American buyers, exhibiting works by Pierre Bonnard, Amedeo Modigliani, Odilon Redon, Ker-Xavier Roussel, and Edouard Vuillard. He was equally interested in French School drawings and watercolors, and the scope of his exhibitions also included works by nineteenth-century masters such as Pierre-Auguste Renoir, Paul Cézanne, Edgar Degas, and Georges Seurat. De Hauke was an acknowledged authority on Seurat.
A Perusal of de Hauke & Co. financial records reveals the wide range of its stock, from decorative arts and frames to paintings, sculptures, glassware, ceramics, leather bindings and writing pads, and prints and drawings by some of the most recognizable names in nineteenth- and twentieth-century art. Included in de Hauke & Co.'s inventory were works by notable European artists such as Georges Braque, Paul Cézanne, Jean-Baptiste-Camille Corot, Honoré Daumier, Edgar Degas, Raoul Dufy, Constantin Guys, Fernand Léger, ?douard Manet, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Odilon Redon, Vincent van Gogh, and Edouard Vuillard.
Exceptionally well-known works of art, or studies for these works, are listed among the invoices and ledger books:
The Palm
by Bonnard; a
Portrait of Madame Cézanne
(Rewald,
Paintings of Paul Cézanne: A Catalogue Raisonné
,no. 606); a
,and
Paintings of Paul Cézanne
,no. 256) by Cézanne;
Le Zouave
by van Gogh; and
Portrait of Monsieur Choquet
by Renoir.
Even during 1929 and beyond, sales appeared to be brisk despite the general economic downturn. Sales were made to private individuals, such as Lillie P. Bliss, Frank Crowninshield, Duncan Phillips, Henry Reinhardt, Edith Wetmore, and Grenville L. Winthrop. Among the galleries that de Hauke dealt with were Bernheim-Jeune, the Downtown Gallery, and M. Knoedler & Co.
The success that de Hauke & Co. demonstrated in sales helped Germain Seligman to convince other family members of the profitability to be found in modern art, and in 1930 he established Modern Paintings, Inc., as the new modern paintings branch of the New York office. This change led to de Hauke's eventual resignation from Jacques Seligmann & Co. in 1931. Legal documents within the series records suggest that the relationship between de Hauke and Seligman had become strained. De Hauke's financial records after 1931 (with the exception of a few miscellaneous items) are not part of the Jacques Seligmann & Co. records.
The relationship between de Hauke and Germain Seligman continued to deteriorate after World War II, as evidenced by an exchange of letters in Jacques Seligmann & Co., Inc., (Series 9.1.6). Writing from liberated France on November 20, 1944, de Hauke asked Germain Seligman's help in obtaining a visa to return to the United States. In a letter from New York City, dated March 16, 1945, Germain Seligman replied, refusing sponsorship without giving specific reasons but hinting at concerns over de Hauke's role in the selling of company property seized by the German forces during the occupation of Paris.
Researchers may especially wish to note the provenance information that can be gleaned from study of the consular invoices, which established the value and authenticity of artworks. De Hauke documented company sales in many ways, including by name of the purchaser, as a daily transaction, and as a consignment. Much overlapping information on sales and provenance can be found in ledgers, invoices, consignment records, consular invoices, and shipping correspondence, so researchers are advised to look in all of these categories to gain a complete perspective on transactions involving specific works of art, individuals, or institutions.
The de Hauke & Co., Inc., series is arranged into 7 subseries. This series has been scanned in entirety with the exception of one item in 9.7. Blank pages in bound volumes have not been scanned so gaps will appear in the the numbering of those volumes.
9.1: Correspondence, 1925-1949, undated
9.2: Memoranda (
Fiches)
9.3: Alex Reid & Lefèvre, 1928-1930, undated
9.4: Exhibition Files, 1927-1932, undated
9.5: Miscellaneous Administrative Files, 1926-1941, undated
9.6: Legal Records, 1926-1931, undated
9.7: Financial Records, 1926-1932
9.1:Correspondence, 1925-1949, undated
De Hauke & Co., Inc., kept extensive correspondence files that were broken down into major groupings similar to those of Jacques Seligmann & Co. There are seven separate sections to this subseries. Bernheim-Jeune Correspondence (Series 9.1.1) includes letters, contracts, and business transactions between de Hauke & Co. and Bernheim-Jeune, a leading European modern art dealer in the period between the wars. The two largest sections of this subseries, Domestic Correspondence (Series 9.1.2) and Foreign Correspondence (Series 9.1.3) reflect the efforts of de Hauke to cultivate and maintain international associates and clients. Museum Correspondence (Series 9.1.4) includes correspondence with art institutions and museums. Correspondence between staff of de Hauke & Co. and staff of Jacques Seligmann & Co. can be found in Inter-Office Correspondence (Series 9.1.5) and Jacques Seligmann & Co. (Series 9.1.6). Correspondence with art magazines and publishers of de Hauke & Co. exhibition announcements and advertisements can be found in Publicity (Series 9.1.7)
9.1.1:Bernheim-Jeune Correspondence, 1926-1930, undated
This subseries consists mainly of typewritten letters with occasional attachments, announcements and invitations, and cablegrams. Correspondence is in French, but the content of the letters appears to reflect the ongoing art dealing transactions between Bernheim-Jeune and de Hauke & Co. Researchers may find particularly interesting a contract that details the 1926 arrangement between de Hauke & Co. and Bernheim-Jeune that entitled de Hauke to serve as its exclusive representative in the United States and Canada. The material is arranged chronologically.
Correspondence, 1926
Correspondence, 1927 January-June
Correspondence, 1927 July-December
9.1.2:Domestic Correspondence, 1926-1931, undated
This subseries section includes handwritten and typewritten letters, with occasional attachments and cablegrams, with American clients about works of art, exhibitions, and related art matters.
Adee, George Townsend, 1928
Ainslie Galleries, 1929
Aldis, Arthur T., 1927-1929
Alexander, H. S., 1928-1929
Alexander, Mary L., 1930
Allen, W. G. Russell, 1927-1930
Alliance Française de New York, 1927-1929
Almco Galleries (Art Lamp Manufacturing Co.), 1926-1927, undated
American Art Association, 1926-1930, undated
American Railway Express Co., 1927-1930
American Type Founders Co., 1927
Amirall, Raymond F., 1926-1927, undated
Anderson, Karl, 1928-1930
Anderson, Mrs. W. J., 1929-1930
Arden Studios, 1929
Arensberg, Walter, 1929-1930
Armour, Allison, II, 1928-1930
Art Center, 1926-1928
Art in Industry
Arts and Crafts Club (New Orleans, La.), 1927
Arts Council of the City of New York, 1927-1929
Ary, Jean d' (see d'Ary, Jean)
Miscellaneous A, 1926-1930, undated
Bakwin, Dr. and Mrs. Harry, 1929
Balay, Roland, 1928-1929
Balzac Galleries, 1929-1930
Barney, A. H., 1928-1929
Barney, James W., 1927-1930
Bartlett, Frederic Clay, 1927-1930
Beaux, Ernesta, 1927
Bernays, Edward L., 1926, undated
Bernays, Edward L., 1927-1930
Biddle, George, 1927
Bing, Alexander M., 1927-1930
Bliss, Mrs. C. N., Jr., 1928-1930
Bliss, Lillie P. (Lizzie P.), 1926-1930
Blum, Albert, 1926
Blumenthal, Mr. and Mrs. George, 1926-1928
Bonner, Paul Hyde, 1927-1929
Booth, George, 1926-1928
Bourdelle, Pierre, 1926-1930
Brainos, Mrs. M., 1927-1928
Braun, John F., circa 1926-1927
Braxton, Harry, 1930
Brewster, Walter S., 1927-1930
Brixey, Richard D., 1927-1930
Brokaw, Clare Boothe (Mrs. George T.), 1927-1930
Brown, John Nicholas, 1926-1930
Bruce, David K. E., 1927-1930
Brummer Gallery, Inc., 1929-1930
Brunswig, Lucien and Marguerite, 1930
Bryson, Mr. and Mrs. F. G., 1927-1928
Bullowa, Mr. and Mrs. Ralph S. M., 1926
Miscellaneous B: Ba-Bl, 1926-1930, undated
Miscellaneous B: Bo-Bu, 1926-1930, undated
Capehart, Bernard, 1927-1928
Carpenter, Mr. and Mrs. John Alden, 1927-1929
Central Bureau for Registered Addresses, 1926-1930
Chadbourne, Emily Crane, 1927-1930
Chandler, Mrs. Porter R., 1928-1930
Chase, Fielding (Mrs. J. B.), 1927-1928, undated
Cheney, Ward, 1926-1930
Clark, Mrs. D. Crawford, 1927
Clark, Stephen C., 1926-1930
Clarke, Pierce, 1927-1928
Coburn, Mrs. Lewis L., 1926-1930
Cochran, Gifford, 1928-1929
Codyre, Patrick, 1930
Coe, Ralph M., 1926-1929
Compagnie Générale Transatlantique ("The French Line"), 1927-1930
Consulat Général de France, 1926-1927
Crane, Josephine B. (Mrs. W. Murray), 1926-1930
Cross, John, 1926-1927
Crowinshield, Frank, 1926-1930
Miscellaneous C, 1926-1930, undated
Dalton, Henry G., 1928-1929
d'Ary, Jean, 1927-1930
Davis, Howland, 1927
Deeter, Paxton, 1930
Delano, William A., 1927-1930
de Monvel, Bernard Boutet, 1926-1927
Demotte, Inc., 1929-1930
de Vaulchier, Simon, 1927-1930
Dewitt Clinton High School, 1929-1930
Display Stage Lighting Co., 1927
Downtown Gallery, 1927-1930
Dows, Olin, 1927-1929
Draper, Muriel, 1929-1930
Dunbar, Mrs. John, 1927-1929
Durand-Ruel, Inc., 1929-1930
Miscellaneous D, 1926-1930, undated
Eccles, Dr. George W., 1928-1930
Miscellaneous E, 1926-1930, undated
Fisher, Elizabeth, 1928
Franchi Printing Co., 1927-1928
Frankl Galleries, 1926-1927
Fraser, Charles L., 1927
Frederick, Leopold, 1926-1927
Frick Art Reference Library, 1927-1930
Fry, John Hemming, 1926-1927
Miscellaneous F, 1926-1930, undated
Gage Gallery, 1927-1929
Gage, George E. (see Gage Gallery)
Galerie Beaux-Arts, 1930
Gallatin, Albert E., 1927-1930
Genthe, Dr. Arnold, 1926-1929
Ginn, Mr. and Mrs. Frank H., 1926-1929
Goldsmith, Morton, 1929-1930
Goodwin, Phillip L., 1926-1930
Goodyear, A. Conger, 1926-1930
Gotham Glass Co., 1926-1927
Gray, Mr. and Mrs. Henry, 1926-1927
Greening, W. S., 1927-1929
Guetta, René, 1926-1927
Guggenheim, S. R., 1930
Miscellaneous G, 1926-1941
Hale Desk Co., 1926-1929
Hamershlag, Mr. and Mrs. Robert J., 1930
Hare & Coolidge, 1927-1928, undated
Harriman, Marie (Mrs. William Averell), 1926-1930
Harrison, William Preston, 1927-1930
Haupt, Erik G., 1926-1930
Havermeyer, Mrs. Horace O., 1927-1928
Haven, Mrs. J. W., 1927-1929
Henry Gallery, University of Washington, 1927-1928
Henry Reinhardt & Son (Reinhardt Galleries), 1928-1930
Hirsch, Mr. and Mrs. J. W., 1930
Hirschland, Dr. F. H., 1927-1929
Hochschild, Mrs. Walther, 1929-1930
Hodges, Mrs. Glenn, 1926-1928
Hofer, Mrs. Charles F., 1926-1927
Hofer, Philip, 1927-1930
Holabird, John A., 1928-1929
Holl, George E., 1926-1927
Holmes Protective Co., 1926-1930, undated
Holston, William H., 1928-1930
Hooven Letters, 1928-1930, undated
Horter, Earl, 1927-1930
Hoyt, Charles B., 1928-1930
Hudson, Elizabeth, 1927-1928
Huntington, Margaret W., 1928, undated
Miscellaneous H, 1926-1930, undated
Ingersoll, R. Sturgis, 1929-1930
Insurance Company of North America, 1940
Miscellaneous I, 1926-1929
J. G. Valiant Co., 1927-1928
J. Merritt Malloney's Gallery, 1928-1929
Jennings, Oliver B., 1930
Jewett, Rutger Bleeker, 1927-1928
Johnson, Chester H., 1926-1928
Jordan Marsh Co., 1928, undated
Miscellaneous J, 1926-1930
Kaufmann, Edgar J., 1928-1929
Kerrigan, Mrs. J. J., 1928-1930
King, Ethel (see Russell, Mrs. Charles H., Jr.)
King, Mrs. Frederic Rhinelander, 1928-1929
Knight Electric Co., 1928
Kraushaar, C. W., 1928-1929
Miscellaneous K, 1926-1930
L. Alavoine & Co., 1928-1930
Labaudt, Lucien, 1930
Lamb, Cathbert (Mrs. William F.), 1927-1929
Lamb, Paul, 1929-1930
Lane, James, 1926-1930
Lee, Mrs. Charles T., 1929
Levy, Edgar A., 1927
Levy, Harriet L., 1927-1930
Lewisohn, Adolph and Samuel A., 1926-1930
Lichtenstein, Mrs. Harry, 1928-1930
Liebman, Mrs. Charles J., 1926-1930
Lord & Taylor, 1926
Lorillard, Pierre, 1928-1930
Lovet-Lorski, Boris, 1927, undated
Miscellaneous L, 1926-1930
M. Knoedler & Co., Inc., 1928-1930
Martin, Mrs. George A., 1929-1930
Mason, Stevens T., 1928
McCall, Ted C., 1926-1927
McClees Galleries, 1930
McKean, Mrs. Q. A. Shaw, 1929-1930, undated
McKnight, Mrs. William F., 1928-1929
Meindl, Konrad, 1927-1928
Metcalf, Thomas, 1926-1930
Millet, Mrs. Stephen, 1926-1929
Moffet, Douglas, 1927-1929
Monvel, Bernard Boutet de (see de Monvel, Bernard Boutet)
Morton, Joseph S., 1926-1927
Muller, Burton, 1928-1930
Murphy, Mrs. J. B., 1928-1929
Miscellaneous M, 1926-1930
Netcher, Mr. and Mrs. Charles N., 1927-1930
New York Public Library, 1928-1930
New York Telephone Company, 1926-1930
New York University, 1926-1930
Miscellaneous N, 1926-1930
Oakland Art Gallery, 1930
O'Brien, Mrs. Edmond, 1926-1927
Osborne, Sidney, 1928-1930
Miscellaneous O, 1926-1930
P. E. Guerin, 1926-1927
Pach, Walter, 1926-1927
Paine, Robert Treat, II, 1927-1930
Parker, Mrs. Inez E., 1928-1930
Parsons, Mary, 1929-1930
Pascin, Jules, 1927-1928
Pepper, Charles H., 1930, undated
Pepper, Stephen C., 1929-1930
Phillips, Duncan and Phillips Memorial Gallery, 1926-1927
Pollack, Mrs. Fan, 1926-1927
Porter, Mr. and Mrs. George F., 1926
Print Club of Philadelphia, 1930
Miscellaneous P, 1926-1930
Miscellaneous Q, 1930
R. H. Macy & Co., 1927
Redmond, Mrs. H. S., 1927-1928
Redmond, Mr. and Mrs. J. L., 1926-1929
Reinhardt Galleries (see Henry Reinhardt & Son)
Remington Rand International, 1926-1930
Richards, Charles R., 1926-1927
Robineau, Adelaide A., 1926-1927
Rockefeller, Mrs. John D., Jr., 1929-1930
Rose, Mrs. A. L., 1928-1929
Rose & Paskus, 1926-1930
Rothbart, Albert, 1926-1930
Russell, Mrs. Charles H., Jr. (née Ethel King), 1927-1930
Ryerson, Martin A., 1927-1929
Miscellaneous R, 1926-1928, undated
Sachs, Mrs. Arthur, 1926-1929
Sachs, Howard, 1927-1930
Sachs, Maurice, 1929-1930
Sachs, Mr. and Mrs. Walter E., 1926-1929
Saklatwalla, B. D., 1928-1930
Saks & Co., 1926-1929
Salinger, Jehanne Biétry, 1929-1930
Satyr Book Shop, 1926-1927
Scheyer, Galka E. (see Oakland Art Gallery)
Schwartz, Morton L., 1928-1929
Schwarzenbach, Mrs. Robert, 1929
Scott, Stevenson, 1927
Seeley, Mrs. S. Ward, 1927-1928
Seligmann, René, 1928-1930
Seydel, L. Victor, 1927
Sheridan, J. M., 1930
Signer, Marjorie, 1928-1929
Sinsheimer, Alexander L., 1927-1930
Slade, George T., 1926
Spaulding, John T., 1926-1930
Speiser & Speiser, 1927-1930
Springer, Nelson Junius, 1927-1928
Springfield Printing and Binding Co., 1930
Stein, Charles F., Jr., 1929
Stern, Mrs. Benjamin, 1927-1931, undated
Stillman, C. C., 1926
Stone, Maurice L., 1926-1930
Sturges, Dorothy, 1927-1930
Stursberg, Mrs. William, 1926
Miscellaneous S, Sa-Sp, 1926-1930
Miscellaneous S, St, 1926-1930
Telling, Elisabeth, 1928-1929, undated
Town Hall Club, 1930
Trimble, J. H., 1927
Turner, Francis M., Jr., 1928
Tyson, Carroll S., Jr., 1926-1930
Miscellaneous T, 1926-1930
Miscellaneous U, 1926-1930
Valentine Gallery, 1927-1929
Van Beuren, M. M., 1927
Van Gerbig, Mrs. Earend, 1926-1927
Vaulchier, Simon de (see de Vaulchier, Simon)
Miscellaneous V, 1926-1930
Warren, Mrs. James C., 1928-1929
Watson, Mr. and Mrs. James Sibley, 1926-1929
Weeks, Carl, 1926-1930
Weil, Milton, 1930
Weir, Dorothy, 1926-1927
Wetmore, Edith, 1926-1930
Weyhe, E., 1927-1930
White, Lawrence Grant, 1927-1930
White, Mr. and Mrs. Samuel S., III, 1928-1930
Wiborg, Mary Hoyt, 1927-1930
Wildenstein & Co., 1927-1929
William Macbeth, Inc., 1928-1929
Williams, Lewis B., 1927-1929
Winston, Norman K., 1927-1929
Winthrop, Grenville L., 1927-1930
Wolf, Hamilton A., 1927-1930
Wolfe, W. Béran, 1928-1929, undated
Woollcott, Alexander, 1929
Worcester, Charles H., 1928-1930
Wright, Thomas B., 1928-1930
Miscellaneous W, 1926-1930
Miscellaneous Y, 1928-1929, undated
Zabel, Morton Dauwen, 1928-1930
9.1.3:Foreign Correspondence, 1925-1940, undated
This subseries section includes handwritten and typewritten letters, with occasional attachments and cablegrams, with European clients about works of art, exhibitions, and related art matters.
Anet, Claude, 1926-1930
Aron, Jean, 1926-1929, undated
Art et Décoration (see Editions Albert Lévy)
Arthur Tooth & Sons, Ltd., 1928-1930
Arts et Métiers Graphiques, 1929-1930
Asselin, Maurice, 1926-1928
Association Française d'Expansion et d'Exchanges Artistiques, 1925-1930
Avila, 1926-1930
Barbizon House, 1928
Bassiano, Princesse, 1928-1930
Baudoin, Henri, 1929-1930
Beauregard, Comte Max de, 1926-1927, undated
Beauvais, 1929
Bellier, Alphonse, 1926-1930
Bénard, Georges, 1928-1930
Bernard, Joseph, 1926-1928
Bernheim, Georges, 1927-1930
Besson, Georges, 1930
Bignou, Etienne, 1927-1930
Bilis, Marc, 1929
Bing & Grondahls, 1926-1927
Blot, Jacques, 1928-1930
Blumenthal, Florence (Mrs. George), 1926
Bonfils, Robert, 1927
Bonger, André, 1928-1930
Bonnard, Pierre, 1926-1930
Botte, Paul, 1930
Bouche, Georges, 1926-1927
Brame, Hector and Paul, 1929-1930
Brandt, Edgar (see Maison Brandt)
Brooks, Alder, 1929-1930
Bureau International des Arts Français, 1928-1929
Burie, André, 1926-1927
Miscellaneous B, 1926-1940
Les Cadres
Carlu, Jean, 1930
Cartier, Inc., 1928
Casalis, Dr. H. A., 1928
Cassirer, Paul, 1929-1930
Cayeux, Robert, 1927-1930
Ceria, Edmond, 1927-1928
Cézanne, Mme. Paul, 1930
Chadourne, Paul, 1928-1930
Chapius, Charles and Marcel Coince, 1929-1930
Chassé, Charles, 1929
Chouanard, Emile, 1926
Christie, Manson & Woods, Ltd. (Christie's), 1927-1929
Churchill, Lord Ivor Spencer, 1929-1930
Cléret, A., 1928
Coquiot, Mauricia-Gustave, 1928
Cornille & Cie, 1926-1928
Cournault, Etienne, 1929-1930, undated
Courtin, Georges, 1927
Cros, Jean, 1926
Miscellaneous C, 1926-1930
Danthon, G. (see Galerie Haussman)
Decoeur, Emile, 1926
Decorchmont, F., 1926
de Félice, Mlle., 1927-1930
de Frenne, Ernest, 1928
de la Faille, J. B., 1927-1930
de Miré, Georges, 1930, undated
Dilly, A. C., 1926-1928
Documents, 1929-1930
Donop de Mouchy, le Baron, 1928-1929
Draeger Frères, 1926-1930
Drian, H., 1926-1927
Dufrenoy, 1927
Dunand, Jean, 1926-1927
Dunoyer de Segonzac, André, 1926-1930
Duval, Mme. Raoul (née Renée Vautier), 1926-1929
Editions Albert Lévy, 1926-1928
Editions Cahiers d'Art, 1928-1930
Editions des Quatre Chemins, 1929-1930
Effort Moderne, 1930
Einstein, Carl, 1929-1930
Exposition Permanente des Oeuvres de R. Lalique, 1926
Miscellaneous E, 1928-1930
Faille, J. B., de la (see de la Faille, J. B.)
Félice, Mlle., de (see de Félice, Mlle.)
Fénéon, Felix, 1927-1930
Flechtheim, Alfred, 1927-1930
Frenne, Ernest de (see de Frenne, Ernest)
Fried, A., 1929, undated
Miscellaneous F, 1926-1930
Galerie A. G. Fabre, 1928-1929
Galerie Barbazanges, 1927-1929
Galerie Bernier, 1928-1930
Galerie Caspari, 1929-1930
Galerie Colette Weil, 1927-1928
Galerie d'Art Contemporain, 1927-1929
Galerie d'Art du Montparnasse, 1928-1929
Galerie Dru, 1927-1930, undated
Galeries Druet, 1927-1930
Galerie Edgar Brandt (see Maison Brandt)
Galerie Haussmann, 1926-1930
Galerie Hebrard, 1926-1929
Galerie Granoff, 1927-1929
Galerie Marcel Bernheim, 1926-1930
Galerie Matthiesen, 1927-1929
Galerie Percier, 1926-1930
Galerie Pierre, 1927-1930
Galerie Sèvres, 1930
Galerie Simon, 1928-1930
Galerie Van Leer, 1927, undated
Galerie Vignon, 1930
Galerie Vildrac, 1928
Galerie Zak, 1927-1929, undated
Galerien Thannhauser, 1927-1930
Gauthier, R., 1928-1930
Giafferri, Paul Louis de, 1928-1929
Girard, Charles, 1926-1929
Gold, Alfred, 1928-1930
Gordon, Jan, 1929
Grassoreille, Mlle. H., 1929-1930
Gronkawski, Camille, 1926-1930
Grosvallet, Edouard, 1928-1930
Groult, Nicole, 1926, undated
Guérin, M. and Mme. Eugène, 1929-1930
Guillaume, Paul, 1928-1930
Guiot, Marcel, 1925-1928, undated
Gumsaragan, T., 1927-1928
Miscellaneous G, 1926-1940, undated
Halicka, Alice, 1929, undated
Hayden, Henri, 1927-1928
Heniot, Enrique L., 1929-1930
Hessel, Joseph, 1926-1930
Hodebert (see Galerie Barbazanges)
Horizons de France, 1930
Houbre, Robert, 1929
Miscellaneous H, 1927-1930
Imprimerie Crété (see
Revue de la Femme)
Independent Gallery (see Turner, Percy M.)
Iser, 1927
Miscellaneous I, 1930
Jester, Ralph, 1927
Joyant, 1930
Jumel, Lily, 1926-1930
Kann, Alphonse, 1930
Kapferer, Marcel, 1928-1930
Kelekian, Dikran Khan, 1929-1930
Keller, René (see Galerie Barbazanges)
Klinkhardt & Biermann, 1929
Klostermann, Paul, 1930
Lacroix, Boris Jean, 1929
Lair Dubreuil, F., 1928-1930
Lalique (see Exposition Permanente des Oeuvres de R. Lalique)
Lauzerte, Raymond, 1926-1929
Lebel, Robert, 1929
Ledoux, Picard, 1926
Le Garrec, Maurice, 1925-1928
Léger, Fernand, 1930
Legrain, Pierre, 1926-1927
Leicester Galleries (Ernest Brown & Phillips), 1926-1930
Lemare, Paul, 1926-1927
Lerolle, Guillaume, 1927, undated
Le Service Typographique (see
Horizons de France)
Lévy, Albert (see
Editions Albert Lévy)
Lévy, Gaston, 1930
Librairie de France, 1928-1930
Librairie Jean Schemit, 1929
Librairie Larousse, 1927-1930
Librairies Flammarion, 1929-1930
Linossier, Claudius, 1926-1927
Lurçat, Jean, 1927-1929, undated
M. Goldschmidt & Co., 1930, undated
Mainssieux, L., 1927-1928
Maisch, H. D., 1926
Maison Brandt, 1925-1927
Maison Linet, 1928-1930
Mans, Emile, 1928-1930
Marcoussis, Louis, 1927-1930
Mare, André, 1927
Marinot, Maurice, 1926-1929
Marseille, León, 1927-1929
Marx, Claude Roger, 1927-1930
Maugham, Mrs. Somerset, 1928
Mayodon, Jean, 1926-1927, undated
Medgyes, Ladislas, 1927-1928, undated
Megret, L., 1926-1929
Metthey, M. and Mme. J., 1926-1928
Meysonnier, Jean, 1927-1928
Michaux, Robert, 1928-1929
Miré, Georges de (see de Miré, Georges)
Mirtil, Adrien, 1926, undated
Modigliani, Mme. M., 1929
Mokady, 1930
Moline, L., 1929, undated
Molle, le Commandant, 1927-1928
Monnier, Marie, 1926
Musée de Grenoble, 1930
Musée du Luxembourg, 1927-1930
Musée Rodin, 1926
Miscellaneous M, 1926-1930, undated
Neuchèze, le Comte F. de, 1926-1929
Norddeutscher Lloyd, Bremen, 1927
Nouvel Essor, 1926-1930
Ochsé, F., 1930
Pacquet, Henri, 1928, undated
Papeterie du Panthéon, 1927
Paquereau, Paul, 1928-1929
Parent, Armand, 1926-1929
Perls, Hugo, 1927-1930
Perrot, 1929-1930
Pfannstiel, Arthur, 1929-1930
Pissarro, L. R., 1926-1930
, 1928-1930
Poschinger, L. von (see von Poschinger, L.)
Postes, Télégraphes, Téléphones, Bureau de Paris, 1927-1930
Pridonoff, 1929
Puiforcat, Jean E., 1926-1928
Quatre Chemins (see Editions des Quatre Chemins)
Randeynes & Fils, 1930
Raphael, Mme. France, 1926-1927
Raynal, Maurice, 1930
Reber, Dr. G. F., 1929-1930
Redon, Arï, 1926-1929
Renaissance de L'Art, 1926-1930
Revue de la Femme, 1927-1928
Ritter, Charles, 1928-1929
Riviere, Georges, 1926
Roberts, Marie, 1928
Roche, Serge, 1929-1930
Rodrigues-Henriques, Jacques, 1928-1929
Rosenberg, Léonce (see Effort Moderne)
Rosenberg, Paul, 1929
Rosenthal, Léon, 1926-1928
Rotil, J., 1928-1929
Rouard, 1926-1927
Roussel, Ker-Xavier, 1926-1930
Rouvier, Jean, 1928
Ruaud, Paul, 1928-1929
Ruhlmann & Laurent, 1926-1930
Sagot, Edmond (see Le Garrec, Maurice)
Sauvage, P., 1926-1929
Scheiwiller, Giovanni, 1930
Schneeli, Gustave, 1927-1928, undated
Service Typographique (see
Signac, Paul, 1929
Silberberg, Max, 1930
Slubicki, J., 1926-1928
Sotheby & Co., 1929
Staatlichen Kunstsamlungen in Weimar, 1928
Star, 1929
Stoll, Adolphe, 1926-1930
Strauss, Jules, 1928-1930
Studio, 1929-1930
Survage, Léopold, 1927-1930
Syndicat de la Propriété Artistique, 1926
Miscellaneous S, 1926-1930
Terrisse, A., 1928
Thomsen, René Charles, 1927-1930, undated
Tooth & Sons, Ltd. (see Arthur Tooth & Sons, Ltd.)
Tullat, R., 1926
Turner, Percy M., 1927 January-1928 May
Turner, Percy M., 1928 June-1930 November
Vallotton, Paul, 1928-1930
Van Dongen, K., 1926-1929
Vaudoyer, Georges, 1930
Vaultier, Réne (see Duval, Mme. Raoul)
Vauxcelles, Louis, 1928-1930
Venturi, Lionello, 1930
Verdiere, Adrien and Marie, 1929
Viau, Dr., 1929-1930
Vidal, Elie, 1928
Vollard, Ambroise, 1926-1930
von Poschinger, L., 1929-1930
Miscellaneous V, 1926-1930, undated
Wilm, Hubert, 1930
Wormser, André, 1930
Wydrga, B., 1927
Miscellaneous W, 1927-1930, undated
Yvangot, 1929
Zervos, Christian (see
Editions Cahiers d'Art)
Miscellaneous Y-Z, 1926-1928
9.1.4:Museum Correspondence, 1926-1949
Baltimore, Maryland, Baltimore Museum of Art, 1927
Boston, Massachusetts, Museum of Fine Arts, Boston, 1926-1929
Brooklyn, New York, Brooklyn Museum, 1927-1930
Brunswick, Maine, Bowdoin Museum of Fine Arts, 1927
Bryn Mawr, Pennsylvania, Byrn Mawr College, 1926-1927
Buffalo, New York, Buffalo Fine Arts Academy, Albright Art Gallery, 1927-1930
Cambridge, Massachusetts, Harvard Society for Contemporary Art, 1929-1930
Cambridge, Massachusetts, Harvard University, Fogg Art Museum, 1926-1930
Chicago, Illinois, Art Institute of Chicago, 1926-1927
Chicago, Illinois, Art Institute of Chicago, 1930
Chicago, Illinois, Arts Club of Chicago, 1927-1930
Cincinnati, Ohio, Cincinnati Art Museum, 1927-1930
Cleveland, Ohio, Cleveland Museum of Art, 1926-1928
Cleveland, Ohio, Cleveland Museum of Art, 1929-1930, undated
Denver, Colorado, Denver Art Museum, 1927
Detroit, Michigan, Detroit Institute of Arts, 1926-1930, undated
Detroit, Michigan, Society of Arts and Crafts, 1926
Detroit, Michigan, Society of Arts and Crafts, 1927-1930
Hartford, Connecticut, Wadsworth Atheneum, 1928-1930
Kansas City, Missouri, William Rockhill Nelson Trust, 1927-1929
Los Angeles, California, Los Angeles Museum of History, Science and Art, 1927
Madison, Wisconsin, Madison Art Association, 1929-1930
Madison, Wisconsin, Wisconsin Union (see Madison, Wisconsin, Madison Art Association)
Merion, Pennsylvania, Barnes Foundation, 1927-1929
Milwaukee, Wisconsin, Layton School of Art, 1927
Milwaukee, Wisconsin, Milwaukee Art Institute, 1927-1930
Minneapolis, Minnesota, Minneapolis Institute of Arts, 1926-1930
Montclair, New Jersey, Montclair Art Museum, 1930
Muskegon, Michigan, Hackley Gallery of Fine Arts, 1928
Newark, New Jersey, Newark Museum Association, 1927-1929
New Haven, Connecticut, Yale University Art Gallery, 1926-1927
New Orleans, Louisiana, Isaac Delgado Museum of Art, 1927-1929
New York, New York, Museum of French Art, French Institute in the United States, 1926-1928
New York, New York, Metropolitan Museum of Art, 1926-1930
New York, New York, Museum of Modern Art, 1929-1930
Northampton, Massachusetts, Smith College, Museum of Art, 1926-1929
Omaha, Nebraska, Art Institute of Omaha, 1928
Ottawa, Canada, National Museum of Ottawa, 1928
Pasadena, California, Pasadena Art Institute, 1927-1928
Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, 1927
Philadelphia, Pennsylvania, Pennsylvania Museum of Art, 1927-1930
Pittsburgh, Pennsylvania, Carnegie Institute, 1927-1930, undated
Portland, Oregon Portland Art Association, 1927-1929
Poughkeepsie, New York, Vassar College, Art Gallery, 1926-1927
Princeton, New Jersey, Princeton University, 1926-1928
Providence, Rhode Island, Rhode Island School of Design, 1930
Reading, Pennsylvania, Reading Art Museum, 1927-1928
Richmond, Indiana, Art Association of Richmond, 1927
Rochester, New York, Memorial Art Gallery, 1928-1929
Sacramento, California, California Museum Association, 1927
St. Louis, Missouri, City Art Museum of Saint Louis, 1927-1930
St. Paul, Minnesota, Saint Paul School of Art, 1929-1930, undated
San Diego, California, Fine Arts Gallery of San Diego, 1927
San Francisco, California, California Palace of the Legion of Honor, 1926-1927
San Francisco, California, M. H. de Young Memorial Museum, 1927
San Francisco, California, San Francisco Museum of Art, 1927
Seattle, Washington, Art Institute of Seattle, 1930
Toledo, Ohio, Toledo Museum of Art, 1927-1930
Toronto, Canada, Art Gallery of Toronto, 1927-1930
Washington, D.C., Corcoran Gallery of Art, 1927-1929
Washington, D.C., Smithsonian Institution, 1927
Wellesley, Massachusetts, Art Museum of Wellesley College, 1927-1928, undated
Worcester, Massachusetts, Worcester Art Museum, 1926-1929
Youngstown, Ohio, Butler Art Institute, 1926
9.1.5:Inter-Office Correspondence, 1926-1930
Cablegrams consist of correspondence between staff of de Hauke & Co., Inc., about art purchases and sales, shipping information, and ongoing business operations. Paris and New York inter-office correspondence consists of letter copies and memoranda between staff and César M. de Hauke while he was on art-buying trips in Europe. Details of daily operations in the New York gallery, client visits and purchases, and information about de Hauke's travel plans are recorded.
Cablegrams, 1926
Cablegrams, 1929 January-August
Cablegrams, 1929 September-December
Paris-New York, New York-Paris, 1926 November
Paris-New York, New York-Paris, 1927
Paris-New York, New York-Paris, 1928 January-June
Paris-New York, New York-Paris, 1928 July-August
Paris-New York, New York-Paris, 1928 September-December
Paris-New York, New York-Paris, 1929 January-September
Paris-New York, New York-Paris, 1929 October-December
Paris-New York, New York-Paris, 1930 January-May
Paris-New York, New York-Paris, 1930 June-October
Paris-New York, New York-Paris, 1930 November-December
9.1.6:Jacques Seligmann & Co., Inc., 1926-1949, undated
This subseries section consists of letters, with occasional attachments and cablegrams. There is correspondence between César M. de Hauke and Germain Seligman and between the staffs of de Hauke & Co., Inc., and Jacques Seligmann & Co., Inc., about ongoing business, art sales and purchases, clients, and travel plans and arrangements. References are found in the 1940s correspondence to the seizure of Jacques Seligmann & Co., Inc., property during the German occupation of Paris. There are occasional "veiled" references to works by Pablo Picasso, Vincent van Gogh, and others. The material is arranged chronologically.
The following letters are of special note:
Memorandum dated June 9, 1941, C. M. de Hauke to Jacques Seligmann & Co., Inc. Asks staff at Jacques Seligmann & Co. to create codes for certain words and amounts of money and suggests writing in English to make it harder for others to decipher intercepted mail.
Letter dated September 5, 1941, G. Seligman to C. M. de Hauke. Suggests some of the company's continuing activities concerning art sales during the German occupation of Paris. Reply dated September 7, 1941.
Letter dated March 16, 1945, G. Seligman to C. M. de Hauke. Briefly discusses questions Seligman has about de Hauke's role in selling property of the Paris office of Seligmann & Co., which was seized by Nazis in the summer of 1940, during the occupation of Paris. This letter is in reply to one by de Hauke, dated November 20, 1944, requesting Seligman's assistance as a sponsor for de Hauke's visa application to return to the United States.
Correspondence, 1926 January-July
Correspondence, 1926 August-December
Correspondence, 1946-1949, undated
Correspondence Regarding Matisse, 1947-1949
9.1.7:Publicity, 1927-1930
The letters in this section of the subseries concern advertisements of upcoming exhibitions in newspapers and magazines. There are exhibition announcements in the form of letters to clients, editors, and others. Some correspondents include
Art and Archeology, The Arts
Art Digest, Art News, Chicago Tribune, Kunst and Kuenstler
(Berlin), the
New York Times, Pantheon
magazine, and others.
Publicity, 1926
Publicity, 1929-1930
9.2:Memoranda (
This subseries includes handwritten notes and typed memos from staff to de Hauke and Germain Seligman and from de Hauke and Seligman to staff, called
by both companies. Many are written in French. The content of the messages involves daily activities such as reminders of meetings, detailing of tasks for completion of business, etc. Many of the exchanges between de Hauke and Seligman involve questions about particular artists and their works.
Memoranda, 1926
Memoranda, 1927 January-August
Memoranda, 1927 September-December
Memoranda, 1930, undated
9.3:Alex Reid & Lefèvre, 1928-1930, undated
Reid & Lefèvre was an art dealer company located in Glasgow, Scotland, and London, England. The directors of the company were Ernest A. Lefèvre, A. J. McNeill Reid, and D. M. Macdonald. De Hauke & Co., Inc., purchased artwork jointly with this firm, which would show and exhibit the works at its various galleries until the pieces were sold and the profits could then be shared. Painters and artists whose artwork is discussed include André Derain, Henri Matisse, Amedeo Modigliani, Odilon Redon, Georges Seurat, Vincent van Gogh, and Henri de Toulouse-Lautrec.
9.3.1:Incoming Correspondence, 1928-1930
This small subseries section includes typed letters, occasional postcards, and cablegrams that detail purchased works by various artists.
9.3.2:Outgoing Correspondence, 1928-1930
This small subseries section includes typed letters, occasional postcards, and cablegrams that detail purchased pieces by various artists.
9.3.3:Statements and Credit Notes, 1928-1930, undated
This subseries section includes invoices, statements, and credit notes that detail the financial arrangements between de Hauke & Co., Inc., and other co-owners of the artwork.
Statements, 1928-1930, undated
9.4:Exhibition Files, 1927-1932, undated
This subseries includes correspondence, logbooks, catalogs, lists, printed matter, and miscellaneous material. Exhibition logbooks include two bound volumes that detail the artwork held by de Hauke & Co. The artwork is listed by number, description, assigned insurance value, person loaning the item, shipping case number, return date, and general remarks concerning the loaned work. The logbook titled
En dépot
identifies items in storage.
Logbooks, 1928-1931
Miscellaneous Material, 1927-1929, undated
Ruhlmann Furniture Exhibition, 1927
9.5:Miscellaneous Administrative Files, 1926-1941, undated
This subseries consists of reports, written in French by de Hauke to Seligman, that summarize activities undertaken by de Hauke & Co., Inc., including recommendations for art purchases, price estimates and lists of prospective clients. The names of other dealers such as Bernheim-Jeune, Durand-Ruel, Inc., M. Knoedler & Co., Inc., and Wildenstein & Co., appear in the text.
Handwritten and typed stock lists, which reflect stocks of artwork held by de Hauke & Co., Inc., are found in the Stock Lists folder, along with notes and occasional letters relating to stock. Some of the documents are written in French.
Feuilles d'Agenda
(Address and Phone Notepad), 1935-1941
Reports, 1926-1928, undated
Stock Lists, 1926-1928, undated
9.6:Legal Records, 1926-1931, undated
Documents within this subseries include copies of contracts between Germain Seligman and César M. de Hauke that outline terms of employment for de Hauke and specify the controlling interests and rights of the stockholders. Also found is a contract between Jacques Seligmann & Co., Inc., and Modern Paintings, Inc., which was the entity created to replace de Hauke & Co., Inc. The dissolution of de Hauke & Co., Inc., is discussed in detail through correspondence with Proskauer, Rose & Paskus, attorneys for Jacques Seligmann & Co., Inc.
Contracts, 1926, undated, undated
Dissolution of de Hauke & Co., Inc., 1926-1931, undated
9.7:Financial Records, 1926-1932
De Hauke sold and consigned works to individuals, galleries, and museums, and he also loaned works to galleries and museums such as the Cleveland Museum of Art, Downtown Gallery, Marie Harriman Gallery, Metropolitan Museum of Art, Museum of Modern Art, and Saint Louis Art Museum for special exhibitions. Complex arrangements with shippers, packers, and customs officials were made through frequent correspondence. De Hauke documented sales in many ways, including by the name of the purchaser, as a daily transaction, and as consignments.
Some names of individuals and organizations that occur in many of the records include James St. L. O'Toole, gallery manager and assistant to de Hauke in New York, who wrote much of the correspondence on de Hauke's behalf, some of which is in French; Tom Grady, director of Modern Paintings, Inc., a Jacques Seligmann & Co. entity, the stock of which was partially owned by de Hauke as well; Alexis Delamare, shipping agent based in Le Havre, France; Lérondelle, packer and shipper in Paris; Hirshbach and Smith, customs agents and brokers in New York; and Germain Seligman, owner and director of Jacques Seligmann & Co., Inc. Often de Hauke and Seligman sold on commission works of art owned by Bernheim-Jeune.
9.7.1:Account and Ledger Books, 1926-1932
This subseries section houses a wide variety of account journals and ledgers including approval journals; bound invoices; a cashbook that includes a listing for a special loan to Germain Seligman; one purchase book; and one indexed sales book listing artwork sold by de Hauke & Co., Inc. Also found are two general ledger books that list financial transactions and expenses by various accounts, including payments to Jacques Seligmann & Co., Inc., for furniture and installation, general expense accounts, payments to galleries and individuals, and sales of works of art.
Approval Journal no. 1, 1927-1932
Cashbook, 1926-1930
Purchase Book, 1926-1931
Sales Book, 1926-1931
Ledger, 1926-1928
9.7.2:Invoices and Balance Sheets, 1926-1932
This subseries section houses bound and loose invoices, including sales, consignment, and consular invoices and one volume of balance sheets and profit/loss statements. Similar to the invoices arranged in the Financial Files and Shipping Records (Series 7) of Jacques Seligmann & Co., Inc., the invoices are arranged in bound volumes chronologically and in loose format alphabetically by client. The bound and loose miscellaneous invoices are for sundry expenses. The consignment invoices and other documentation in the file detail works of art on consignment to the Paris office of Jacques Seligmann & Co. or to individual clients. The consular invoices were required by foreign governments for import to the United States, and every work of art had to be listed and declared for customs approval. All of the invoices contain important provenance information.
Bound Invoices, 1926-1928
Bound Miscellaneous Invoices, 1926-1930
Loose Invoices, A, 1926-1930
Loose Invoices, B, 1926-1930
Loose Invoices, C, 1926-1930
Loose Invoices, D, 1926-1930
Loose Invoices, E, 1926-1930
Loose Invoices, F, 1926-1930
Loose Invoices, G, 1926-1930
Loose Invoices, H, 1926-1930
Loose Invoices, I, 1926-1930
Loose Invoices, J, 1926-1930
Loose Invoices, L, 1926-1930
Loose Invoices, M, 1926-1930
Loose Invoices, N, 1926-1930
Loose Invoices, P, 1926-1930
Loose Invoices, R, 1926-1930
Loose Invoices, S, 1926-1930
Loose Invoices, T, 1926-1930
Loose Invoices, V, 1926-1930
Loose Invoices, Y, 1926-1930
Consignment Invoices to Jacques Seligmann & Fils, 1926-1932
Consignment Invoices to Clients, 1926-1932
Consular Invoices, 1926
Bound Balance Sheets and Profit/Loss Statements, 1926-1930
9.7.3:Shipping and Customs Records, 1926-1930
Shipping records within this subseries reflect the high level of sales activity engaged in by de Hauke & Co., Inc., during the late 1920s and early 1930s. The shipping records provide useful documentation of the movement of works of art in Europe and to the United States. Complex arrangements with shippers, packers, and customs officials were arranged through frequent and detailed correspondence.
Correspondence with Hirshbach & Smith, Customs Brokers, 1926-1927
Correspondence with Hirshbach & Smith, Customs Brokers, 1928
United States Customs Correspondence, 1926-1930
Correspondence and Shipping Records with R. Lérondelle, Shippers and Packagers, 1926-1928
Correspondence and Shipping Records with R. Lérondelle, Shippers and Packagers, 1929
General Shipping Correspondence and Receipts, A, 1926-1930
General Shipping Correspondence and Receipts, B, 1926-1930
General Shipping Correspondence and Receipts, C, 1926-1930
General Shipping Correspondence and Receipts, D, 1926-1930
General Shipping Correspondence and Receipts, Delamare, 1926-1930
General Shipping Correspondence and Receipts, E, 1926-1930
General Shipping Correspondence and Receipts, F, 1926-1930
General Shipping Correspondence and Receipts, G, 1926-1930
General Shipping Correspondence and Receipts, H, 1926-1930
General Shipping Correspondence and Receipts, K, 1926-1930
General Shipping Correspondence and Receipts, L,M,N, 1926-1930
General Shipping Correspondence and Receipts, P,R,S, 1926-1930
General Shipping Correspondence and Receipts, T,V, 1926-1930
Miscellaneous Shipping Receipts, 1926-1927, undated
Miscellaneous Lists and Correspondence Concerning Shipping and Packing, 1926-1930
9.7.4:Miscellaneous Financial Notes, 1927-1930
One file contains miscellaneous credit notes, lists, and other documentation regarding sales and banking transactions.
Miscellaneous Financial Notes, 1927-1940


Samsung is the largest smartphone manufacturer in the world, as many of you know, This Korea-based smartphone OEM has been quite successful in terms of sales for a long time now, even though their profits started to fall a while back. The company has decided to alter the design of their smartphones in order to offer something new to consumers and continue increasing their profit. Either way, Samsung is earning a lot of cash from their 'Mobile' department, but it seems like the company missed their profit forecast for Q4 2015, and the 'Mobile' department is probably an important factor here, read on.
The company has released their earning guidance for Q4 2015 today, reporting an operating profit of 6.1 trillion won ($5.08 billion). This information is actually based on the company's estimated sales which are worth 53 trillion won ($44 billion). Now, Samsung's operating profit is 15.3% higher than it was in Q4 2014, which is good, but is 17.5% lower than it was in Q3 2015. Now, you can look at this info the way you want, of course. If we were to compare this to the company's results from the same period in 2014, then Samsung did really well this year, but if we compare it to the third quarter last year, well... either way, the company has earned a ton of cash last year, and this year will be interesting, for sure. The company is expected to announce quite a few Galaxy S7 devices this year (4 or 5 according to rumors), and those handsets will arrive in about a month or so. Samsung will almost certainly going to release something new and try to innovate, not to mention they are planning to tackle emerging markets and basically try to compete with various Chinese companies.
It is also worth mentioning that Samsung Mobile is now under a new leadership, J.K.Shin stepped down last year, and Dongjin Koh took over. The company's new president already announced that the company will focus on software and services in 2016, which probably means we can expect further TouchWiz improvements. All in all, 2016 will surely be an exciting year for Samsung, and it remains to be seen how will they compete with price aggressive companies.


text:
fcpl_001 (1)
medical society of the state of north carolina. transactions.; medical society of the state of north carolina.; north carolina medical society.; north carolina medical society. transactions.; north carolina public health association. proceedings. (50)
north carolina dental society. (44)
north carolina pharmaceutical association.; north carolina pharmaceutical association. proceedings of the annual meeting.; north carolina pharmaceutical association. year book.; north carolina. board of pharmacy. annual report. (37)
ferris, william r. (32)
medical society of the state of north carolina. annual session. (31)
morton, hugh m. (31)
debnam, betty. (26)
unknown artist. (24)
north carolina. state board of health. (16)
north carolina nurses association.; north carolina state nurses' association. (13)
postcard (49)
9 x 15 cm. (48)
35mm (24 x 36mm / 15/16 x 1 7/16 in.) (34)
color mounted slide (22)
color roll film negative (12)
120 (80.8 x 80.8mm / 2 x 2 in.) (11)
black-and-white roll film negative (11)
medicine -- north carolina -- periodicals. (99)
public health -- periodicals.; physicians -- north carolina -- directory.; societies, medical -- north carolina -- periodicals. (50)
world war, 1914-1918 -- russia. (45)
childrens_lit (39)
medicine -- north carolina -- societies, etc. (37)
north carolina pharmaceutical association -- periodicals. (37)
pharmacists -- north carolina -- periodicals. (37)
pharmacy -- periodicals. (37)
All fields: (Artist)
This interview is part of the Southern Oral History Program collection at the University of North Carolina at Chapel Hill. Other interviews from this collection are available online through www.sohp.org and in the Southern Historical Collection at...
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North Carolina Medical Journal [1940-Present]
Includes Transactions of the Society, -1960; 1961- , Transactions issued separately, bound in.; Includes Transactions of the auxiliary to the Medical Society of the State of North Carolina and Proceedings of the North Carolina Public Health...
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The Carolina Journal of Pharmacy [1915-1999]
North Carolina Pharmaceutical Association -- Periodicals.
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Transcript—Sharon Sullivan Mujica (Compiled October 9, 2014) Interviewee: Sharon Sullivan Mujica Interviewer: Jessica L. English Interview Date: Tuesday, October 7, 2014 Location: Interviewee's residence in Chapel Hill, NC Length: 48 minutes, 53...
Interview number R-0726 from the Southern Oral History Program Collection (#4007) at the Southern Historical Collection, The Louis Round Wilson Special Collections Library, UNC-Chapel Hill. This interview is part of the Southern Oral History...
Hurricane Katrina, 2005.; Natural disasters--Louisiana--New Orleans.
George Schmidt May 30, 2006 George Schmidt [GS]: We might be interrupted, too, because the phone'll ring or something. Is that okay? Meg Pugh [MP]: Oh, that's fine, yeah. I can just pause it. So if you could just say your name, and where we...
A Portrait Detective
July 8, 2006 - July 14, 2006
The Bulletin of the School of Medicine of the University of North Carolina [1953-1967]
University of North Carolina (1793-1962). School of Medicine -- Periodicals.; University of North Carolina (1793-1962). School of Medicine -- Alumni and alumnae -- Periodicals.; University of North Carolina at Chapel Hill. School of Medicine --...
North Carolina Dental Journal [1973-1980]
TRANSCRIPT—MARJORIE NORTHUP Interviewee: Marjorie Northup Interviewer: Liz Lundeen Interview date: July 26, 2012 Location: Winston-Salem, North Carolina Length: 61 minutes LIZ LUNDEEN: Today is July 26th, 2012. This is Liz Lundeen...
TRANSCRIPT DIGITAL RECORDING 9/19/12 Peggy Van Scoyoc (PV): This is Peggy Van Scoyoc. Today is Wednesday, September 19, 2012. I am here at the Page-Walker right now and we are about to talk to Terry "Doc" Thorne who has been a...
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Don't ask me why or how, but until I became acquainted with spell-check at the age of 16, I misspelled "very" every time.
As an experienced two-time high school debater (Death penalty? I think not!), I can speak on behalf of everyone when I say that arguing gets you nowhere.
For those of you whose social lives are under threat from The Man, we present a playlist featuring artists who share your pain.
In light of the recent Hasty Pudding merger, FM proposes a few future pairings.
In light of Prohibition 2012, it's time to play hard, speakeasy.
Harvard students are high achievers in all walks (or, more aptly, crawls) of life.
FM predicts winners deserving of this year's prize.
Great options! If you choose Economics, you'll probably end up working in consulting. If you choose English, you'll also work in consulting, but with a firmer grasp of James Joyce.
It's time the adventurous men and women of today learned a lesson from the guys who are clearly having the most fun out of anyone: overweight tourists from remote, landlocked areas.


We've posted before on the topic of fitting chemical kinetics to HPLC data. Some good experiment planning and design can make this much faster, easier and more informative than a retrospective 'hope for the best' attempt to fit kinetics to experiments coming out of an empirical DOE.
Once the data have been collected from one or two experiments, it's time to check the mole balance. That means checking that your mental model of the chemistry taking place (e.g. A>B>C) and to which your DynoChem model will rigorously adhere, is consistent with the data you have collected. There's a nice exercise in DC Resources to take you through this step by step, using chemistry inspired by a reaction on which Mark Hughes and colleagues of GSK have published and presented.
The exercise starts with HPLC area (not area percent) and after correcting for relative responses leads directly to a new insight into the reaction, even before the first simulation has been run. When the modeling and experiments are done alongside each other and at the same time, such early insight impacts subsequent experiments and makes them more valuable while reducing their number.
We encourage you to take the exercise to learn this important skill and how to build better, more rigorous and more reliable kinetic models.


text:
Konferencja biznesowa – spotkanie biznesowe poświęcone wymianie informacji i omawianiu zagadnień związanych z działalnością oraz zarządzaniem przedsiębiorstwami.

Organizatorem mogą być stowarzyszenia, przedsiębiorstwa, organizacje non-profit lub osoby indywidualne. Miejscem przeprowadzania są często wyspecjalizowane centra, oferujące usługi hotelowe, konferencyjne i rekreacyjne (np. spa).

W konferencjach bierze udział więcej uczestników niż w szkoleniach.

Zobacz też
 Szkolenie

Gospodarka
Konferencje

redpajama_set_name: RedPajamaWikipedia


text:
DW (zuvor auch Deutsche Welle TV) ist der öffentlich-rechtliche deutsche Auslandsfernsehsender der Deutschen Welle. Das nachrichten- und informationsorientierte Programm der Deutschen Welle ging am 1. April 1992 als Nachfolger des RIAS-TV auf Sendung und wird über Satellit verbreitet. Produktionsort für das Fernsehprogramm DW ist Berlin – aus den Gebäuden der ehemaligen AEG-Kleinmotorenfabrik in der Voltastraße in Berlin-Gesundbrunnen. Am 6. Februar 2012 unterzog sich die Deutsche Welle einem kompletten Relaunch und tritt seitdem auf allen Wegen nur noch als DW auf. Zudem wurde das Fernsehprogramm grundlegend überarbeitet.

Versionen
DW betreibt derzeit fünf Kanäle:
 عربية DW (arabisch, englisch) Empfangbar in Gesamteuropa, Naher Osten, Nord- und Westafrika
 DW Deutsch+ (deutsch, englisch) Empfangbar in Kanada, USA und Mexiko
 DW (Español) (spanisch) Empfangbar in Südkanada, USA und Lateinamerika
 DW English (englisch) Empfangbar: Weltweit
 DW Deutsch (deutsch) Empfangbar in: Osteuropa, Asien (komplett) und Ozeanien (komplett)

Aufgabe
DW hat vor allem den Auftrag, ein umfassendes Bild von Deutschland im Ausland zu vermitteln. Die rechtliche Grundlage für die Ausstrahlung dieses Fernsehprogramms ist das Gesetz über die Rundfunkanstalt des Bundesrechts »Deutsche Welle« vom 16. Dezember 1997 in der Fassung vom 28. Oktober 2004. Daraus ergibt sich die Aufgabe, für das Ausland Rundfunk und Telemedien zu produzieren und weiterzuverbreiten. Ziel soll sein, Deutschland nach außen hin in seinen freiheitlich-demokratischen Wurzeln und Werten zu vertreten. Beinhalten sollen die DW-Programme zudem unterschiedliche Sichtweisen zu wesentlichen Themen vor allem der Politik, Kultur und Wirtschaft. Es soll sowohl in Europa wie in anderen Kontinenten ein Forum mit dem Ziel geben, das Verständnis und den Austausch der Kulturen und Völker zu fördern.

Verbreitung
Der Sender wird weltweit über 18 geostationäre Satelliten verbreitet. In Europa ist das deutsche Programm über Astra 4A zu empfangen, die englische Version über die Satelliten Astra 1M und Hotbird 13B.

Des Weiteren wird das Fernsehprogramm im Internet über die Website des Senders verbreitet. Weltweit werden die DW-Programme über sogenannte DW-Partnerstationen wie Deukom und Satelio verbreitet. Insgesamt sind es rund 3500 Partner, die DW-TV (oder DW-Radio) ganz oder teilweise übernehmen und erneut senden.

Störung der Satellitenübertragung
Am 7. und 8. Dezember 2009 wurde der auch von DW-TV genutzte Transponder auf Hotbird 8 gestört. Nach Ansicht des Senders, der sich auf eine Angabe des Satellitenbetreibers Eutelsat berief, konnte man den Störsender eindeutig im Iran lokalisieren. Der Betreiber versuchte damals durch Hochfahren der Sendeleistung den störungsfreien Empfang zu ermöglichen, daraufhin wurde aber auch das Störsignal verstärkt. Als Ursache für die Störungen wird die Zensur der Berichterstattung über die Unruhen und die Proteste von Oppositionellen im Iran vermutet.

Vom 10. bis zum 13. Februar 2010, also im Umfeld des 31. Jahrestages der Islamischen Revolution traten erneut Störungen auf.

Das Erste war nach Beobachtungen eines Zuschauers in Amman/Jordanien auch von der Störaktion betroffen.

Programminhalte
Seit dem 6. Februar 2012 kann die Deutsche Welle verstärkt auf Programme zurückgreifen, für die ARD und ZDF die Weltrechte innehaben. Vor allem selbst produzierte Talkshows wie Günther Jauch, Maybrit Illner und Menschen bei Maischberger sollen das Nachrichtenprogramm ergänzen, das nur noch zu 40 Prozent von der Deutschen Welle selbst produziert wird. Bisher wurde das Programm im Stundentakt abwechselnd auf Deutsch und Englisch ausgestrahlt. Das Hauptprogramm ("DW") wird nun rund um die Uhr auf Englisch angeboten. Für die einzelnen Kontinente werden Programme teilweise komplett in deutscher Sprache angeboten. Das spanischsprachige Programm für Lateinamerika, DW (Español), wurde von einer auf 20 Stunden täglich ausgedehnt. Online-Inhalte sind nun auch über eine App nutzbar. Nur nach Subsahara-Afrika wird noch ein Hörfunkprogramm auf Kurzwelle gesendet. DW (Europe) sendet morgens und abends von jeweils 9 bis 12 Uhr auf Deutsch, die übrige Zeit auf Englisch.

Weblinks

 Homepage

Einzelnachweise

Deutsche Welle
Auslandsfernsehsender (Deutschland)
Öffentlich-rechtlicher Fernsehsender
DWTV
Deutschsprachiger Fernsehsender
Sendestart 1992
Brunnenviertel
Medienunternehmen (Berlin)
Fernsehen (Berlin)


Merry Christmas Eve, Violets! I have a wonderful mountain wedding inspiration shoot for you today, coming to us from the Canadian Rockies. The breathtaking Crescent Falls provided the perfect backdrop for the rustic concept dreamed up by photographer Melanie Bennett. Rich merlot, burgundy, and blush florals are paired with a handmade wood table set at the edge of the rocky river – I can almost feel the cool fresh air, and taste the lovely home baked winter desserts the tables are set with. Wood slice plate chargers, herb green pottery, and pomegranates make these place settings the epitome of a rustic winter table. Berries, cheese, a mossy table runner, and a naked cake bring an earthiness to the scene that we absolutely love. And the photos of the bride and groom at the waterfall are the stuff of an outdoorsy bride's dreams! Enjoy and have a very happy holiday! We'll see you back here next week.