text:
Jonathan Cape (London, UK)
Series dates: 1926-1947; 1950-1955 (New Travellers' Library)
Jonathan Cape & Harrison Smith (New York, US)
William Heinemann Ltd. (London, UK)
The Traveller's Library series name was used first by Longman, Brown, Green, and Longmans (London, UK) for their Traveller's Library series from about 1850-1862. The series consisted of reprints of books on, not surprisingly, travel.
Times (London) Aug. 20, 1926
In 1926, Jonathan Cape reused the name for a series of titles drawn primarily from their back catalog with a general focus on travel and international authors. In 1927 the series began to be published in the U.S. by Jonathan Cape & Harrison Smith. In 1928 William Heinemann Ltd. joined Cape to co-publish the series, adding new titles from Heinemann's back catalog. Cape issued 218 titles in the initial series and an additional 7 titles as part of the New Travellers' Library (in 1950). A few titles, such as e.e. cummings The Enormous Room, were only published by Cape and Smith in the U.S. Heinemann also issued unique titles as part of the series. The Travellers' Library is an interesting example of a global collaboration between three publishers issuing titles in one similarly designed and formatted reprint series.
An offer for Now & Then, Cape's in-house publication on books and authors. Tucked in a Travellers' Library edition.
Two sources provide significant background on the Travellers' Library, including a full bibliography with print dates, numbers of reprints, and total copies printed. Information on this page is drawn from these sources.
Basil Savage. 1971. "Jonathan Cape and the Travellers' Library." The Private Library (Winter 1971), pp. 165-188.
Colin O'Hare. 19??. "Travellers' Library." Book Collector. [year and issue not indicated on the xerox copy I have but published after the Savage article].
A bibliography of the series including first edition date, printings, reprints and total printed is taken from the O'Hare article and is here: "Travellers' Library Complete Bibliography."
See the end of this entry for a full list of authors/titles/dates.
Jonathan Cape worked for Duckworth in the 1910s and set out on his own in 1920, raising funds by selling cheap paperback reprints of the scandalous romantic novels of Elinor Glyn (published by Duckworth, but they were not interested in issuing cheap reprints). With the money raised from that venture, Cape started his own firm and began assembling a collection of authors including T.E. Lawrence, H.G. Wells, Samuel Butler, James Joyce and U.S. authors such as Sinclair Lewis, Ernest Hemingway, Eugene O'Neill, HL Mencken, Robert Frost, Ernest Hemingway and Margaret Mead.
When first issued The Travellers' Library was praised for the high quality of the series books, both design, and production. Jacket and book design changed very little until the jackets were redesigned in 1934.
Jackets from 1926 to 1934 were printed on gold-colored paper. The jackets are common throughout the series, varying only in the author and title information. The Travellers' Library is printed on the jacket spine and front cover. Front jacket flap includes the series number and a blurb about the title. Price is 3s./6d.
Machen's Dog and Duck (First Travellers' Library edition, 1926) is an early issue in the series. The first 22 titles in the series are listed on the rear of the jacket.
Bindings are medium blue cloth with gold stamping. The series name is not indicated on the book spine or cover.
Series and title of the book are indicated on the half-title page.
Selected titles in the series are listed facing the title page.
The copyright page indicates the initial publication date of each title, with printing (and reprinting) information in the Travelers' Library.
Some copies include a catalog for the series in the back of the book. One variant jacket from a 1928 first printing of Powell's The Adventures of a Wanderer features an overprint indicating "First Publication in Volume Form." In a way, this is a true first edition book.
Cape's collaborative firm in New York, Jonathan Cape and Harrison Smith, published the Travellers' Library in 1927-1930. The design of the jackets and books remains similar to the Cape copies. The dust jacket paper is a bit more orange than gold on these New York copies. Also, the series logo on the spine is placed lower than on Cape (and Heinemann) copies. Price is $1. Sullivan's Aspects of Science is a 1927 first issue in the Travellers Library.
A list of titles in the U.S. series is printed on the back of the jacket. Most of these are from the Cape U.K. series.
Bindings are also nearly identical to the Cape UK copies.
Half-title page follows the Cape UK copies.
Titles available in the U.S. series are also listed facing the title page.
Copyright and publication data remains the same as with the Cape UK copies. Of the 21 Cape & Harrison Smith copies I have, all printed during 1928-1929 indicate "Printed in Great Britain." Most likely, these books are identical to the British editions and were completely printed and bound in England and shipped to the U.S. or printed in England and shipped to the U.S. where they were bound and/or jacketed. The different color paper used on the US copies suggest the jackets, at least, may have been printed in the US.
A few titles issued after 1930 (Rosebery's Napoleon [1930] indicate printing in the United States.
A catalog in the back of the Sullivan U.S. copy includes an annotated catalog of titles available in the U.S. in 1930:
In 1928 Cape struck a deal with Heinemann to publish titles in the series drawn from Heinemann's back catalog. Jackets and bindings remain the same, except for the publisher's information. A few titles have both Cape and Heinemann listed as the publisher. At least 21 titles were unique to the series under the Heinemann imprint. The last unique Heinemann title was Maugham's The Gentleman in the Parlour, shown below, printed in 1932.
Reviews of the Travellers' Library series are included on the back of the jacket. This same jacket back is used on Cape copies at the same time. New volumes are listed on the rear flap.
Besides publisher indication, the bindings remain the same as the Cape editions.
Half-title page is the same as the Cape edition.
Title page remains unchanged from the Cape editions, with the exception of the publisher's information.
In 1934 jackets, but not books, are redesigned. The design is ugly, to say the least, an attempt to jazz up the jackets during a downturn in the economy. A boat logo for the series is added to the spine, but the original logo remains at the base of the spine. Prices, at 3s./6d. remain the same.
The back of the jacket advertises The Life and Letters series, which are similar titles to the Travellers' Library but in a larger format.
The book's binding and pages remain unchanged from earlier series copies.
This copy of Mencken's Selected Prejudices is a 1937 8th printing in the Travellers' Library.
The list of titles goes up to 217:
In 1940 Cape issued the Saint Giles Library which used sheets of unbound Travellers' Library titles. Forty titles were issued in 1940, and none after. Much like with the redesigned dust jacket in 1934, repackaging the same titles as a new series was most likely an attempt to move unsold stock.
In 1950, Cape revived the series with the New Travellers' Library. In all, fourteen titles were issued, 8 new titles and 6 reprints from the original series. Reprints in the New Travellers' Library are evident through 1955.
The jackets are redesigned with a stylized T and L which, while adds a clever dimensionality to the jackets, is less noticeable than the original series logo. The contrasting pastel colors are also a bit peculiar. The price has risen to 4s./6d. If the title is reissued from the original series, it maintains its serial number. In this case, Joyce's Portrait of the Artist as a Young Man, number 155 in the original and new series.
The prospectus for the new series is on the back of the jacket. The jacket describes how WW2 forced the entire series out of print. The goal was to reissue many of the old series titles and add new titles. This did not happen. 10 titles indicated on the rear jacket flap were issued, along with four more. Hemingway's A Farewell to Arms brought the series up to 224 volumes (although most were no longer in print). Number 225 may have been Iris Origo's War in Val d'Orcia.
A 1952 (2nd printing in the New Traveller's Library) of Joyce's Dubliners follows the same design as above but reverses the colors on the jacket:
Bindings are now red cloth with silver stamping. A stylized TL is stamped on the spine and cover and is somewhat at design odds with the TL used on the jackets.
The half title page includes the TL logo, but not the series name.
The title page:
The copyright page. First issued in the Travellers' Library 1930, New Travellers' Library 1950.
The New Travellers Library series was not a success. A few titles are reprinted through the 1950s, 1960s, and 1970s (according to WorldCat) but no new titles were issued.
A full list of titles (slightly modified from Traveller's Library: Book Series List):
1. Can Such Things Be?, Ambrose Bierce (1926)
2. The Black Dog, A E Coppard (1926)
3. The Autobiography of a Supertramp, W H Davies (1926)
4. Babbitt, Sinclair Lewis (1926)
5. The Craft of Fiction, Percy Lubbock (1926)
6. Earlham, Percy Lubbock (1926)
7. Wide Seas and Many Lands, A Mason (1926)
8. Selected Prejudices: Series 1, H L Mencken (1926)
9. The Mind in the Making, J H Robinson (1926)
10. The Way of All Flesh, Samuel Butler (1926)
11. Erewhon, Samuel Butler (1926)
12. Erewhon Revisited, Samuel Butler (1926)
13. Adam and Eve Pinch Me, A E Coppard (1926)
14. Dubliners, James Joyce (1926)
15. Dog and Duck, Arthur Machen (1926)
16. Kai Lung's Golden Hours, Ernest Bramah (1926)
17. Angels and Ministers, Laurence Housman (1926)
18. The Wallet of Kai Lung, Ernest Bramah (1926)
19. Twilight in Italy, D H Lawrence (1926)
20. The Dream, H G Wells (1926)
21. Roman Pictures, Percy Lubbock (1926)
22. Clorinda Walks in Heaven, A E Coppard (1926)
23. Marius the Epicurean, Walter Pater (1927)
24. The White Ship, Aino Kallas (1927)
25. Multitude and Solitude, John Masefield (1927)
26. Spring Sowing, Lian O'Flaherty (1927)
27. William, E H Young (1927)
28. The Country of the Pointed Firs, Sarah Orne Jewett (1927)
29. Grecian Italy, H J Forman (1927)
30. Wuthering Heights, Emily Bronte (1927)
31. On a Chinese Screen, Somerset Maugham (1927)
32. A Farmer's Life, George Bourne (1927)
33. The Cherry Orchard and The Seagull, Anton Tcheckoff (1927)
34. The Monk and the Hangman's Daughter, Ambrose Bierce (1927)
35. Captain Margaret, John Masefield (1927)
36. Blue Water, A S Hildebrand (1927)
37. Stories, Guy de Maupassant (1927)
38. While the Billy Boils: First Series, Henry Lawson (1927)
39. While the Billy Boils: 2nd Series, Henry Lawson (1927)
40. A Series of Uncommon Events, Capt. G Roberts (1927)
41. In Morocco, Edith Wharton (1927)
42. Gleanings in Buddha Fields, Lafcadio Hearn (1927)
43. Out of the East, Lafcadio Hearn (1927)
44. Kwaidan, Lafcadio Hearn (1927)
45. The Conquered, Naomi Mitchison (1927)
46. When the Bough Breaks, Naomi Mitchison (1927)
47. The Flying Bosun, A Mason (1927)
48. Later Days, W H Davies (1927)
49. The Eyes of the Panther, Ambrose Bierce (1927)
50. In Defence of Women, H L Mencken (1927)
51. Viennese Medley, E O'Shaughnessy (1927)
52. Precious Bane, Mary Webb (1927)
53. The Infamous John Friend, R S Garnett (1927)
54. Horses and Men, Sherwood Anderson (1927)
55. Selected Essays, Samuel Butler (1927)
56. A Poet's Pilgrimage, W H Davies (1927)
57. Glimpses of Unfamiliar Japan: Series 1, Lafcadio Hearn (1927)
58. Glimpses of Unfamiliar Japan: Second Series, Lafcadio Hearn (1927)
59. The Travels of Marco Polo, M Komroff (1927)
60. Selected Prejudices: 2nd Series, H L Mencken (1927)
61. The World's Back Doors, M Murray (1927)
62. The Evolution of an Intellectual, John Middleton Murry (1927)
63. The Renaissance, Walter Pater (1927)
64. Adventures of a Wanderer, S W Powell (1927)
65. Racundra's First Cruise, Arthur Ransome (1927)
66. The Martyrdom of Man, William Reade (1927)
67. Autobiography, Mark Rutherford (1927)
68. The Deliverance, Mark Rutherford (1927)
69. The Revolution in Tanner's Lane, Mark Rutherford (1927)
70. Aspects of Science: First Series, J W N Sullivan (1927)
71. Mastro-Don Gesualdo, Giovanni Verga (1928)
72. The Misses Mallett, E H Young (1927)
73. Selected Essays: 1st Series, Sir E Gosse (1927)
74. Where the Blue Begins, Christopher Morley (1927)
75. Selections from the Notebooks, Samuel Butler (1927)
76. Confessions of a Young Man, George Moore (1927)
77. The Bazaar, Martin Armstrong (1928)
78. Side Shows: Essays, J B Atkins (1928)
79. Short Talks with the Dead, Hillaire Belloc (1928)
80. Orient Express, John Dos Passos (1928)
81. Selected Essays: 2nd Series, Edmund Gosse (1928)
82. On the Eve, Ivan Turgenev (1928)
83. Fathers and Children, Ivan Turgenev (1928)
84. Smoke, Ivan Turgenev (1928)
85. Porgy, Dubose Heyward (1928)
86. France and the French, S Huddleston (1928)
87. Liv, Kathleen Coyle (1928)
88. Cloud Cuckoo Land, Naomi Mitchison (1928)
89. A Private in the Guards, Stephen Graham (1928)
90. Thunder on the Left, Christopher Morley (1928)
91. The Moon and Sixpence, Somerset Maugham (1928)
92. The Casuarina Tree, Somerset Maugham (1928)
93. A Poor Man's House, Stephen Reynolds (1928)
94. William Blake, Arthur Symons (1928)
95. A Literary Pilgrim in England, Edward Thomas (1928)
96. Napoleon: The Last Phase, Earl Rosebery (1928)
97. The Pocket Book of Poems and Songs, Edward Thomas (1928)
98. Safety Pins, Christopher Morley (1928)
99. The Black Soul, Liam O'Flaherty (1928)
100. Christina Alberta's Father, H G Wells (1928)
101. The Intimate Journals, Paul Gauguin (1928)
102. The Grub Street Night's Entertainments, John Collings Squire (1928)
103. Oriental Encounters, Marmaduke Pickthall (1928)
104. The Little Karoo, Pauline Smith (1928)
105. The Mother, Grazia Deledda (1928)
106. Travellers' Joy, W G Waters (1928)
107. Shipmates, F Riesenberg (1928)
108. The Cricket Match, Hugh de Selincourt (1928)
109. Rare Adventures and Painefull Peregrinations, William Lithgow (1928)
110. The End of a Chapter, Shane Leslie (1928)
111. Sailing Across Europe, Negley Farson (1928)
112. Men, Books and Birds, W H Hudson (1928)
113. Plays, Acting and Music, Arthur Symons (1928)
114. Italian Backgrounds, Edith Wharton (1928)
115. Flowers and Elephants, C Sitwell (1929)
116. The Moon of the Caribees, Eugene O'Neill (1929)
117. Between Earth and Sky, Konrad Bercovici (1929)
118. The House with the Green Shutters, George Douglas (1929)
119. Friday Nights, Edward Garnett (1929)
120. Diversions in Sicily, H Festing Jones (1929)
121. Days in the Sun, Neville Cardus (1929)
122. Combed Out, Frederick A Voigt (1929)
123. Contemporaries of Marco Polo, M Komroff (1929)
124. Tennyson, Hugh L Fausset (1929)
125. Captives of Tipu: Survivors' Narratives, A W Lawrence (1929)
126. Memoirs of a Slave Trader, Theodore Canot (1929)
127. Black Laughter, Llewellyn Powys (1929)
128. The Informer, Liam O'Flaherty (1929)
129. The Beadle, Pauline Smith (1929)
130. Fishmonger's Fiddle, A E Coppard (1929)
131. Friends in Solitude, P Withers (1929)
132. Wanderings and Excursions, J R McDonald (1929)
133. Wayfaring, Alice Meynell (1929)
134. Military Memoirs 1672-1713, Capt G Carleton (1929)
135. Books and Authors, Robert Lynd (1929)
136. A Gypsy of the Horn, R Clements (1929)
137. The Crimson Handkerchief, Count de Gobineau (1929)
138. A Cotswold Village, J A Gibbs (1929)
139. Not Published
140. More Obiter Dicta, Augustine Birrell (1930)
141. Liza of Lambeth, Somerset Maugham (1930)
142. A Privateer's Voyage Round the World, Capt. George Shelvocke (1930)
143. Letters, Lady Montague (1930)
144. Madame Bovary, Gustave Flaubert (1930)
145. Stalky's Reminiscences, L C Dunsterville (1930)
146. The Story of the Jews, L Browne (1930)
147. Twenty-Five, Beverley Nichols (1930)
148. Memoirs, Sgt Bourgogne (1930)
149. Candles and Crinolines, D L Murray (1930)
151. Nigerian Days, Archibald C G Hastings (1930)
152. Discoveries, John Middleton Murry (1930)
153. Half a Minute's Silence, Maurice Baring (1930)
154. Selections from Byron, H Miles (1930)
155. Portrait of the Artist as a Young Man, James Joyce (1930)
156. December the Fourteenth, Dmitriy Merezhkovsky (1930)
157. Thomas Carlyle, Mary A Hamilton (1930)
158. Black Sparta, Naomi Mitchison (1930)
159. Men Without Women, Ernest Hemingway (1930)
160. The Two Sisters, H E Bates (1931)
161. England's Green and Pleasant Land, Anonymous (1931)
162. A Journey to the Western Isles of Scotland, Samuel Johnson (1931)
163. The Wreck of the Medusa, A W Lawrence (1931)
164. The King of Schnorrers, Israel Zangwill (1931)
165. The Flying Draper, Ronald Fraser (1931)
166. The Old Wives' Tale (Vol. 1), Arnold Bennett (1931)
168. Poor Women, Norah Hoult (1931)
169. Peter Ibbetson, George Du Maurier (1931)
170. The Art of Thinking, E Dimnet (1931)
171. Selections from Swift, C Davies (1931)
172. Kokoro, Lafcadio Hearn (1931)
173. Cavalleria Rusticana, Giovanni Verga (1931)
174. Broken Earth, M Hindus (1931)
175. Open All Night, Paul Morand (1932)
176. Closed All Night, Paul Morand (1932)
177. The Changing Face of England, A Collet (1932)
178. A Gift of the Dusk, Richard O Prowse (1932)
179. The Gentleman in the Parlour, Somerset Maugham (1932)
180. White Maa's Saga, Eric Linklater (1932)
181. Frost in April, M Whitaker (1932)
182. Northanger Abbey, Jane Austen (1932)
183. The Song of the Lark, Willa Cather (1932)
184. Sir, Said Dr Johnson, Sir C Biron (1932)
193. In a Cumberland Dale, P Withers (1932)
185. Into the East, Richard Curle (1933)
186. By the Ionian Sea, George Gissing (1933)
187. Sense and Sensibility, Jane Austen (1933)
188. An Hour of Spain, Azorin (1933)
189. Islanders, Peadar O'Connell (1933)
190. Two Years, Liam O'Flaherty (1933)
191. Green Hell, J Duguid (1934)
192. The Story of a Country Town, Edgar W Howe (c. 1934)
194. My African Neighbours, H Coudenhove (1933)
195. Autobiography of a Mountain Climber, Lord Conway (1933)
196. The Alps from End to End, Lord Conway (1933)
197. The Golden Wind, Ohta and Sperry (1933)
198. Thirty Tales, H E Bates (1934)
199. Murder for Profit, W Bolitho (1933)
200. But for the Grace of God, J W N Sullivan (1933)
201. Adventures Before Thirty, Algernon Blackwood (1934)
202. The Amateur Poacher, Richard Jefferies (1934)
203. Wildlife in a Southern County, Richard Jefferies (1934)
204. Aspects of Literature, John Middleton Murry (1934)
205. The Gamekeeper at Home, Richard Jefferies (1934)
206. Rod and Line, Arthur Ransome (1934)
207. Kai Lung Unrolls His Mat, Ernest Bramah (1935)
208. The Summer Game, Neville Cardus (1935)
209. The Men of Ness, Eric Linklater (1936)
210. The Meaning of Culture, John Cowper Powys (1936)
211. Deep Water and Shoal, W A Robinson (1936)
212. The House in Dormer Forest, Mary Webb (1936)
213. Byron, Andre Maurois (1936)
214. Private Papers of a Bankrupt Bookseller, Anon. (1936)
215. The Only Rose & Other Stories, S O Jewett (1937)
216. The Travellers' Library Shakespeare, E E Reynolds (1937)
217. The Village Book, Henry Williamson (1937)
218. All the Conspirators, Christopher Isherwood (1939)


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For career applicants, the info will show to you what items you may anticipate once an employer stipulates a prepared reference to you personally. If you require further info, please don't be afraid to contact me. If you desire any additional information don't be afraid to become in contact with me personally. Should you want any additional advice about Mr. Smith, please don't be afraid to become in contact me.
You may make use of the samples being a base for training how to writein the ideal style. If you should be sending a sample that is edited by someone else, signal that the conditions. Who is a real-life sample.
The more information you might have, the simpler it really goes to become to write the correspondence. Fairly often, it is useful to check out a sample letter. You can even look at sample reference letters for ideas about everything you have on your personal letter.
If you agree to write the letter, you also ought to make certain it's customized for your candidate and for the location available. Then clarify why it is you're writing the correspondence. If you should be called upon to be able to write letters to at least two candidates to the specific fellowship, avoid using a lot of the same terminology at each, especially should they are going to soon be read by the specific same committee.
As you really don't will need to analyze the most effective and noise insincere, your letter should be a strongly positive acceptance. A letter of suggestion would be incredibly much like a pay letter. For lots of individuals, receiving the ideal recommendation letter by your one of your testimonials causes a great deal of anxiety throughout the stressful process of discovering employment.
Your correspondence should offer advice in your own connection to the person which you're advocating, why they are qualified, and the skills they have. A letter of reference is often a critical portion of your app. The employment reference correspondence is still a considerable asset for just about any job-seeker.
The letter can be addressed to a certain person or faculty, or it may possibly be composed as an total letter of suggestion. In the event the reference letter is for a specific occupation possibility, additionally ask a duplicate of this project submitting. It's a positive endorsement of one's skills and attributes. A good character reference letter out of some one you realize could be practical for task searching in case you With the debut of computers and printers and the most common habit of networking, personality references are a lot more common than ever before.
Each letter will, of course say, be different, however, superior letters share certain essential skills. Any mention letter is valuable to the next step of the average person you'd like to recommend. Inspite of the fact you've almost certainly asked to get a reference correspondence before, you might be less acquainted with creating one.
The correspondence neglects to recognize any exceptional attributes of their college pupil. In certain cases, a letter of advice may also function as a character reference in the event that you're attempting to lease an apartment, then get membership at a professional organization, or have some kind of legal problem. A letter of advice for PhD can be a unaffiliated perspective on all the aforementioned.
You understand how to write a reference letter which gets read after you insert the appropriate details. If you're asked to compose a reference letter, bear in your mind your aim is always to demonstrate the guy or woman really is a powerful candidate for your own position. It is imperative to learn just how to compose a benchmark correspondence, as nearly everybody is requested to send an mention at some point during their livelihood.
Creating a letter is actually really a substantial endeavor, because it takes one to personalize your own voice to the candidate and produce your own correspondence unique. Just as you should just compose a recommendation letter in case you should be feeling qualified to quote exactly the candidate, in addition, it is smart to write it if you may allow a fantastic one. There are a number of explanations as to why you may need a letter of advice. Standard letter of advice template whenever you desire to write a quick and quick recommendation letter which insures basic particulars.
Nobody else will read your correspondence the best way to can. It genuinely is also important todate that the letter. A resume cover letter needs to serve one major goal and that is to receive your possible employer to assess at your resume. Take a succinct thought of what your pay letter should insure. The cover letter is going to boost your likelihood of success because it reveals professionalism on your own part and it has a synopsis of the most essential elements of the resume. A resume cover letter can appear demanding to grow as that you really do not want to be repetitive of information from the restart, however at the exact same period, you must draw awareness to this resume. It is possible touse an overall cover letter whenever you pay a visit to a project fair and you're devoting your resume and resume cover letter to numerous possible employers for numerous tasks.
The better part of the letter might be composed ahead of time for a template that's proper for a wide selection of roles. Let's begin by Knowing why you ought to consist of cover letter and also what is a employment cover letter. Additionally you want to generate a coverletter that is certainly professional and easy, with out fancy information or fonts. First and foremostforget the original pay letter since you are mindful of it.
The correspondence should comprise 3 4 paragraphs. Therefore it is crucial that you just figure out how to write your cover letters 2018. You should be certain your cover letter isn't just potent however that it stands out over the others rest of the Inspite of the fact that a very simple cover letter needs to be short and precise, you ought not bypass some critical details which can be essential for a company to comprehend.
The average person who reads the pay letter should be looking forward to match the applicant. Your cover letter has to be kept straightforward but packaged with appropriate information about the position. Your cover letter 2018 is among the main portions of your application due to how lots of applicants don't apply this into its fullest. You possess your cover letter.
Cover letters are an equally significant part your project utility method. Each component of one's resume cover letter shows something related to prospective employers whether you desire the job or not. So, you ought to be careful whilst still writing a simple cover letter.
All letters ought to be firm letter arrangement also you also should be a few paragraphs. In case your resume cover letter will be a connected pdf that's a page , there is a 99% probability it won't get study. In the existing job requirements a cover letter is equally more important, because it's an essential part in your work hunt. Whoever writing a fundamental cover letter can be also a terrific clinic as it consists all the critical details that is necessary to impress an employer in a brief and precise method. You simply need to prepare yourself a productive coverletter if you would like to secure a excellent career.
Personalizing the Salutation handle the letter to a individual simply, even although you're sending letters into multiple women and men in the business enterprise. In truth, it is wise is to find the cover letter stored in exactly the same document with the restart therefore it is likely to send them as a single attachment. Just before you send a cool cover letter, you want to be certain you address the perfect person.
Considering all letters have to be tailored to the work along with this business, you'll detect a handful of basic formatting suggestions that all letters are anticipated to detect. Whatever engineering course you're on, your resume cover letter must highlight problemsolving skills and also the ability to meet standards. A well-written cover letter can allow you to stand out of the crowd.
If you are a newcomer to cover letters, then you definitely are able to refer several samples online, and find a notion as a way to write a letter. Get a list of those enclosures you'll be including together along with your pay letter. Because of this, you must not take the cover letter lightly and hamper the odds to getting employment deal. Many men and women believe a pay letter is not mandatory, whilst setting in a program for employment, although time has changed because the previous few decades. Simple protect letters are simple to compose.
It is correct , you can receive the format and some standard templates that might be of use. The structure is simply a single factor. Make use of a Cover Letter Format precisely it's altogether normal to possibility up on a pay letter arrangement that could offer you a jumpstart. Make sure you pick a cover letter arrangement which you feel most comfortable with. The coverletter format is a single element. An example employment resume cover letter arrangement is only an example.


text:
{-# LANGUAGE FlexibleContexts           #-}
{-# LANGUAGE FlexibleInstances          #-}
{-# LANGUAGE GADTs                      #-}
{-# LANGUAGE GeneralizedNewtypeDeriving #-}
{-# LANGUAGE MultiParamTypeClasses      #-}
{-# LANGUAGE OverloadedStrings          #-}
{-# LANGUAGE QuasiQuotes                #-}
{-# LANGUAGE TemplateHaskell            #-}
{-# LANGUAGE TypeFamilies               #-}
{-# LANGUAGE RecordWildCards            #-}
{-# LANGUAGE DeriveGeneric              #-}

module MinionsApi.Schema where

import Data.Char
import Data.Aeson
import Data.Aeson.Types
import GHC.Generics                 (Generic)
import Control.Monad.IO.Class       (MonadIO)
import Control.Monad.Reader         (MonadReader, asks, liftIO)
import Database.Persist             (entityIdToJSON)
import Database.Persist.Sql         (SqlPersistT, ConnectionPool, Entity(..), runSqlPool, runMigration)
import Database.Persist.TH          (share, mkPersist, sqlSettings, mkMigrate, persistLowerCase)

import MinionsApi.Config

-- Schema

share [mkPersist sqlSettings, mkMigrate "migrateAll"] [persistLowerCase|
Minion
  name         String
  email        String
  password     String
  age          Int
  upset        Bool    default=false
  bananasCount Int     default=0
  deriving Show Generic
Mission
  desc      String
  location  String
  deriving Show Generic
MinionMission
  minionId  MinionId
  missionId MissionId
  UniqueMinionMission minionId missionId
  deriving Show Generic
|]
{-date      UTCTime-}

-- Codecs

-- Codecs/Minion
instance ToJSON (Entity Minion) where
  toJSON = entityIdToJSON

instance ToJSON Minion where
  toJSON Minion{..} =
    object [ "name" .= minionName
      , "email"        .= minionEmail
      , "age"          .= minionAge
      , "isUpset"      .= minionUpset
      , "bananasCount" .= minionBananasCount
    ]

instance FromJSON Minion where
  parseJSON = withObject "minion" $ \o -> do
    minionName         <- o .: "name"
    minionEmail        <- o .: "email"
    minionPassword     <- o .: "password"
    minionAge          <- o .: "age"
    minionUpset        <- o .: "upset"
    minionBananasCount <- o .: "bananasCount"
    return Minion{..}

-- Codecs/Mission
instance ToJSON (Entity Mission) where
  toJSON = entityIdToJSON
instance ToJSON Mission where
  -- An example of a field-modifier
  toJSON = genericToJSON defaultOptions { fieldLabelModifier = map toLower . drop 7 }

instance FromJSON Mission where
  parseJSON = withObject "mission" $ \o -> do
    missionDesc     <- o .: "description"
    missionLocation <- o .: "location"
    pure Mission{..}

-- Codecs/MinionMission
instance ToJSON (Entity MinionMission) where
  toJSON = entityIdToJSON
instance ToJSON MinionMission where
  toJSON = genericToJSON defaultOptions

-- Gymnastics

runMigrations :: ConnectionPool -> IO ()
runMigrations = runSqlPool (runMigration migrateAll)

runDb :: (MonadReader Config m, MonadIO m) => SqlPersistT IO b -> m b
runDb query = asks getPool >>= liftIO . runSqlPool query

redpajama_set_name: RedPajamaGithub


Good guest this week. When is someone going to knock on the Royals' door???
William Banzai 7 manipulated images on political critic.
Political satira of Portuguese parlamenteers.
Graffiti based around a politically disillusioned reality that he felt hip-hop had ceased to address.
a collection of some of the most pertinent or prophetic statements that I have encountered in my research.
The acclaimed and controverial burning banks paintings.


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New Zealand's export receipts have topped $4 billion for the first time in six months, as dairy companies sold excess stocks.
Despite this, exports fell in the June quarter, the second consecutive quarterly fall.
Dairy exports surged 27% in June, as dairy companies cleared inventories built up during a bumper season for grass growth and record milk production.
Statistics New Zealand says exports of butter, cheese and milk powder exceeded $1 billion for the month, up from $850 million in May, and $990 million in June last year.
Exports overall were up nearly 14% in June, the biggest monthly increase since January 2010.
Despite the strong performance last month, exports fell over the latest three month period by 1.6%, the second consecutive quarterly fall.
ANZ senior economist Mark Smith says the decrease in exports was led by a drop in commodity prices.
He says that's contributed to lower export values for the quarter and there were heavier falls for dairy and some other commodity price sensitive exports.
The trade deficit was $664 million in the June quarter, the second consecutive quarterly deficit, and a turnaround from a surplus of $300 million a year ago.


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Sales from continuing operations totalled $30 billion, an increase of $1.4 billion or 4.8 per cent on the previous year.
Total group sales for the half-year were $30.7 nbillion. CEO Grant O'Brien said the result is a reflection of the ncompany's sharpened focus.
"The growth our businesses are achieving while npursuing a transformational path for Woolworths is pleasing. However, nthere is still a great deal more to do," he said. Retail World – Read More.


Some body parts need to be conveniently removable. In some installations, the nose must be removed to service the radiator, and in nearly all installations, the scuttle must be removed for electrical and instrument service. Dzus quarter-turn fasteners are a strong and secure way to mount body parts, and have a long history in aviation and auto racing. And so we offer a "Dzus kit" suitable for mounting one nose or scuttle per kit. Here's a quick primer on how to use them, using a scuttle as our model.
The Dzus system has two main components; a spiral-cam stud (often called a "button") and a receptacle containing a wire form spring. The receptacle is mounted on the base structure and the stud goes through a hole in the body panel, with its head on the outside of the panel and its spiral locked into the spring.
Dzus fasteners come in a variety of sizes, but the size best suted to our application is the 6.5, which has a 13/64" diameter stud, and that's size we stock. Our Dzus kit includes four receptacles ("plates"), four springs, and four studs ("buttons").
For a homebuilder, it is easiest to attach the spring to the receptacle with a pair of 1/8" diameter button-head blind rivets. The receptacle is deeply dimpled for rivets, sufficiently so that countersunk rivets are not required for a flush fit. Leave one receptacle without a spring for the moment.
Here a stud (with a 3/8" plastic washer as a retainer) has been inserted into a receptacle and turned 1/4 turn clockwise to secure it in place.
This next step is completely optional, but it drives me crazy when Dzus fasteners are installed crooked. I want all mine with the slot horizontal when they're locked in place, so I can tell at a glance if I've left one unsecured or failed to give it the full quarter turn. Apparently it doesn't bother the manufacturer, because to get the slot to sit horizontal, the spring has to be cocked a bit in the receptacle, and the receptacles are made with the spring mounting holes level, not the stud. So I trim the bottom of the receptacles to compensate; I eyeball the first one, cut or grind to the line, and mark the other ones to match the first one.
Using the unsprung receptacle as a guide, place it in position on the inside of the body part (the scuttle in this demo) and trace the center hole onto the part with a felt pen. If you use a dark felt pen (black, for example) and have a light colored fiberglass part (white, for example) and a strong source of illumination (the sun, for example) you can see the traced ring through the part and mark the center of it on the outside of the part. Doing so may make drilling easier. Trace the center holes of four receptacles, widely spaced apart, and drill the holes to 13/32". Step drills seem to be the easiest for the drilling task, Harbour Freight has an inexpensive set of three, and one of them has a 13/32" step. 3/8" won't work, and 7/16" is a bit loose for a scuttle (in my opinion) or anything else that will be removed rarely, but for your hood/bonnet you may well prefer 7/16"..
Test fit the parts. Push the stud into the hole in the scuttle from the outside, push the retainer washer (not visible here) onto the stud from the inside, fit the receptacle over the stud with the spiral-cam portion of the stud fitting onto the spring portion of the receptacle, and give the stud a quarter turn, using a large screwdriver, small coin, or even an authentic Dzus tool. This will hold the parts tightly together. Turn them so the base of the receptacle is properly positioned to weld to the chassis, and do the same with the other three sets of parts.
This is your opportunity to get the fit just right. You may need to grind the receptacle bases a bit, or sand the scuttle a bit, for an optimally attractive installation. In the case shown, we have to do a little of both. Once you have the receptacles shaped and positioned just the way you want them, you can QUICKLY AND CAREFULLY tack weld them in place.
The retainer washers hold the fiberglass away from the receptacles, and you can do a quick little spot with a wire-feed welder without heating the fiberglass appreciably. Do one corner, move on to another receptacle, and after the first one has cooled, tack the other corner. Then give all the studs a quarter turn clockwise and remove the scuttle..
With the scuttle removed, finish weld the receptacles to the chassis. Only weld them on the back, or you'll have to grind the fiberglass away to fit over the weld bead in the front.
I'm showing you this side because you really don't want to see the back. If you've seen my Mallard Injected Guano photo, you know what my welds look like.
The above instructions were posted a year ago, here's what we've learned since then.
Spring adjustment: depending on the thickness of the material you're Dzusing, your springs are likely to be too "tall" and turning the stud to lock will be difficult, or even impossible. If so, you'll want to scrunch them flatter. In the photo above, the spring on the left is full height, and the spring on the right has been scrunched.
There are many ways to compress the springs, from thwacking them with a hammer to pressing them with a C-clamp. The easiest way to scrunch both sides evenly is to put them in the jaws of a bench vise and crank it down. The photo above shows a spring being scrunched by itself, but all these techniques can be used after the spring is riveted to the plate. I prefer to test fit the springs before riveting; they can be held in position on the plate and the stud twisted and locked before riveting, but you can rivet first if that's more convenient for you. Try not to overscrunch, since it's hard to stretch the springs out again, though if you have to, you can pry the coils open a bit with a flat screwdiver.
Also, I find it easier, both to affix the plates to the chassis and to install the part afterward, to bend the plate so the base of the plate stands off a tad from the fiberglass.
As you see above, we now have extra tall plates available. You can cut them off (at the red line) as usual or leave them long. Either way, by bending it out a bit (at the blue line) you can space the base away from the part you're attaching, without having to use a spacer (such as the nylon washer that comes with our Dzus kit). A bit of space is necessary, if you're mounting a fiberglass part so you don't burn the part when tack-welding the plate to the chassis, or if it's a steel part, so you don't weld the part to the chassis along with the plate. There's no particular bend dimension you have to meet, 1/8" will do the job. Use a pan brake or press brake if you have one, but the traditional (What Would Fred Flintstone Do?) technique of clamping it in a bench vise with the bend line at the top of the vise, placing a piece of wood against the upper part of the plate, and whapping the wood with a hammer, will do just fine.
If you like (and I'm sold on it myself) you can leave the plate long and put two bends in it, so the base can be clamped to the chassis before welding. If you clamp it securely, you can remove the part before tacking, which in some circumstances may make it easier to see what you're doing. You can do test fittings before warming up the welder, and cut the base to length before you weld, or tack the full length base in place and cut off the overhang with an angle grinder and cutoff wheel.
This photo was taken with the camera resting on the shift knob and shooting over the steering shaft, showing the inside rear of the hood/bonnet/engine cozy. The scuttle has been removed so I could take the picture; the plate on the left side of the photo is the front scuttle mount. and the hood is mounted on a double-bent plate.
I hadn't noticed it before looking at this photo, but the hood mount plate was sure welded better than the scuttle mount plate. The scuttle mount plate is the one I mentioned earlier as "I'm showing you this side because you really don't want to see the back" but there it is. Two things are responsible for the difference in weld quality. First is, the scuttle was mounted a year ago and I've had some "stick time" since then. Second is--and this makes a huge difference--I got some top-quality equipment in that year.
I'm now using a Millermatic 180 MIG welder with Auto-Set, so I'm getting the current and wire speed right (I love it; instead of looking at charts and twirling two knobs while running test beads on scrap, I turn the Auto Set to 16 gauge and get to work) and all the drive components are metal so the wire doesn't come out in jerks, and I got a Miller Elite auto darkening helmet to replace the less-expensive-and-worth-it auto darkening helmet I'd used before. If you're thinking, "Oh come now, what's the difference between a $400 helmet and a $79 helmet, they both go dark when it sparks," the difference is hard to explain, but easy to see (see photo above, YMMV but it works for me). At this rate, I may be able to retire my welding duck.
You may want to use aluminum pop rivets to do your fitting, then drill them out and remove the springs when painting your frame, then reinstall the springs with steel (or stainless steel) rivets. If you do, and you've done custom spring scrunching, mark your springs (painter's tape is good) or you'll mix them up and have to rescrunch. Guess how I know this?


Ed Sheeran is only 26, but he's already had 36 top-10 hits in the UK. It's hard to break down musical success like that with hard numbers, but that averages out to 1.4 smash hit songs for every year of his life. Isn't that a scary level of productivity for someone so young? I'm not sure what his secret is, but I do know that he wrote the vast majority of them on his favorite instrument: his Martin LX-1. Though Ed could play any Martin he wanted, he always returns to his beloved Little Martin because of its easy-playing short scale neck, comfortable 3/4-size body, and surprisingly big tone! Now, on the heels of his two massively successful signature models, Ed and the team at Martin have put their heads together to develop the Ed Sheeran 3. This new edition features a blue rosette, blue division sign inlays on the headstock and fretboard, and no-nonsense HPL mahogany back and sides, all of which cultivate a refined, elegant aesthetic fit for pop royalty like Ed. It doesn't just look stylish, either! Though the Ed Sheeran 3 Little Martin may be perfect for travel and couch practice because of its size, don't be fooled: the Fishman Sonitone pickup system makes this guitar a powerhouse when it comes to live performance.
Here at Wildwood, we recognize the immense value of having a guitar that can go anywhere and do anything with little to no fuss. When a guitar is portable enough and reliable enough to become a traveling companion, you're more likely to take it everywhere with you, and if you take it everywhere, you're going to play more. So, while the Ed Sheeran Signature Martin might not help you write 36 top-10 songs, it will help you write more songs! Wildwood Guitars invites you to have a blast playing the Ed Sheeran 3, and we are excited to see what ways it inspires you!


Full-service brokers are regaining favor among affluent investors, according to the Spectrem Affluent Study 2005. But even as the research showed that more affluent investors are using full-service brokers as their "primary advisor," the study found that the affluent are more satisfied overall with their financial planners, investment advisors, and investment managers than with their brokers.
But the market's recovery doesn't fully explain why the affluent are going back to full-service brokers. Partly, Walper says, it's that there is less press now about conflicts of interest and scandals within the brokerage industry. Full-service firms have also become more tuned in to what customers want, with wider ranges of non-proprietary products and more fee-based programs.


text:
Ovrazhny () is a rural locality (a settlement) in Krepinskoye Rural Settlement, Kalachyovsky District, Volgograd Oblast, Russia. The population was 306 as of 2010. There are 9 streets in Ovrazhny.

Geography
Ovrazhny is located 82 km southeast of Kalach-na-Donu (the district's administrative centre) by road. Krepinsky is the nearest rural locality.

References

Rural localities in Kalachyovsky District

redpajama_set_name: RedPajamaWikipedia


text:
Hundreds of articles on all aspects of art and the law.
+About Artlaw
artlaw history
+Art After Death
art after death basics
+Artists Resale Right
artist resale rights basics
+ArtlawTV
+Censorship
censorship basics
censorship controls
+Contracts
artist contracts
commission contracts
contract basics
gallery and agents contracts
copyright and the internet
copyright basics
development of copyright law
moral rights
publication right
qualifying for copyright
using other artists work
+Frequently Asked Questions
art after death faqs
collaborations faqs
commissions faqs
copyright faqs
galleries and exhibitions faqs
privacy faqs
studios faqs
+Money
fakes insurance bankruptcy
surviving as an artist
+Organisational structures
set up an organisation
+Public Policies and Commissions
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Fair Use?
'Copyright protection finds its justification in fair play. A person works and produces something. The product of his skill and labour ought to belong to him … It has long been recognised that only the original author ought to have the right to reproduce the original article and sell copies thus reproduced. If other people were free to do this, they would be making a profit out of the skill and labour of the original author.'
This quotation from the Whitford Report to the UK Parliament on reform of Copyright and Designs law, published in 1977, has become a widely cited explanation of copyright's rationale.
The US rationale for copyright law is enshrined in its Constitution, at Article 1, Section 8, Clause 8: 'To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.' Congress enacted federal laws accordingly, and federal courts – including the US Supreme Court – have interpreted and applied such legislation to decide copyright claims. The Supreme Court has decided that 'copyright is not an inevitable, divine, or natural right that confers on authors the absolute ownership of their creations. It is designed rather to stimulate activity and progress in the arts for the intellectual enrichment of the public.' The US rationale for copyright is decidedly not the same as Whitford's 'fair play' explanation.
'Fair dealing/use' activities are permitted by most countries' copyright laws, usually limited to: private study, criticism or review, education or instruction, and libraries and archives. Claims of copyright violation are decided by courts according to the facts of each case: whether a fair dealing/use has been made out by the defendant is a judicial question of mixed law and fact. In the US, its Supreme Court has ruled that fair use is 'necessary to fulfill [Clause 8's] very purpose … because excessively broad protection would stifle, rather than advance, the law's objective'; and that 'the fair use doctrine mediates between the property rights copyright law establishes in creative works, which must be protected up to a point, and the ability of authors, artists, and the rest of us to express ourselves by reference to the works of others, which must be protected up to a point.'
Unlike UK legislation, US copyright law specifies factors courts must consider in determining whether the use made of a work in any particular case is fair, and include:
The purpose and character of the use, including whether such use is of a commercial nature or is for non-profit educational purposes.
The nature of the copyrighted work.
The amount and substantiality of the portion used in relation to the copyrighted work as a whole.
The effect of the use upon the potential market for the value of the copyrighted work.
In the US a fair use determination is an 'open-ended and context-sensitive inquiry'. This was the approach followed by the US Court of Appeals in April 2013 when deciding whether Appropriation Art could be permitted within the fair use doctrine.
The appeal was made by Richard Prince and his gallery dealer (Gagosian) challenging decisions made against them by a New York District Court in 2011, namely that a series of Prince's paintings, 'Canal Zone', 2007-08, had violated copyright in 30 images made and published by French photographer Patrick Cariou (Artlaw AM326, AM347).
The basis of Prince and Gagosian's appeal was that Prince's work was 'transformative and constitutes fair use of Cariou's copyrighted photographs, and that the district court imposed an incorrect legal standard when it concluded that, in order to qualify for a fair use defense, Prince's work must comment on Cariou, on Cariou's Photos, or on aspects of popular culture closely associated with Cariou or the Photos.'
The Appeal Court agreed with appellants Prince and Gagosian in the case of 25 paintings (ie that they were undoubtedly transformative and did not violate copyright) and remitted the five remaining paintings to the original trial (District) court to decide whether Prince is entitled to a fair use defence – this time by applying a proper legal test that the Appeal Court laid down. The District Court's legal error concerned Prince's artistic intent. The Appeal Court judged that the District Court had based its conclusion (that Prince's work was not transformative fair use) on Prince's testimony that he was not 'trying to create anything with a new meaning or a new message'. This was the wrong legal approach. The correct legal approach was 'how the work in question appears to the reasonable observer, not simply what an artist might say about a particular piece or body of work. Prince's work could be transformative even without commenting on Cariou's work or on culture, and even without Prince's stated intention to do so. Rather than confining our inquiry to Prince's explanations of his artworks, we instead examine how the artworks may reasonably be perceived in order to assess their transformative nature.' The Appeal Court helpfully posted online images of all the works at issue, which readers may access. The five Prince works remitted back to the trial court for re-determination are listed online as: Graduation, Mediation, Canal Zone, 2008, Charlie Company, and Canal Zone, 2007.
Unlike courts in the UK, the judicial approach by US courts reflects their leaning towards fair use defences: they state that the 'ultimate test of fair use … is whether the copyright law's goal of "promoting the Progress of Science and useful Arts" … would be better served by allowing the use than by preventing it.' The Appeal Court in the Prince case considered whether his work added something new to the original photographic images appropriated, and so transformed them: for a use to be fair, it 'must be productive and must employ the quoted matter in a different manner or for a different purpose from the original.'
This appeal result in Prince's favour has been welcomed by many as an enlightened judicial approach that supports the practice of appropriating other artists' images – so long as courts judge, as a matter of law and fact, that a transformation of the original has taken place with visual expressions 'fundamentally different from the source materials'.
But some are concerned that Prince's appeal result decidedly outlaws the practice of Appropriation Art. Such concerns argue that if the Appeal Court's legal transformation test was applied to Prince's re-photographed and re-presented works of the 1980s (for example, the 'Marlboro' men series), those works would be judged to be non-transformative unfair uses because they were re-presentations of visually unchanged original images and not new visual expressions, and that 25 works were judged to be transformative only because they visually changed the source photographic images.
In August 2013 Cariou's lawyers filed his appeal to the US Supreme Court against the Appeal Court's April 2013 decisions. A hearing of this final appeal is not automatic: the court decides whether the filing raises sufficiently significant questions of law. It is hoped that the US Supreme Court hears the case and resolves the longstanding and thorny issue of transformative fair use, and in relation to all – not only visual – art forms.
© Henry Lydiate 2013
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Conway Hall Residency
A new annual research residency from Artquest in partnership with Conway Hall Humanist Library and Archives. The artist selected for the 2019 Conway Hall Residency is Sophia Kosmaoglou This slideshow… Continue Reading Conway Hall Residency
This article is from the Artlaw Archive of Henry Lydiate's columns published in Art Monthly since 1976, and may contain out of date material. The article is for information only, and not for the purpose of providing legal advice. Readers should consult a solicitor for legal advice on specific matters. Artists can get free online legal information from Artquest.

redpajama_set_name: RedPajamaCommonCrawl


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Q: How is HEIC image decoding very fast in iOS? I used libheic c++ library to decode heic image files, but it is extremely slow. It takes about 1 - 2 seconds to decode an image. Same is the case in windows photo viewer too. But how can I swipe hundreds of heic photos instantaneously on the iphone photo viewer?

A: I'm going to assume you mean "libheif" where you wrote "libheic" (the former is a popular library for decoding HEIC files, whereas the latter is not something that can be found anywhere).
There are several reasons why the built-in iOS photo viewer is fast whereas your own libheif-based decoder is slow:

*

*iOS devices with an A10 or newer CPU (i.e. iPhone 7 and newer) has hardware decoding built-in. This means that software taking advantage of that feature can do hardware accelerated image decoding - which is generally much faster than purely CPU-based image decoding.

*Apple engineers spent a lot of time and effort optimising the software for decoding HEIC-files as they are widely used throughout the iOS system. This includes making it very easy for app developers (first or third party) to take advantage of hardware accelerated decoding.

*You might not have compiled libheif and its dependencies in the most efficient matter, or have used the most efficient parameters during runtime of your program. I.e. which options you use when compiling the program can make a huge difference in performance.
libheif uses libde265 for actually decoding the HEIC image data. libde265 does not support the Apple A or M series hardware accelerated decoding features. It does support the more general SSE acceleration (on x86 CPUs, when enabled) however.

*libheif is not known for being "super fast". I don't think it is the intention that libheif is "the speediest option" - rather it seems to be focused on supporting a large range of features, ease of use and making it work with a large range of programming languages.
For example I saw that performance regressions have been introduced in the past in exchange for more features. At one time, I saw a benchmark noting image decoding performance dropping to almost a third of its former level when upgrading libheif to a recent version compared to the older 1.6 version.

*It is possible to use various "tricks of the trade" to optimize for example scrolling through a long list of photos in a photo viewer. In particular, HEIC files can actually contain embedded thumbnails encoded with JPEG. So you can do very fast decoding of 320x240 thumbnails embedded inside the HEIC file, in cases where you only need a thumbnail and can delay actual image decoding to later.

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Torah Time with Racheli Konstantyn – Children and their parents are welcome to join us Friday evenings during evening services in the synagogue garden for Bible Story Time and educational activities for children. Complimentary Admission. Light refreshments served.