Title: Florists' review [microform] Identifier: 5205536_49_5 Year: 1912 (1910s) Authors: Subjects: Floriculture Publisher: Chicago : Florists' Pub. Co Contributing Library: University of Illinois Urbana-Champaign Digitizing Sponsor: University of Illinois Urbana-Champaign View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: The Florists' Review ICABCH S. 1»22 The florUts whose cards appear on the pages canrylag this head, are prepared to fill orders '"■*" from other florists for local delivery oa tho usual hasls. Text Appearing After Image: For SAN FRANCISCO the Bay Cities and all Central California , ' l!llllllllll!llllllllllllllllliyil!lllllllllllllllllllllllllllllllllllllllllllllllllllllll!!li^ PELICANO, ROSSI & Co. Members F. T. D. 123-125 Keamy street OFFER UNEXCELLED FACILITIES FOR HANDLING YOUR ORDERS Index by Towns of Florists Represented in the Pink Part city Pm* AKRON. 0. Bevpe Co 91 ALBANY. Gt. Bnnih (irnh.se. Co.. 80 ALBANY. N. Y. Daiiki-r '* Glimkner. Wm 74 BoHery. The 7* ALLIANCE. 0. Millfr, H T »» Woodman's FL 8hp.90 ALTON, IH. ^ Krug Floral Co....86 AMARILLO. Tex. Cunningham Shop.. T9 AMHERST. 0. Henra. U J W AMSTERDAM. Holland Tliini. C 69 ANN ARBOR. Mich. Blu Maizf Fl. Shop 84 APPLETON. Wl». junitlon IJrnhsea. . 82 RiterKlde Cnihsea.. 82 ASHEVILLE. N. C. Browiihiirst 81 MliMleniotint Car... 81 ASHTABULA. 0. Aahtaliula Fl. Co... 91 ATCHISON. Kan. Alcliisun S. & Fl.. 90 Grovi's Floral Co 90 ATLANTA. Ga. Joy Floral Co 81 Lawreiiie Flo. Co... 80 BiallingH .• 80 Wflnsiock 80 We.st F;ni1 Cardena. 80 ATLANTIC CITY. N.J. Atlantic Ciiy F .Sp. 77 Crane & Hill 77 Rdward-s Flo. Hall.. 77 ATTICA, Ind. Altica Floral Co... 88 AUGUSTA. Ky. Thonia-H, VIrtor H.. 83 AURORA. III. Aurora (irnbae ... 86 Bmriy. .Ion M 86 AUSTIN. Minn. Kinsman, A. . 92 AUSTIN. Tex. Hillyer'9 79 BAKERSFIELO. Cat. City Floral .-Nhop. . 95 BALTIMORE. Md. FiaKt & Sim» 84 Graham. Kobt. L... 8t BallKlay. Wra. J... 84 Jolwision, Mary ... 84 BASIN. Wyo. Bonwcll. Huliln 91 BATON ROUGE. La. K.ii'flarMl. Florist .. 80 BATTLE CREEK. Mich. CariH & Cirefnsmlth 84 ftiggan. .S \ ... 84 BERKELEY. Cat. Ittrkili-y Florl.sl. .. 94 BIDOEFORO. Ma. Stroufs Tl BILLINGS. Mont. Billings Fl. Co 91 Boiiper's Cnihae... 91 BIRMINGHAM. Ala. Harris Co 80 Parker's Fl Store.. 80 BLOOMINGTON. Ind. ElUa Floral Oo 88 City Page 8LUEFIELD. W. Va. Flower Shop 83 Fallun. Florist ... 83 BOSTON. Mast. Carbone 70 Galrln. T. F 70 Houghton Gomey... 70 OBrien 70 Penn 70 Wax Bros 70 BOZEMAN, Mont. Langohr. M 91 BRIDGEPORT. Conn. Horan & Son 71 Reck & Sun. J 71 BRISTOL. R. I. Kin.ier & Bros.. S. 71 BROCKTON. Mass. Belmont Fl. Shop.. 70 BROOKLINE. Mast. Palmer. F. E 70 BROOKLYN. N. Y. Jahri. Hugo 11 72 Trepel. Joaeph ...72 Trepel & Bershad.. 72 Weir. Inc.. Jaa 72 BROWNWOOD. Tex. Bro«tnw(KKl Fl Co.. 79 BRUSSELS, Belg. Froute. .M 68 BUFFALO. N. Y. Anderson. S. A 74 Colonial Fl. Shop.. 71 Felton'8 Fir. Shop. 74 Crever, Wm. H. .. 74 Kramer the Florist 74 Lrhde & Galley... 74 Palmer A .Son... 74 Sandford. Chas 74 Si lilt the Florist... 74 Sleveni. W n .. 74 BURLINGTON. Vt (iove the Florist... 71 CAIRO. III. Cade the Florist... 87 CAMBRIDGE. Mass. lieikers Conserr .. 70 Rohhlns Bros. ... 70 Uyan. H. A 70 CANTON. 0. Johiision Fir. Shop. 91 CASPER. Wy». Casper Flo. Co 91 CEDAR FALLS, la. Baneroft & Sons... 76 CEDAR RAPIDS, la. Kramer & Son .. 76 CENTRALIA. III. Boss, .1. W 85 W elister Grnhses... 85 CHARLES CITY. la. Riverside Fl Shop. 78 CHARLESTON. 8. C. An Floral Co 81 Carolina Floral Str. 81 CHARLESTON. W.Va. Capital City Kl. Co. 83 Cirton Cut Fl. Co. 83 Winter Floral Co.. 83 CHARLOTTE. N. C. Flower Shop 81 Scholts. Inc 81 CHARLOTTESVILLE. Va. Lankford. W. A 82 CHATTANO-GA. Tenn. Haeger Fl. Co 81 Jov Floral Co 81 CHESTER. Pa. Italia. B. S T9 City Page CHICAGO. III. Alpha Flo. Co.... 87 Bohannon Co. ... 86 Bruns, H. N 87 Central FL Co 84 Clody's 88 Congress Fir. Shop. 86 Fisher & Bro 87 Jackson Fl. Shop.. 86 Jensen Bros 86 Johnson & Chronls. 87 Johnson & Jensen.. 87 Lange, A 87 Mangel 87 Mlchal. John A 86 Mulr 87 O'Leary, Florist ... 87 Peacock Fl. Shop. 88 Samuelson. C. A... 87 Smyth. W. J 86 Swanson the Florist 87 WIenhoeber Co.. E. 87 Wltlb

Title: Florists' review [microform] Identifier: 5205536_46_1 Year: 1912 (1910s) Authors: Subjects: Floriculture Publisher: Chicago : Florists' Pub. Co Contributing Library: University of Illinois Urbana-Champaign Digitizing Sponsor: University of Illinois Urbana-Champaign View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: The Rorists^ Review June 24, 1920 Text Appearing After Image: For SAN FRANCISCO the Bay Cities and all Central California mmiimilinil mimiiminiiimniniiiiniimmuiiitiiiiiiiiini miiiiiiui PELICANO, ROSSI & CO. Members F. T. D. 123-125 Kearny Street OFFER UNEXCELLED FACILITIES FOR HANDLING YOUR ORDERS Index by Towns of Florists Represented in This Department aty Paf« ABERDEEN. 8. D. MUady*! Fir. Shop. M AKRON. 0. OroMberg & Cahill. 90 Hammeracbmldt At Cluk M Heepe Oo. M McFarluda M Pftrk Floral Co.... •! ALBANY. N. Y. Danker TS Oloeekner, Wm. .. 78 Boaery. The T8 ALEXANDRIA. La. . Blum & Son. E.... fl ALLIANCE. 0. MlUer. H. T »« ALTON. IM. Kmc Floral Oo.... 8S AMARILLO. Tax. Ciumlnsh'm FL 8'p. TS ANN ARBOR. Mleh. Blu Maize BL Bhp. 8S A8HEVILLE, N. C. nickinson. £. C.. 82 ATCHISON. Kan. Atchison 8. Sc Flo.. 9t Groves Floral Co... »i ATLANTA. Ga. Deans. Ralph 82 Lawrence Flo. Oo.. 8S ATLANTIC CITY. N.J. AtlanUc City Fir. Shop T6 Edwards Flo'l Hall 76 Egg Harbor Fl'r... 78 ATTICA. Ind. Atttca Floral Oo... 79 AU0U8TA. 6a. Stulb's Nursery ... 81 AUGUSTA. Ky. Thomas. Victor H.. 81 AURORA. IIL Aurora Greenhouse. 88 Smely. Joa. M 8< AUSTIN. Minn. Kinsman. A. N 88 BALTIMORE. Md. Feast & Sons 84 Johnston, Mary ... 84 Keys. Wm. F 84 BATAVIA. N. Y. Btroh & Sons. U C 78 BATON ROUGE. La. Roeeland Florist 71 BATTLE CREEK.Mkh. Coggan. H. W 88 BELLINGHAM. Wash. Floral Exchange ... 88 BERKELEY. Cal. Flowerahop 88 Norton. Florist .... 88 BIRMINGHAM. Ala. American Fl. 8h.73-83 Fraser Nursery O*. 88 Parker's FL Store. 88 Tutwller Fl. flhop.. 88 BLOOMINGTON. lad. Morris & Ellia 79 fLUEFIELD. W. Va. allon. Florist .... U BOONE. Iowa. Kemble's Qrhaea... 88 BOONTON. N. J. Harrlek 78 BOSTON, Mas*. Beacon Florlat ... 74 Caplan 74 Carbone 74 Oomley, 'Senry B... 74 Galvln. Inc., T. F. 75 O'Brien. John J.... 74 Penn 74 Wax Broa. 7« City Pace BOWLING GREEN.Ky. Oebby's Flower Sh'p 81 BOZEMAN, Mont. I

The first major railway line in South Australia from Adelaide to Gawler reached Salisbury in 1857. A local land owner then subdivided some of his land to create Salisbury West which was west of the new railway line. Trevaskis did this in 1856 before the railway came. He created 61 town blocks. Shirley Hall was built jsut behind the old Wesleyan Church of 1858. W Coulls built Shirley Hall on three town blocks complete with stables, coach house, wrought iron fences etc. In 1889 the hosue was renamed Chelsea. It still has its original slate roof. A hidden gem of old Salisbury on the Australian Heritage Register. Coulls was teh assistant engineer for the building of the railway from Adelaide to Gawler. It was Sir jenkin Coles, Speaker of the South Australian parliament who renamed the house Chelsea in 1889. Oranges along the Para. The orange tree is botanically known as citrus sinensis which comes from China but is grown in tropical and subtropical areas of the world. The fruit of this tree gave us the name for one of our primary colours. This colour was first recoded in the English language in 1512. Orange is a Sanskrit Indian word. In Europe oranges have been grown in Italy and Spain since they were brought there by the Crusaders in 1100s from the Middle East. The first mention of commercial orange growing along the Para was in 1870 when Mr Urlwin exhibited Salisbury oranges at the Adelaide Royal Show. Then Mr F Fendon was described in newspapers in 1876 as a pioneer of commercial orange growing at Salisbury as he had been experimenting with orange trees since 1850. He hoped his display at the Salisbury Show of 1876 would encourage others to turn to orange growing. He had 20 varieties growing along Para when he exhibited them at the Salisbury Annual Show in 1876. More oranges were grown in the 1880s and by the 1890s hundreds of cases a year were being exported by P & O steamers to London. Thus the big expansion of commercial orange growing was in the 1880s. The oranges grown were Navel, Valencias, Washingtons and Lisbons( lemon) and these were the four” houses” in the Salisbury Primary School in the 1950s. Other earlier varieties grown included Sabina (a sour Italian orange), Rio (a red grapefruit), Seville oranges etc. Navel orange is a variety that was developed in Brazil in the 1820s, Washingtons were also from Brazil but Navels were developed for commercial orchards in California. Mr Russsell of Paralowie House is a good example of what Salisbury farmers did. He converted from growing oats and wheat to oranges in 1890. He planted 82 acres of his 122 acres in citrus trees 21 feet apart giving him over 1,000 trees. The annual floods of the Little Para were the secret of providing the rich alluvial soils in the Para valley. Other early citrus growers in Salisbury were the Kuhlmann, Moss, Tate, Jenkins, Harvey, Ponton and Sayer families. In the 1970s as the citrus industry died the flood plains of the Little Para were converted to parklands if they flooded or to housing if they were not flood prone. But once the Little Para Reservoir was completed the annual floods stopped anyway. Oranges were also extensively grown at Golden Grove. During the dry of summer water was taken from the Little Para to irrigate the oranges and one old stone waterwheel used for this purpose has been restored in Salisbury. That waterwheel was built for orange grower Frederick Kuhlmann of the Old Spot Hotel in 1899 and used until the 1940s. Salisbury. Sir Montague( or Montagu) Chapman, Third Baronet of Westmeath near Dublin Ireland, used a loop hole in the Special Survey regulations of 1839 and selected his 4,000 acres for £4,000 in different areas. He took 800 acres at Koonunga near Kapunda; 500 acres at Kapunda (a friend of his Bagot also got land there); 500 acres near Waterloo and Marrabel; and later in 1842 he selected a further 2,200 acres between the Little Para River and Dry Creek at what is now Mawson Lakes, Salisbury and Cross Keys. At Killua Castle in Ireland he had 9,000 acres and hundreds of tenant farmers. He wanted to do the same in SA. In 1840 he sent out Captain Charles Bagot from Ireland with 224 Irish immigrants to settle his, and Bagot’s lands, at Kapunda with Irish labourers and tenants. Then in 1842 he sailed out to SA himself with 120 Irish tenant farmers whom he installed on his lands at Cross Keys. Sir Montague Chapman returned to Ireland the next year. Then in 1847 he sent out a further 214 Irish immigrants to be tenant farmers on his Cross Key to Salisbury lands. They came out on the ships named Trafalgar and Aboukir. Sir Montague Chapman lived in Ireland not SA but returned to his SA estates in 1852 and drowned at sea in 1853 off Portland when returning to SA from Melbourne. His brother inherited the SA lands and estates. The lasting effect of Sir Montague Chapmans tenant farming ideas was a large number of Irish Catholics around the Salisbury and Kapunda districts. Many of these immigrants soon became independent landowners themselves rather than Montague’s tenants. Daniel Brady, another Irishman was a self-made Irish immigrant to the area. He purchased 100 acres, now the Parafield Airport in 1845. He then got the license to the Cross Keys hotel. Much later Brady laid out the town of Virginia in 1858.But there were other Catholic influences in Salisbury too. William Leigh of Staffordshire (and of Leigh Street Adelaide) was a great land investor and speculator in SA and donated lands early to the Anglican Church ( in Leigh St.) then he converted to Catholicism and donated lands to the SA Catholic Church for the first church and bishop’s palace on West Terrace etc. At Salisbury he donated 500 acres to the local Catholic Church along the Little Para where the reservoir is now situated. The local church rented that farm out as income until it was sold in 1896. Thus because of two major Catholic British aristocrats Salisbury thrived as a centre of Catholicism and had one of the largest Catholic Churches in SA in the mid-19th century. The church itself was set up when the state Government was offering glebe lands for churches to get established. The Catholics of Salisbury received 20 acres of land under this system through Bishop Murphy in 1850. The foundations of St Augustine’s Church were laid in 1851 with the church being used before its final official opening in 1857. This grand stone church replaced an earlier pug and pine church which had opened in 1847 on the site. The tower was added in 1926. But the main story of Salisbury is centred on Scottish born John Harvey of Wick. But who was John Harvey? Is his main claim to fame that he brought out from South Africa soursob bulbs? He was a man of ideas wanting to make money. He came out to SA alone when he was 16 years old arriving in 1839 on the ship named Superb. By 1843 Harvey had moved to Gawler where he drove mails between Adelaide and Gawler. This gave him the idea of grazing cattle on the unoccupied plains between the two settlements. He started squatting. He let overlanders from NSW depasture their flocks on these lands, for a fee, although he had no legal right to do so. He accepted cattle for fees and soon had stock of his own. To this he added some horses which he bred for sale (or export to India) and once he had fattened the cattle he sold them for meat for the Adelaide market or through his butcher shop in growing Gawler. He became a major meat supplier for Adelaide and Gawler. He also experimented with cereal growing on the Salisbury plains and claims to be have been the first to do so. Within a few years he had amassed a sizeable amount of money from almost nothing and he purchased his first land at Gawler, where he built his first stone house, and at Salisbury when the Hundred of Yatala was declared in 1846. He was temporarily forced off the land he was squatting upon until he purchased 147 acres in 1847. He subdivided a small part of it to create the town of Salisbury with the main street named after himself and the street parallel to it named Wiltshire where his wife Ann Pitman (cousin of Sir Isaac Pitman of shorthand fame) was born. His town plans were submitted in 1848 as he hoped to make money from this action. Harvey continued living in Salisbury and went into building houses for people, breeding race horses and encouraging agriculture. He was elected to parliament in 1857 for one term and served on the Yatala District Council. His land deals included selling the area of Gawler that became Bassett Town by the old Gawler railway station. He was a mainstay of the Royal Horticultural Society and the Adelaide Racing Club. He was a local Justice of the Peace. John Harvey died in Salisbury in 1899, aged 78 years but his descendants stayed on in the town to be orange growers. John and his wife Ann are buried in St John’s Anglican cemetery. He left three sons and daughter. By 1854 there were churches being erected in Salisbury; a flour mill; a hotel; and many houses for residents. The earliest SA settlers has eschewed the Adelaide Plains as they were hot and dry and they preferred the wetter, cooler Adelaide Hills. By 1845 less hills land was available and some saw the potential of this fertile little river valley close to the Adelaide and on the main copper mine routes from Adelaide to Kapunda and Burra. Apart from the Catholics the town attracted Anglicans, who were to construct their first church in 1849 or 1850 although the date on the building says 1846 which was before the land was even surveyed. John Harvey is known to have sold two lots to the Anglican Bishop Short for a nominal amount for an Anglican Church in 1850. It is therefore unlikely that the Anglicans built anything before 1850 but John Harvey might have allowed a building on his land before it was officially handed over to Bishop Short. A number of Primitive Methodists were also drawn to Salisbury and they who formed their congregation in 1849 with services on the banks of the Little Para. In 1851 they opened their Primitive Methodist Church called Hephzibah which was replaced with a second solid stone church in 1858. The Primitive Methodists purchased their land from John Harvey. They then established satellite Primitive Methodist churches at Burton, Sturton, Greenwith and other further out districts like Carclew, Two Wells etc. The Wesleyan Methodists had a church at the Old Spot (1857) but they too constructed a Wesleyan church in Salisbury West in 1858 after the arrival of the railway to the town. It has been a residence since 1904 but is defaced with ugly 1950s additions. Salisbury grew quite quickly because it was only a few years before the town was connected with Adelaide by the Gawler train line. North of the Para River John Porter purchased land at the same time as John Harvey in 1847 and he too create a small private town with Porter, Gawler and Commercial streets etc. His town merged with Harvey’s as did the later 1856 subdivision of Salisbury West by William Trevaskis. No cathedral emerged but the town had its churches, hotels, a flour mill and industry. It soon had a private school too. Charles James Blatche Taplin, my great great grandfather had a licensed school in Salisbury from 1855 until his death in 1867. His wife Eliza Taplin had a separate school for girls which she continued after his death. After the Education Act of 1875 the government built the old Salisbury School in 1876. Charles Taplin was also the treasurer of the St Johns Anglican Church for many years and was present at the laying of its foundation stone with architect Daniel Garlick in 1858. The town remained a local service centre until World War Two when the government purchased land at Edinburgh for an ammunitions works and secure storage area and a further 58 acres of land, mainly from descendants of John Harvey, along Park Terrace in Salisbury for emergency war housing. It was required to house all the workers required for the war time industry at Penfield. Some 284 fibro “cabin homes” were erected in Salisbury on vacant land and the population grew rapidly. After the war the town grew further with the establishment of Salisbury North in 1949 as a Housing Trust suburb with over 500 new homes. Shortly after this in 1954 the new satellite city of Elizabeth and its associated industries was created in the Salisbury Council area abutting on to the Para River. In the 1950s most of the pioneering families from the late 1840s were still living in Salisbury as it was just a small rural town with a water trough for horses in the main street and a hitching post! By the 1970s the town had become a city and changed dramatically for ever. Some Historic Salisbury Properties. •Anglian Church and cemetery. See details above. Early building 1849 or 1846? The Garlick designed church opened 1865 but the foundation stone was laid in 1858. In 1989 a fire destroyed the interior and the roof of the church was rebuilt. •Former Primitive Methodist Hephzibah Church and cemetery. After open air services the first Primitive Methodist church was built on this site in 1851. In 1858 a new grand church called Hephzibah was erected here to replace it. The land for the church was purchased from John Harvey for £10. The church name means “in her delight”. The church was restored in 1904 and then became the only Methodist church in Salisbury. In 1960 the church was sold to Coles who replaced it with a supermarket and a new Methodist Church was built on Park Terrace. That new church is now the Uniting Church. •Salisbury Institute. This important building for social events also providing the original reading room and library which opened in 1884.The land was donated by William Kelly of One Tree Hill and the architect was Frederick Dancker originally from Macclesfield where he designed their institute too. Like many institutes it became a community hall run by the Council in 1939 who started showing movies in it. •Salisbury Schools. The northern wing of Salisbury School was built in 1876 with pointed gothic windows in the west gable. The southern wing was added in 1879. Notice the slightly different windows etc. The first school operated in the 1846/49 Anglican Church for many years. A High School opened in Salisbury in 1959. •Salisbury Police Station and Courthouse now the town museum. This police station with cells and outbuildings and Courthouse was opened in 1859 after a request by MP John Harvey to the Commissioner of Public Works. E.A Hamilton was the architect for the government. The station cost £730. It is now a museum. Salisbury West, the Gawler railway and Shirley Hall. The first major railway line in South Australia was from Adelaide to Gawler and it reached Salisbury in 1857. A local land owner then subdivided some of his land to create Salisbury West which was west of the new railway line. William Trevaskis did this in 1856 before the railway came when he divided off a few acres from his original 1846 freehold estate of 82 acres (one section). As a land speculator he created 61 town blocks which he advertised as “adjoining Salisbury Station of the Adelaide Gawler Town Railway.” This worked well. This area just west of the railway station soon had residences, a hotel, and a Wesleyan Church. When Trevaskis subdivided this estate he named one street East Terrace facing the railway line. This is where Edmund Paternoster later established his windmill, pumps and engineering works in 1878. His Little Gem windmills were sold in all colonies. East Tce was later changed to Paternoster Street to commemorate this important local industrialist of the 19th century. The Assistant Engineer for the construction of the railway Adelaide-Gawler railway, W Coulls purchased three blocks and built the Australian Heritage Listed Shirley Hall is on one of them with outbuildings, coach house and stables on the others. Shirley Hall was built just behind the old Wesleyan Church of 1858 with cellars and 7 main rooms and a separate kitchen in the outbuildings. The original brick and cast iron fence (made at James Martin foundry Gawler) still survives as does the original slate tiles. Coulls died in 1861 and the house had several owners before it was purchased by James Thompson in 1898. He renamed it Chelsea. Sir Jenkin Coles, Speaker of the South Australian parliament for the lower Mid North was a friend of James Thompson and often held political meetings at Chelsea House. The house was only sold out of the Thompson family in 1975. The nearby Wesleyan Methodist Church was built in Romanesque style in 1858. With the three Methodist churches union in 1900 all services were conducted in the former Wesleyan Church between 1900 and 1904 when repairs to Hephzibah were completed and Hebzibah then became the one and only Methodist church in Salisbury. Not long after 1904 this Wesleyan church was sold as a residence. Paralowie. Paralowie House overlooks the Little Para River and the owner in 1894 had a fine stone Gate House and stone pillar gates built right on the edge of the river on Waterloo Corner Road. Paralowie House and this gate house was built in 1894 for Frank Russell an investor and farmer. His story is related above how he changed from dairying and cereal growing to orange and lemon orchards in 1890. The land on which Paralowie now stands was earlier owned by the Bagster family who sold it on in 1883. The Russells liked to host functions at their residence and it was reported in the press that the whole town attended celebrations here when Mafeking was successfully relived by the British forces in 1900 during the Boer War. Russells sold their Paralowie estate in 1917. A later resident of Paralowie House for many years was the state Coroner lawyer T.E.Cleland. Cleland lived at Salisbury and travelled to the Coroner’s Court by train daily rom Salisbury. Cleland served as Coroner from 1947 into the 1960s. Cleland was a pig breeder.

Hand of Faith The Hand of Faith is the world's largest gold nugget found by using a metal detector. The Hand of Faith is a nugget of fine-quality gold that was found by Kevin Hillier using a metal detector near Kingower, Victoria, Australia on 26 September 1980. Weighing 875 troy ounces (27.21 kg, or 72 troy pounds and 11 troy ounces), the gold nugget was only 12 inches below the surface, resting in a vertical position. The announcement of the discovery occurred at a press conference, attended by the Premier of Victoria Dick Hamer, in Melbourne on 8 October 1980. Kovac's Gems & Minerals were appointed agents for the sale of the huge nugget, by the gold nugget finder, Kevin Hillier. It was sold to the Golden Nugget Las Vegas, a casino in Las Vegas, Nevada,[1] and is currently on public display at the Golden Nugget Hotel and Casino in Laughlin, Nevada.[2] [3] [4] [5] [6] [7]From Wikipedia, the free encyclopedia It was initially incorrectly stated as weighing only 720 ozt, but after correction, the new calculation was 874.82 ozt. This explains why some publications continue to give an incorrect weight. It is still regarded as the largest modern nugget found by a metal detector, anywhere in the world. Dimensions are 47 cm × 20 cm × 9 cm. The sale price was supposedly around $US1m. The nugget was the second largest nugget found in Australia during the 20th century, though the largest found anywhere in the world using a metal detector. There were numerous nuggets found during the Victorian gold rush era, commencing in the 1850s, that were far larger.

I turned around to hike the 5.5 miles back up the Paria River canyon at around 9:30 am. Even though hiking upstream against the mild current meant the inevitable splashing and a little extra work, the day was warming and it was wonderful hiking. Once through the narrows I entered the full morning sunshine and the cool water started feeling good. ~~~~~~~~~~~~~~~~~~~~~~~ I began my Paria River hike from the White House trailhead, where I had camped, at 7:15 am. I saw the couple from Bellingham, Washington, who had camped near me, preparing breakfast as I started for the river for my hike. I was the first one hiking that cool crisp morning. I wouldn't see another hiker except a youth backpacking group, coming the other way, late into my hike. They were from Salt Lake City and had backpacked down Buckskin Gulch, camped, and were now heading out to their dropped off vehicles at White House trailhead. I started to count the number of times I crossed the cold knee deep at most, Paria River, but quit counting, when I got to 14 within the first minutes of the hike. Clearly I would be spending a lot of time crossing and recrossing the Paria on this hike. My feet quickly became numb as the sun wasn't reaching the canyon floor and the river yet. The scenery improved as I headed downstream. There were some fine narrows, interesting rock formations, and the solitude of hiking a desert canyon all to yourself. When the canyon (and river) narrowed it was important to pick your line to cross so you didn't step in deeper water. The water was opaque and judging from the shoreline high water mark, had dropped a little after yesterday's snow in the higher regions of the area. I kept up a quick hiking pace, partly to stay warm, though I could have put on the primaloft jacket I had in my day pack, I found the quick pace and the increasing temperatures of the morning air, kept me warm...all but my feet. I reached a narrow winding channel next to a large pyramid rock (blocking the right bank) at around 9:15 am. I had picked up a hiking stick that had floated to shore further up the river but quit using it to probe the water depth when I found it left my hand wet and sandy all the time and I was constantly drying off my hands to take photographs. I had left it leaning up against a canyon wall. So as I stepped forward at the narrowest channel, which the constriction of rocks would force me to travel, the bottom dropped off quickly. I would likely need to travel at least a short section in waist deep water, which at that point I decided didn't sound life fun. It would keep me cold for quite awhile and I was carrying both my Canon Powershot G15 and my old G10 as a backup camera, and I didn't like the idea of a slip, where I met get a short swim opportunity and two cameras dunked. So I made the right decision for me, and turned around. I took a GPS reading a little ways up the river where I could get a good enough signal and found I was about 5.4 miles, as the raven flies, from the GPS reading I had taken at my pickup truck, when I had left on the hike two hours earlier The hike back out was fun. The sun reached the river and the air warmed enough where I started looking forward to the river wading instead of clinching my teeth at each, as I had at times on the way down river. I overtook the SLC group and hiked along chatting with the group leader for quite awhile, then the Bellingham, Washington couple came hiking down the river and wanted some Beta on the hike, so I told them my story. They too said that knee deep was "good enough for them" and told me that they would hike to the slide pillar rock I had told them about, just upriver from the likely "deep hole", by the pyramid rock. I met about three other pairs of hikes, coming down the river on my way back. I was at my truck by 11:30 am, changing into dry jeans, cotton socks, and running shoes. It had been an enjoyable and worthwhile hike. Had a gone another couple of miles at most down the canyon, I would have reached the confluence of the Paria River with Buckskin Gulch. Perhaps another day on a little warmer day, and with my trekking poles for balance and depth probing the river. It was a quality wade/hike but in all honesty for the 11 miles of hiking involved it didn't come close to other canyon hikes I have taken in the past, which involved a lot of wading. Two in particular come to mind. The Aravaipa in Northern Arizona which my wife and I day hiked several times from both the east and west end, and backpacked with our youngest son and his wife on one occasion. Lots of wildlife in that canyon including big horn sheep, one Bobcat, and some Coati. Clear cool creek, with a nice pebble bottom. The other wading backpack my wife and I took with the highest quality desert scenery of most hikes we have taken was the Coyote Gulch backpack off the Hole In The Rock Road in the Escalante River Canyon country. A classic and popular for good reason: Backpacking Coyote Gulch: www.flickr.com/photos/12150532@N04/sets/72157617350433766/ Backpacking the Aravaipa River Canyon in Northern Arizona: www.flickr.com/photos/12150532@N04/2512624438/in/photolis... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CAPITOL REEF ROAD TRIP APR 2015 I left our home in Eastern Washington on 5:30 am, Thursday April 16th. It was earlier than I had long planned, but with the weather forecast for the places I wanted to camp, hike, and visit on this two week road trip - - and the need to make my plans mesh with the plans of others, it was the right time to go. I had my bed made up in the pickup truck canopy. As it turned out I would sleep in the back of my pickup truck 7 nights. I can honestly say I much enjoy sleeping in my pickup truck with the protection from weather and bugs (screened windows) a custom and comfortable mattress, and an old down mummy sleeping bag to keep me warm should I end up camping where it was cold (which I did a couple of times). Making camp consists of parking and climbing in the back. Breaking camp, consists of getting out of my comfortable bed in the back, getting in the cab of the truck and ... driving away. Traveling through Washington, Oregon, Idaho, Nevada, Utah, and Colorado - - I covered 3,600 miles on this road trip. I took hikes down the Paria River; through Grand Gulch and in Upper Muley Twist Canyon; to Upper Calf Creek Falls and a half dozen short "hikes" thrown in for good measure. The desert wildflowers were in bloom on this trip and I enjoyed their beauty, fragrance (most of them), and variety as they changed from location to location and with elevation and environment. Trailing desert four o'clocks and yellow Utah sego lilies were among my favorites on this trip. Stories will often accompany the photographs I post of this road trip. I hope you enjoy some of the photos and some of the stories. I post them for that reason for kith, kin, and Flickr friends. Here is an outline of the day to day travel and activities. DAY ONE: TH 4.16.15. Leave home in Eastern Washington 5:30 am 4.16.15. Stop by Nampa, Idaho to meet a long time Flickr contact; see his fiddle shop; and hopefully score some of the home made bread he often posts photos of on his Flickr site. Drive down Nevada highway 93 through Ely to Panaca, Nevada. Catch a couple hours of sleep in the back of the truck. Urge to move on. Drive into the night to a "camp" near Cedar City, Utah. Sleep. DAY TWO: FR 4.17.15. Drive Utah highway 9 through Zion National Park (snow falling on the east side of the park down from Mt. Carmel Junction to Kanab). Since I arrived at Kanab at 8:45 am, I thought what the heck. Joined and failed once again to win a hiking spot to The Wave. 62 of us present for the attempt. Few winners. No problem. Grab a Subway sandwich and head on through the snow toward the Paria River country. I was told by the Kanab rangers that the back roads would almost for certain be dry enough for travel by the next day, when the good warm weather was forecast to arrive. ALMOST for certain, is the operative phrase here. First road I checked out was to slippery to walk on. Move on. Checked out the House Rock road to Wire Pass - - passable. A surprise. Spent the rest of the day checking out trailheads for future hikes in the area. A scenic 4WD trip made up Long Canyon, then returned to the White House trailhead and campground, where I reserved a camping spot for the night. Took a wonderful impromptu, storm clouds swirling about, hike in a side canyon of the Paria River. Slept well that night. DAY THREE: SA 4.18.15. Up and ready for a day hike before dawn. Started what turned out to be an eleven mile round trip hike down (often IN), the Paria River from the White House TH to just short of the confluence of the Paria River and Buckskin Gulch. Feet absolutely numb on the early morning hike down the Paria, felt refreshingly wonderful on the warm to hot hike back up and out of the Paria River to the trailhead and my pickup truck. Mostly knee deep water. Opaque flow, so you had to check the depth and bottom configuration with care at times. I turned around when I reached a narrow spot, where it appeared I was going to have to go at least waste deep in the cold water, and how much deeper, I didn't know. So, I called it a turn around point (5.4 miles as the raven flies from my pickup truck at the trailhead) according to my Garmin Oregon 600 GPS. Decided to "move on" after this hike up to the Escalante country on my way to Colorado. Lower Calf Creek CG was full, as I expected to I spent the night camped under the stars, on BLM land near the Upper Calf Creek Falls trailhead area. Slept well. DAY FOUR: SU 4.19.15. Got and early start and headed to Boulder, then the Burr Trail route to Notom, checking out possible hikes I might take the following week with a Flickr hiking friend from Washington state, who planned to meet me at Capitol Reef NP the following Sunday. I back tracked from Notom to the Capitol Reef visitor center to discuss some of the trails and roads with the rangers there. Off to Hanksville then Green River, Utah where I drove the interstate to near Denver, Colorado. There I drove up into the foothills of the Rocky Mountains to where my wife and granddaughter were waiting, and where our kids now live. Up high, and still in snow, but a lovely house in a great environment. No mowing when the snow melts, the deer and elk, who visit their place daily, take care of keeping the natural grasses trimmed properly. Even with snow broad-tailed hummingbirds were paying visits to their feeder, and the pygmy nuthatch, downy woodpecker, mountain chickadee took shifts at the kids' suet feeder. Magpies and a gorgeous all black Abert's squirrel made futile attempts to reach the suet, but the design of the feeder thwarted their persistent and creative efforts. I stayed at the kids' place for a week. Lucky them!. This was night one of the visit. DAYS: FIVE, SIX, SEVEN, EIGHT, NINE, & TEN: MO-SAT (4.20.15 - 4.25.15). I stayed at our kids' place. We took our granddaughter shopping (REI flagship store in Denver); to playgrounds; to Lookout Mt.; and shopping. We walked the roads and trails in the area of the house and on one day, my wife, oldest son, and I made a dual purpose trip to Capital City and Blackhawk, Colorado. Old historic mining towns and two of the three Colorado towns that since the late 1990s (add Cripple Creek to make the third) to allow casinos. So, my wife and son got some quality penny slot investment time in at the Monarch casino in Blackhawk, while I took our son's Jeep up to explore dirt roads, old mines, old cemeteries, and the scenery about Central City (via downtown Nevadaville). It was a great week with wife, kids, and our "charm your socks off" two and half year old, talk your socks off, granddaughter: Sierra McKenzie. I am now up to date on all the young kids' TV shows and have regained some of my coloring book skills. Every evening Sierra would bring her Candyland game to us, and we would play a game. Can't believe it is the same game that my brother and I once played with the family, when we were young children. Good things last. DAY 11: SU 4.26.15. Having packed most of my stuff in my pickup truck the night before, I got an early morning start to meet up with a Washington hiking friend at Capitol Reef National Park. It was a miserable drive over the Colorado Rockies. Fog at first, then rain, then ice and snow, then fog, then rain. Ice and snow on the highway at times caused cautious slow driving at times. I spent a lot of time with the pickup truck in 4WD for safety's sake. Finally around Grand Junction, Colorado - - the bad driving conditions eased and I found myself enjoying the trip. Storm clouds over the San Rafael swell provided interesting scenery and photo ops as I drove south from Green River, Utah to Hanksville. Then on to the Capitol Reef visitor center where I found that the campground one mile south of the visitor center had a few openings, So I rushed off to sign in for a camping spot for the night. Early afternoon Jim showed up from Washington State. Our plan was to do some hikes together over a several days in Central Utah. We wasted no time. We thought about the Cathedral Valley loop but rangers told us that the clay sections of both sides of the loop road would be impassable until they dried out more. Instead Jim parked his rig at the bottom of Grand Wash, and we took my pickup back to the upper trailhead. It is only a two mile hike down Grand Wash, but I had never hiked it and this was Jim's first visit to Utah. Turned out to be a "grand" hike (pun intended). A really quality hike and having two vehicles available to shuttle made it a perfect target for a lead off hike. After we finished that hike we drove up to Panama Point at the west end of the park off highway 24. There we would both be able to get cell phone reception and make some calls "back home". I had never been to the Goosenecks Overlook (Jim had already hiked it on his way to the visitor center earlier in the day), so I took that short hike to get some sunset at Capitol Reef NP photographs. A great way to end the day. Slept really well. Good books to read by LED headlamps help! DAY 12: MO 4.27.15.Left camp by 6:30 am. Drove to Notom then slowly down the Notom - Burr Trail road to the switchback climb out. The wildflowers were at their best. Jim is much more knowledgeable with wildflowers than I am, so we both had a great time, enjoying the fresh desert air, slow travel, scenic landscapes of the east side of the Waterpocket Fold and the oyster shell reef. It is a drive I have made at least a half a dozen times in many seasons but remains one of my favorites. The desert wildflowers were out in force. It was here we saw a sego lily, that I didn't know existed. It was yellow and it was bright and beautiful. I had never seen or heard of a yellow sego lily but a nice lady ranger at Escalante, Utah - - the next day, confirmed it was indeed a Utah yellow sego lily. Jim and I both had lunch at the top of the Burr Trail switchbacks. It was a bit windy by then but the views out over the desert to the snow covered Henry Mountains was as spectacular as ever. Next we went to the trailhead at Peek-A-Boo rock for Upper Muley Twist Canyon. I had been to the trailhead a couple times with my wife, but for one reason or another, we had never taken the time to hike (or take the 4WD trip) to the Strike Valley Overlook trailhead. When Jim and I arrived, we walked the first hundred yards of the Jeep trail (wash) route, and decided to give it a go. Jim left his rig at the trailhead and the two of us started the three mile "up the creek wash" 4WD route in my pickup truck. There were only a couple of "extreme caution required" places on the drive, where care had to be taken not to damage the underside (the non-shiny side) of the pickup truck. The rest was fun and interesting driving. There were two other 4WD vehicles at the end of the route, at the trailhead for the Strike Valley Overlook hike. One a Jeep Wrangler with Washington plates and two sea kayaks on top. We never did see the owner of that vehicle. The other a Toyota off road SUV with Texas plates. We would run into the owner of that rig at the end of our hiking. Jim and I grabbed cameras and day packs and made the scenic and short, slickrock and sand, hike up to the striking Strike Valley Overlook. About a one mile hike up. The views were tremendous and gave a geological look at the earth folds of the area, that would be difficult to beat. We returned to the trailhead and decide to hike a couple miles up Upper Muley Twist Canyon to see some of the arches and the lay of the land. We turned around just above the "rim route" and saddle arch. On the way back a young fit solo hiker overtook us and we talked with her for awhile. She was from Houston and was the owner of the Toyota. She had completed the entire Upper Muley Twist loop hike and gave us the beta on that. When we got to my pickup truck the young Texas gal, smiled at us and said "you know I enjoyed the Strike Valley overlook so much, I think I will hike it again.". With that, she shouldered her day pack and disappeared up through the juniper trees. We returned to Jim's rig then took off in convoy fashion to Long Canyon and then Boulder, Utah. We stopped often for photo ops, meals, and conversation. With the day ending, we made an executive decision to camp near the Upper Calf Creek falls, trailhead (as I had done the previous Sunday), and hike to the Upper falls, early the next day (which we did). DAY 13:TU 4.28.15. We drove both rigs from our BLM land camps the short distance to the Upper Calf Creek falls trailhead (new - - some guide books now have it wrong. It is no longer a rough road and it is no longer between mp 18 and 82). No other hikers there. Shouldered are day packs and with morning light just arriving, dropped down over the wonderful slickrock then sand then slickrock hiking route into Calf Creek Canyon. This isn't a long hike but test your legs and wind on the way back up. Not much water going over the falls but what a place. A swallows in the air alcove down the stream from the falls, had dense lush vegetation along the walls and the valley floor. Beaver dams provided ponds and quality habitat for many critters. Wildflowers were in bloom (desert verbena with its sweet perfume and bright globe while blossom heads - hid along the cliff base). Evening primrose in blossom were ubiquitous everywhere in Utah and they graced the trailside of this hike as well. Also, as guide books warned, poison ivy is present. We first hiked to the top of the falls where a succession of lovely water pools and tanks in the slickrock bed make an idyllic scene. Add to that a male and female cinnamon teal were cautiously paddling about above the falls. Only one man made sign at the site and it was interesting to say the least (especially given all the poison ivy in the nearby vicinity). After a relaxed visit to the top of the falls, we retraced our route and took the lower trail to the base of the falls. Lighting conditions (half the falls in bright sun and the other half in shade) made getting quality photos of the fall difficult to impossible (for me), but the hike and the visit were high on my list of hikes enjoyed on this road trip. The hike back out of the canyon was made at a more moderate and conservative "old men's" pace. Both Jim and I are about the same age. From Upper Calf Creek we drove on to a Subway sandwich lunch and then the visitor center at Escalante, Utah. It was here Jim and I agreed to head different directions. I introduced Jim to "Robert" the manager at the Circle D motel there, and Jim got a room for the night. He thought he might hike Lower Calf Creek and visit the Devil's Garden out the hole-in-the-rock road before heading for Arches and the Islands in the Sky section of Canyonlands around Moab, Utah. I shared thoughts of places he might enjoy on his road map of Utah. I knew I was headed home, but hadn't made up my mind by which route. I must have changed my mind a dozen times by the time I stopped at the tiny post office building at Henrieville, Utah to mail postcards to my wife and granddaughter. I had stopped to do the same the previous Sunday. Old habits die hard. On a spur of the moment I decided to check if there just might be one campsite open at Kodachrome State Park. I had read on the internet they would close down the entire month of June to expand and improve. It is a now popular campground with excellent scenery and hikes in the area. They also have HOT SHOWERS! So I pulled up and waited 20 minutes while a ranger hopped in his ATV and double checked to see if camp site number 11 had indeed vacated and opened up. The last camp site available. I got it! First order of business was a long hot shower and change of clothes. Can't tell you how good that felt. I was tired of hiking, getting lazy, so decided to drive some of the roads I had never driven and perhaps take an 11 mile drive out south to a favorite arch (Grosvenor Arch - - Butler Arch to the locals). So first drive was to Chimney Rock then over to the short easy hike to Shakespeare Arch (which I took). Back to my campsite for a bite to eat and then a drive down the Cottonwood Road to Grosvenor Arch, where I was happy to find that the ravens were still raising a family in a nest near the top of the this arch. I slept really well that night. DAY 14:WE 4.29.15. I hate it when I do this. After getting up early, the "homing" instinct took hold. I always promise myself I won't give in to it, but I usually do. Over to Panguitch, Utah - - highway 20 to the Interstate and off this shun piker drove on automatic pilot on the multilane, 80 mph, congested in the cities, interstate. Headed for home. Windy and dusty all the way from Salt Lake City to La Grande, Oregon. Not fun driving. BUT at La Grande I filled the gas tank of the pickup truck, grabbed a toasted Subway sandwich and drove the short distance west to a campsite right on the Grand Ronde River. The wind had died down, it was getting dark, it was cold, but when I climbed into my down sleeping bag in the back of the truck for the 7th and final time on this trip...I was comfortable, content, and happy. I read a book for a half an hour by LED headlamp light, and dozed off. I slept the best I had done so on this entire trip. DAY 15:TH 4.30.15. On the way by 6 am. Stopped above Pendleton to see if any of the yellow lupine were yet in bloom at the top of the Emigrant Road. They were. Home by mid-morning. 3,600 miles on my pickup truck's trip odometer. A lot of smiles, wildflowers, and great hiking along the way. An excellent and enjoyable visit (and more than a few take home Panda Express meals) with the kids, wife, and granddaughter in Colorado. Good to be back home. Glad I did it. Now, thinking ahead to the next "road trip" or "hike". Oldmantravels 1 May 2015

British postcard by A Real Photograph, no. F.S. 56. With his dark good looks and tall figure, Irish actor Kieron Moore (1924 – 2007) made a name for himself in post-war British films as both heroes and villains. After he retired as an actor he became a passionate Catholic journalist and charity worker. Kieron Moore was born as Ciarán Ó hAnnracháin, Anglicised Kieron O'Hanrahan, in Skibbereen, Ireland in 1924. He grew up in a hearty, Irish-speaking-only household. His father, Peadar Ó hAnnracháin, was an Irish Nationalist writer, poet, editor and political activist who was twice imprisoned by the British during the Irish Civil War. Kieron inherited from this family background a lifelong concern with oppressed or dispossessed people. Encouraged by their parents to pursue their artistic leanings, Kieron's sister Nease became an actress for the Raidió Éireann Players, brother Fachtna became a music director for the same radio station, and sister Blaithin played harp for the National Symphony Orchestra. Kieron himself was educated in Dublin and started to study medicine at his medical studies at University College Dublin. He abandoned his studies, however, after an Abbey Theatre rep saw him in a Gaelic play at the Little Peacock Theatre, and accepted his application for membership. As Kieron O'Hanrahan he had a notable success at the Abbey Players as Everyman. In 1943 the handsome 19-year old moved to England and made his London stage debut as Heathcliff in a production of Wuthering Heights at the Richmond Theatre. He went on to gain more notice in a production of Purple Dust by Sean O'Casey in Liverpool. He made an impressive film debut as an IRA killer in The Voice Within (1945, Maurice J. Wilson). The heroine in the film, murdered by Kieron's character, was played by actress Barbara White. Despite their fatal on-camera relationship, they married in 1947. White retired shortly thereafter and they had three sons (Casey, Colm, Sean) and one daughter (Theresa). Gary Brumburgh writes in his IMDb bio: “Kieron was a talented, durable player but seemed to lack the charisma or drive for top stardom despite his early promise. An impressed Alexander Korda signed him up with his London Films following a heralded performance in the West End version of Sean O'Casey 's play Red Roses for Me in 1946. The marquee name of Kieron Moore was bestowed upon him at this time. While he excelled in his next unsympathetic role, the psychological drama Mine Own Executioner (1947, Anthony Kimmins) in which he plays a schizophrenic POW treated by doctor Burgess Meredith (with real-wife Barbara playing his wife in one of her last film roles), Kieron failed to capitalize on the one role that could have made him a star. As the urbane count in Anna Karenina (1948, Julien Duvivier), he was deemed wooden and miscast by many of his reviews.” Ironically, his role as Count Vronsky opposite Vivien Leigh's Anna Karenina is now perhaps his best known performance. There is a restored version with an additional 15 minutes to the original theatrical version. At IMDb, reviewer Jandesimpson thinks the addition is an improvement: “mainly early scenes that established minor characters with greater clarity. However the most significant restoration was a closing shot held considerably longer, thus giving that additional weight to the final tragedy that a really thoughtful director of Duvivier's calibre must have originally intended.” Kieron Moore starred in some international co-productions. He appeared in the French-British production Maria Chapdelaine/The Naked Heart (1950, Marc Allégret) opposite Michèle Morgan, and in Italy in Due mogli sono trope/Honeymoon Deferred (1950, Mario Camerini) opposite Sally Ann Howes. In Hollywood he appeared as Uriah the Hittite in the biblical epic David and Bathsheba (1951, Henry King) opposite Gregory Peck, and as a dashing Foreign Legion corporal in Ten Tall Men (1951, Willis Goldbeck), starring Burt Lancaster. Not much happened as a result and he returned to England. There he continued to offer fine and varied performances, notably in The Green Scarf (1954, George More O'Ferrall) starring Michael Redgrave, in which Moore earned applause for his role as a deaf, dumb and blind author who confesses to a murder in the mistaken belief that his wife is the guilty one. Another part that garnered some attention was the bully Pony Sugrue in the Disney classic Darby O'Gill and the Little People (1959, Robert Stevenson) with Sean Connery. This was topped by the strong kudos he received in the comedy-thriller The League of Gentlemen (1960, Basil Dearden) as a homosexual ex-officer recruited by Jack Hawkins for a bank robbery. He turned hero again as a man forced to battle flesh-eating plants from outer space in the classic sci-fi thriller The Day of the Triffids (1962, Steve Sekely) with Nicole Maurey. His status started to regress in such routine films as the horror thriller Doctor Blood's Coffin (1961, Sidney J. Furie) with Hazel Court, the Susan Hayward vehicle I Thank a Fool (1962, Robert Stevens) and the war drama The Thin Red Line (1964, Andrew Marton). He played second fiddle to special effects in the Sci-Fi epic Crack in the World (1965, Andrew Marton) and to Gregory Peck (again) in the adventure film Arabesque (1966, Stanley Donen). He took as his final film the underwhelming Custer of the West (1967, Robert Siodmak) in which he was oddly cast as Indian chief Dull Knife opposite Robert Shaw. Throughout the 1950’s and 1960’s he customarily performed on TV, including the short-lived BBC action series Ryan International (1970), which he also wrote. After retiring from feature film work altogether in 1974, his life took a religious and socially-active turn. He joined CAFOD (the Catholic Agency for Overseas Development), for whom he worked for seven years, directing and narrating two film documentaries in the course of that time. The films dealt specifically with the struggle for survival in Third World countries. He also travelled extensively in the Middle East and India and provided voice-overs for other documentary features as well. After this he became an associate editor of the biggest-selling Catholic paper in Great Britain, The Universe. In 1994, Kieron Moore retired quietly to the Charente-Maritime in France where he died in 2007 at age 82. He was survived by his wife, Barbara White, and their four children. They all entered caring professions: his daughter a nun, two of his sons teachers and the other a psychotherapist. Sources: Gary Brumburgh (IMDb), Mark Lawson (The Guardian), Brian J. Walker (Brian´s Drive-in Theater), BritMovie.co.uk, The Telegraph, Wikipedia (French) and IMDb.

Title: Breeder and sportsman Identifier: breedersportsma351899sanf Year: 1882 (1880s) Authors: Subjects: Horses Publisher: San Francisco, Calif. : [s. n. ] Contributing Library: San Francisco Public Library Digitizing Sponsor: California State Library Califa/LSTA Grant View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: Septembeb 9, 1899] THE BREEDER AND SPORTSMAN. 171 Of the numerous stud farms in California the Baywood Stud, located on Mr. John Parrott's estate adjoining the town of San Mateo, is the only one of its kind The object with which it was established was the breeding and devel- oping of high class saddle and harness horses. A point in its career has now been reached where its proprietor has the gratification of showing the visitor that after years of steady, intelligent work and study he has begun to accom- plish what he originally had in mind. The practical meaning of this is that those who are in search of finished horse3 for carriage work have now a p'ace at hand where they may expect to find them. Hitherto this has not been the Ciise* in California and as a consequence many who would have been glad to keep well-appointed turnouts have been obliged to forego the luxury. "When Mr. Parrott first joined the ranks of the breeders, he provided himself with the imported German coach- horse Socrates, a fair animal of his kind. This horse he deposed from the head of his stud six years ago when he purchased the hackney stallion, imported Green's Kufus (E. H. S. B. 4291, A. H. S. B. 63). In the interval he has collected and bred to the latter a large number of mares, with a few exceptions, trotting-bred. These now supply about half a hundred foals each season. Amongst the dams are a certain number with hackney strains of blood, so that the Baywood output comprises pure, three-quarters and half-bred hackneys. In perhaps the most important quali- fication which a stud-horse can possess, Mr. Parrott's fine young sire is pre-eminent. Anyone acquainted with the hackney breed is aware that its strong point is sire prepo- tency. In this respect Green's Rufus is liigh'y distin- guished and shows himself fully endowed with the virtue of transmitting his own good qualities and characteristics to his offspring. His get are noticeable for their fine con- stitutions, ample bone and bold, free action in the trot. In the last mentioned respect the stallion himself takes high rank, as those who saw him at the several horse-shows held in this city up to three years ago will acknowledge. Nothing on exhibition created a greater sensation than when Green's Rufus stepped round the ring. As a son of the great champion Rufus his remarkably fine style of going comes to him naturally and, had he been limited to pure-bred hackney marts, in all probability he would have made a reputation that in his present sphere he can never acquire. But if all goes,well his life's work, while not so distinguished as it might otherwise have been, will be fully as productive of good to the cause of horse-breeding. In the American trotter, bred and developed for speed, the aetion of knees and hocks is the very reverse of the methods which the hackney uses in progression. In the carriage horse ten miles an hour is as fast a pace as is called for and it is essential that his action should exhibit a certain grandeur and elevation that the horse driven for speed alone is not capa-'le of showing, except in very isolate! cases. It is occasionally- found to exist in trotting-bred animals, but such is the almost invariable prepotency of the hackney sire that he may be depended upon to reproduce the quality in more or less excellence in nearly every animal he begets. This, then, is the mission in life of Green's Rufus and he may be said to be fulfilling his calling. A conspicuous instance of his success is the four-year-old gelding Bravo, illustrated by the Breeder & Sportsman in this number. This horse has, if anything, still finer action than his sire. The dam of Bravo is a half-bred hackney by the celebrated hackney stallion, imported Matchless of Londesborough, so that Bravo is a thiee-quarter bred hackney. So far as action is concerned the shortfall of hackney blood has in his case placed him at no disadvantage and though such a gratifying result as he represents cannot always be counted upon in crossing the hackney with the trotting-bred, it justifies the belief that Green's Kufus may be relied upon to do all and even more than was expected of him. But this quality of action, the paramount virtue of the hackney, while born in the youngster as a rule, must be developed, or set and conserved. And here is where the pro- prietor of the Baywood Stud shows the intelligence, patience and judgment necessary to bring any undertaking to a suc- cessful issue. He is not satisfied merely to raise the colt, but he has him handled by educated, skilled and responsible employees and so rendered fit to occupy the exact place in the horse firmament, for which he is intended by nature. However earnestly and carefully the stud master may strive to breed a particular size or type all sorts of variations will result. Sometimes he will be favored with an animal having sufficient size and power to draw a heavy brougham, and at other times he will have something that is only equal to a small trap of some kind. Both these extreme specimens and their intermediate congeners have their uses, and according to the discrimination with which they are appointed to their several spheres, will they best represent the usefulness of their breeder's work. Then again, the most promising young horse in the world may be utterly spoiled by improper bitting and injudicious driving, which, harmful and abominable at all times, are less disastrous to the thoroughly made horse than to one in course of educa- tion. Under the system adopted at the Baywood Stud the per- fectly made horse can be shown to an intending buyer, so that when he sees anything that takes his fancy he can feel assured that, with a continuance of anything like proper management, any animal that he may be shown will not disappoint his expectations. How different is likely to be the result, if he venture on buying the article, as a rule, on offer elsewhere, that totally lacks the finishing touches which make a carriage horse a pleasure to sit behind or see moving down the ruad or in the park. Only one who has had the opportunity of seeing what Mr. Parrott has been doing year by year since he entered the ranks of hackney breeders can realize the amount of time, money and pains he must have expended in bringing his Btud up to its present pitch of successful working. The sweets of rewarded labor have already been tasted and satisfactory sales, together with an increasing number of enquiries that prove the need of his enterprise, afford an encouraging outlook for the future. While he has no one in the State competing with his stud at the present time, it would be a mistake to suppose this is to his benefit. He would be better off if he could now get outcrosses for some of his stock and by indenting upon other studs facilitate his own plans for matching and otherwise meeting the demands of a market that, still very young, will grow as the taste for well-formed and finished carriage horses develops. The photographic sketches shown in this issue, all made during a morning's visit, will serve to give an idea of the sort of horses the Baywood Stud is turn- ing out and also of the different stamp of horse required for different kinds of vehicles. This latter is a matter that has long been settled by experience and one upon which the management of the stud is well able to advise. As a striking instance of the various shapes in which the trotting- bred horse may be found a picture is included of Mr. Parrott's admirable little prize-winning saddle pony, Black Beauty, a full sister to the trotting mare, She. 2.12^, by Abbntsford. The photograph, unfortunately, does not do the little mare justice. chief component factors. Coming down to the most modern winners, of which Ormonde is the most striking example, we find the following crosses of the four corner posts : THE FOUR CORNER-POSTS MODERN THOROUGHBRED BREEDING BY HIDALGO. ^r1^^^2^^^A^^^r£^r&~£,, Text Appearing After Image: Last winter I was "barking'' at a sale of thoroughbred yearlings for Mr. A. B. Spreckels, in San Francisco. One of the yearlings had a cross of Woodburn, brought to this State by John Hall, of Alameda, in 1864. I went on to speak of Woodburn as the best bred son of Lexington ever brought here and said "his third dam was Eleanor, one of the only two mares that ever won both the Derby and the Oaks. This was in 1801. She beat the great Orville and won 29 races out of 46." The late Charles M. Chase, who sat behind me, and whose shrewdness and sagacity can- not be called in question at this late day, said to me, "Never mind what horses did a hundred years ago. Tell them something about horses that are running now." The point was well taken. It seems to me that we ought to follow some such line in breeding now. We know that Waxy was the great sire of the first fifteen years of the current century now of but a few weeks' duration. The male line of Waxy, so well exploited through Whalebone in England and America and through his other son Whisker (great grand sire of Yatterdon) in Australia, is still good enough, so we do not care to disturb that, for Touchstone and Birdcatcher, the two greatest founders of families since 1840, were male line great grand- sons of Waxy. But let us come down to the quarter century between 1815 and 1840. And what do we find? Three good male lines, then all-powerful but now virtually extinct. The three great stallions of that period, outside of Camel and Sir Hercules, sires of Touchstone and Birdcatcher, re- spectively, were Catton, Tramp and Emilius, the first two being Doncaster Cup winners, while the latter won the Derby and got two winners of the same race. The first and last of these are virtually extinct and the middle one would be likewise butfor Rosicrucian in England and Goldsborough in Australia. And this too in spite of the fact that the United States imported seven sons of Emilius and four of Catton, while Australia imported two sons of Catton and four of Emilius, in all. There is an old horse somewhere up in the pretty Owyhee meadows of Idaho, called Warnick, by Hubbard out of Joe Hooker's dam. When that horse dies, the male line of Catton will be extinct in America, as it already is in England. The only exponent of Emilius' male line that I know of is Villard, a little black horse owned in Oregon and sire of the sprinter I Don't Know. The line of Emilius, when he dies, will exist only in New Zealand, through a very inferior horse called Hippocampus. It is therefore apparent to me that we have four lines that have never failed to produce racers of high class when pro- perly blended, with a view to conformation. I think con- formation is something too often overlooked by breeders. The French breed entirely in that way and pay little or no at'ention to blood lines. They breed a rangy mare to a compact horse and vice versa; and it goes without saying that they have, in the past forty years, produced some great horses. They have produced the only horse (Gladiateur) that ever won the Two Thousand Guineas, the Derby, the Grand Prix de Paris and the St. Leger, all in the same sea- son. They bred the only horse (Verneuil) that ever won the Ascot Cup, Queen's Vase and Alexandra Plate, all in one week. And they bred the first two mares that ever won both the Cesarewitch and Cambridgeshire handicaps in the same yearâTenebreuse and PJaisanterie. So it will not do to underrate French breeding. To modernize the breeding of thoroughbreds, therefore, I say, the proper way is to take the four mo't successful lines of the past sixty years and breed direct from themâthree Eclipse and -one Herod-line horse. The records of the Derby, St. Leger, Oaks, and Two Thousand Guineas show this to be about a fair proportion, for no Herod line horse has won a Derby in twenty-three years (Kisber being the last) while the same line has won the St. Leger just four times in the past sixty years. The Matchem male line, since 1840, shows just three winners of the Derby, six of the Oaks, and five of the St. Leger. I therefore say, use the Matchem line (say through Nomad, Kingston or imported Odd Fellowâa horse that is being sadly overlooked, by the way), simply as the Australians used old Fishermanâfor an outcross. When yon find you have been breeding too often to one line and need new blood, take care that the horse you selfct as your outcross is one of good bone, excellent confor- mation and a perfect temper. Hence I say the Melbourne male line is valuable simply as an outcross on the four cor- ner-posts, which are Touchstone, Birdcatcher, Blacklock and Sweetmeat, the latter being the greatest Herod horse of the past sixty years, to my notice, and giving the Macaroni branch of Sweetmeat blood the preference over Parmesan, Saccharometer and Carnival. For while Parmesan got two winners of the Derby and Macaroni none at all, yet Macaroni bred more class than ever did Parmesan, outside of Cremorne. Macaroni got Lily Agnes, who won more races than any two daughters of Parmesan; and he also got two Oaks winners, conclusively showing that his mares were stouter than his horses. If a cross of Sweetmeat cannot be obtained, then try the other Gladiator line, through Mortimer, Exile and Apache. But a review of the great winners of the past thirty years will show that these four linesâTouch- stone, Birdcatcher, Sweetmeat and Blacklockâare their 1878 1875 1878 1875 1882 1871 1868 1873 1883 1875 1876 1875 1876 1880 1865 1877 1881 1876 1877 1873 1882 1884 1871 1877 1875 1882 1883 1877 1874 1883 1-82 1879 1873 1887 1879 1883 1882 1887 Barcaldme Beauclerc Bend d'Or Bendigo Bird of Freedom Boulevard Brag Bread Knife Carlton Castlereagh Cbaribert Childeric Chippendale Clairvaux (Thebais) Blue Gown Cylinder (Cradle) Enterprise Favo Fernandez (Isonomy).. Fulterlock Gallant Lourdes Macaroon Mask , Master Kildare Melton Minting Muncas'er Norwich Ormonde Pearl Diver ... Peppermint Petrarch Poste Restante Quicklime Saraband Wagner imp Wood Moss imp.... Best Performance North Plate Middle Park Plate Derby 1880 Eclipse Stakes Queen's Gold Vase. Liverpool Cup Lancashire Cup.... Clumber Plate Chester Cup 1887.... Edinburgh Cup 200U Guineas ChesterfleldStak.es.. Cesarewitch 1879 Boscawen Stakes Derby & Ascot Cup_ Heaton Park Plate.. 2000 Guii eas Eton Welter Cup Craven Stakes Hombred Stakes Pontefract H'cap Wentworth Slakes... Palatine Handicap.. PayneStakes... City and Suburban- Derby and St Leger Grand Prix de Paris 2d in 2000 Guineas... Summer Cup N'ra'kt Triple Crown Gt. Eastern H'cap... Londesborough Cup 2000 Gs. &St. Leger.. Newcastle H'pl890.. City and Suburban. Rous Memorial Hire of Imp Sire of Basquil ~ â¢a M â a - 3 - H Cq a 2 a II I i 1 '2 â !, 2 1 7 II 4 1 'J 1 -j 1 â /. V i 3 '.' 1 2 4 1 *2 :>. 1 1 :'. 1 r '.: 1 II :â . 1 2 :: r '!. l l '2 l l 1 l l a a X 1 â¢/, i 2 i '2 1 .:i 1 1 4 1) 1 :>. 1 r 8 2 l fi :', 4 '', 2 s '!. 2 l 4 1 l 1 '2 y. ;i X a 7 '2 a 4 0 2 1 I i :i S â¢/, :; â 2 X 4 4 2 8 2 1 4 ' I think the above investigation could be pursued yet fur- ther, but space will not admit of it. The best Sweetmeat horse in the Uni'ed States is Mr. Boots7 horse Brutus; and the best Blacklock horse, by a head and shoulders is Sir Dixon. Now, if you have a mare that has Blacklock, Touch- stone and Birdcatcher, but no Sweetmeat in her, breed her to Brutus; and if she has Sweetmeat and no Touchstone (for Sweetmeat was inbred to Blacklock) breed her to any one of a dozej Touchstone horses that are now in this State, St. Carlo and his son Ruinart being very prominent. Among the Birdcatcher horses, I like Amigoas well as any, for Ormonde is not accessible to the public. Just why the Santa Anita folks keep on sacrificing those fine Grinstead mares to the Emperor of Norfolk (who is not bred right for a sire, to be- gin with), and neglecting Amigo, is one of the things I shall never understand correctly. I have a picture of Stockwell in my possession and I candidly believe that Amigo looks more like him than any horse Stockwell ever got. In this I mean no disrespect to the Emperor as a racehorse, but ex- perience has shown us that great performers are often worthless as sires, witness Charles XII, Favonius and Mel- ton, for instance. Amigo has three of the four corner-posts in his composition, while the Emperor has none of them. It would do some people a great deal of good if they would occasionally sit down and do a little reading. They would realize the deep wisdom of the Teutonic phil sopher who declared "Der more I lif, der longer I find it py Shoopider oud." So I say that I believe in a modern system of breeding, with just four lines as the main trackâBirdcatcher, Touch- stone, Blacklock and Sweetmeatâand Melbourne for an out- cross. Should any further outcross be needed, they can import a son of Fisherman, Yattendon or Neckersgot, from the Antipodes. All this time you must never lose sight of the two main lines of Eclipse-Waxy, from whom we get Bird- catcher and St. Simon; and King Fergus from whom we get Galopin and St. Simon, the lineal descendants of Blacklock who was King Fergus' great grandson. No stallion foaled since 1890 can be worth much with less than twelve crossea of Waxy. Abercorn was foaled in 1884 and yet he had nineteen crosses of Waxy which is about equivalent to thirty- six in a horse foaled since 1895. The two best Herod line horses in America to-day, if not in the world, are Brutus and Sir Modred, each of whom have over 50 per cent of the Eclipse blood, but the latter horse has none of the blood of Birdcatcher. The table above quoted by me is a small one compared with what I might have cited but for lack of space.* It is enough to show you that of 38 stallions of note in England there are just four which have no crosses of Birdcatcher, one that has none of Touchstone, but every one has a cross of Blacklock, who was at one time so despised in England. His line has been discarded repeatedly and yet came to the front again, through nothing but sheer merit. Up to 1870 the branch that came through Brutandorf was considered the best, but it has long been displaced by the Voltaire braoch, as exemplified through Galopin and St. Simon. And what an old hero Galopin was to be sure, heading the list of winning sires at twenty-six years, the nearest approach to him being Hermit who headed the list in 1886, being then 22 years old. People used to object to Blacklock because he had an ugly head, although he was otherwise one of the most perfect horses ever foaled. It has taken them over eighty years to find out that a horse don't run with his head. Only three stallionsâStockwell, Hermit and St. Simonâ have headed the winning sires lists, since 1800 for a period of seven years in England. Stockwell was by far the best of the lot, for his get amassed £241,482 in seven seasons, while neither Hermit nor St. Simon came within £25,000 of those figures, although racing prizes are nearly double in value what they were in Stockwell's time. There was no Eclipse Stake, no Lancashire Plate nor Jubilee Stakes (each of these being worth £10,000 to the winner) in Stockwell's time; and that is why he is so justly styled the " Emperor of Stallions," and another reason is that on four occassons when he fell back to second place the lead was held by his own son, Blair Athol. Stockwell was second in 1868 to Buccaneer, while Buccaneer, in other years, was never as good as third to Stockwell. The latter was the greatest of all the Birdcatcher horses, and we. shall go a long time before we see another stallion get all three place'l horses, as Stockwell did in the Two Thousand Guineas of 1862 and the Derby of 1866. Blair Athol headed the list Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

Millions at stake, the ‘Adelson primary’ is neck and neck Michael Isikoff Chief Investigative Correspondent December 2, 2015 American businessman Sheldon Adelson with his wife, Miriam Adelson, center, during a roundtable discussion in Washington, D.C. (Photo: Win McNamee/Getty Images) It is the biggest financial prize in Republican presidential politics: the endorsement of Sheldon Adelson, the multibillionaire casino magnate legendary for his willingness to spend huge sums to promote the candidates of his choosing. But this year the bidding to become the winner of what is informally called the “Adelson primary” has gotten complicated. After being wooed by virtually all the major GOP contenders, the 82-year-old Adelson was believed to be close to announcing his backing of Florida Sen. Marco Rubio shortly after the Dec. 15 Republican debate — an event that, conveniently enough, is being held at the Venetian Las Vegas, a hotel Adelson owns. That scenario, however, has run into resistance from a surprising source: Miriam Adelson, the megadonor’s strong-willed and equally hawkish wife. An Israeli-born physician, Miriam Adelson has become enamored of late with Ted Cruz, according to four Republican sources close to the couple. The Texas senator has impressed her with his unwavering toughness on national security issues, especially his support for Israel, the issue that the couple cares most passionately about. “He really likes Marco, but she really likes Cruz — and it’s a standoff,” said one well-placed Republican fundraiser familiar with Adelson family dynamics. It’s a standoff that could result in an awkward split decision — or no decision at all, according to some GOP insiders. Both the Adelsons give generously in their own names, almost always in tandem: The couple’s publicly reported donations exceeded $98 million during the 2012 election. Miriam Adelson wrote nearly half those checks personally, totaling more than $47 million, usually delivering them on the same day her husband wrote seven-figure checks for about the same amount. Republican presidential candidate Sen. Marco Rubio walks offstage after speaking at a community rally. (Photo: Joe Raedle/Getty Images) But one prediction that is gaining traction in GOP circles is that the Adelsons may end up sitting out the early GOP primaries altogether, rather than choose sides and risk funding attack ads against a candidate one of them actually favors. Some say they could even go their separate ways, at least in the early stages of the contest. “She’s very capable of doing whatever she wants,” said one GOP insider in regular touch with the Adelsons. “If she wants to support Cruz, there’s nothing stopping her.” (Spokesmen for Adelson and for Cruz did not respond to requests for comment. Rubio spokesman Alex Conant emailed: “I don’t comment on the Adelsons.”) The Adelsons’ dilemma comes at a critical juncture in the GOP race. Rubio and Cruz are openly sniping at each other over national security issues as they vie to become the “responsible” conservative alternative to frontrunner Donald Trump. In recent days, a super-PAC allied with Rubio has begun running attack ads blasting Cruz for allegedly voting to “weaken America’s ability to identify and hunt down terrorists” — a reference to the Texas senator’s support for legislation that this week ended bulk collection of Americans’ phone records by the NSA. Cruz shot back that the pro-Rubio ad was “impugning” his patriotism, while his campaign released its own attack ads in Iowa criticizing Rubio for his past support for the so-called Gang of Eight immigration reform bill that would have given Obama authority “to admit even more Syrian refugees.” (Rubio has since backed away from his support for the bill.) The bidding in the Adelson primary moves into its next phase Thursday when the Republican Jewish Coalition (RJC), a group heavily backed by Adelson, hosts a presidential forum at the Ronald Reagan Building and International Trade Center in Washington. The Adelsons won’t be present — they are traveling in South Africa this week. But notably, all 14 GOP candidates (including Rubio and Cruz) are confirmed speakers, hoping to use the event as an opportunity to showcase their hardline national security credentials. “It’s the only forum outside of the debates where every Republican presidential candidate is going to appear,” even Jim Gilmore, says Matt Brooks, executive director of the RJC. (Conveniently, many of the candidates and their super-PACs are also holding fundraisers tied to the event in hopes of raking in dollars from other wealthy members of the RJC. Jeb Bush’s Right to Rise super-PAC has a 7:30 a.m. breakfast at the Reagan building Thursday morning aimed at RJC donors; Rubio has his own campaign fundraiser, co-chaired by Wayne Berman, his national finance chairman and an RJC board member, on the same day at noon.) The behind-the-scenes wooing of the Adelsons has been underway for months — a graphic testament to the outside influence that one or two fabulously wealthy donors can have on the presidential race. According to an account first reported by National Review, Jeb Bush initially fell out of Sheldon Adelson’s favor after one of his foreign policy advisers, former Secretary of State James Baker, spoke at an event sponsored by J Street, an American Jewish “pro-peace” group that supports Israeli withdrawal from the West Bank. The appearance prompted the casino magnate to send word that the move cost the former Florida governor “a lot of money,” while associates of Adelson were quoted as saying that Bush was “dead to him.” Bush scrambled to make amends. One top GOP donor who is close to the Adelsons told Yahoo News that he quickly got a phone call from Bush distancing himself from Baker. Bush “told me that he [Baker] was just on a list and that he’s never called him for any advice,” said the donor, who, like most others interviewed for this story, asked not to be identified publicly. The donor, at Bush’s request, then passed this along to Adelson. It was “helpful,” the donor said, in mollifying Adelson. Rubio, meanwhile, saw an opportunity and began aggressively courting the Adelsons, reportedly calling the mogul on the phone every two weeks to give him detailed updates on his campaign. The two also had a private dinner at Charlie Palmer Steak DC, a restaurant near Capitol Hill, where they talked for hours about their families and personal lives, according to a Politico account last April that proclaimed Rubio the “frontrunner” in the Adelson primary. But as in other aspects of his campaign, Cruz — mostly below the radar — has been assiduously courting the Adelsons as well as other conservative Jewish donors, building bridges with his base among evangelical Christians who also support Israel. Last year, Rubio named Nick Muzin, an Orthodox Jew and medical doctor with a law degree from Yale, as his deputy chief of staff. Muzin now also works on the campaign, doing “outreach” with Jewish contributors. With the Adelsons on hand, Cruz was a keynote speaker (along with Rev. John Hagee, founder of Christians United for Israel and a leading figure in the religious right) last December at the annual gala of the Zionist Organization of America. As can be seen on a YouTube video that has made the rounds in GOP donor circles, Cruz brought down the house by recounting how he stood up to a Christian group that included supporters of Hezbollah, telling them: “If you will not stand with the Jews, I will not stand with you,” prompting the crowd to erupt in chants of “Go, Ted, Go!” Republican presidential candidate Sen. Ted Cruz at a meeting in Las Vegas. (Photo: Ethan Miller/Getty Images) Cruz had another chance to cultivate the couple’s support last May when he received a Protector of Israel award at Orthodox Rabbi Shmuley Boteach’s World Values Network and sat at the head table with the Adelsons. “Sen. Cruz is a phenomenal friend of Israel, and the Adelsons have made it clear that Israel is the top priority for them,” Boteach told Yahoo News. A Cruz ally who is closely connected to conservative Jewish circles tells Yahoo News that the Texas senator now makes frequent phone calls to the Adelsons and has impressed Sheldon as well as Miriam. “She likes passionate, ideas-driven people,” says the Cruz supporter. But even if Cruz’ courtship does not result in actual support, his cultivation has a strategic purpose. “This is not just about an endorsement,” says the supporter who is familiar with the calls. “It’s about not being on the other side of them. You don’t want their money going to [super-PAC] attack ads against you.” Some in GOP circles say Cruz might have set himself back this week when he gave an interview to Bloomberg News in which, in an effort to differentiate himself from Rubio, he took a potshot at “aggressive Washington neo-cons” — a line that is likely to offend the Adelsons. But others say their sense from talking to Sheldon Adelson in recent weeks is that the couple may just end up biding their time to see how the race shakes out. In the last presidential race, they poured $15 million into a Newt Gingrich-allied super-PAC — only to see it squandered when the former speaker dropped out. This time, one of the donors quoted in this story said, both Adelsons want to be more “strategic.” “I talked to him recently, and he told me he’s not in any hurry,” the donor said.

Interestingly, both of the Boston area Banksy pieces are on Essex St: • F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston • NO LOITRIN in Central Square, Cambridge. Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well. Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that. But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify: I can only surmise that he's having a 'dig' at Essex UK, especially with the misspelling of 'Loitering'. Here, the general view of the urban districts in Essex: working class but with right wing views; that they're not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the 'chit chat', and swagger around showing off their dosh (money). It was also the region that once had Europe's largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream. • • • • • This photo appeared on Grafitti - A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now -- I was as surprised as you are. • • • • • Banksy From Wikipedia, the free encyclopedia Banksy • Birth name Unknown • Born 1974 or 1975 (1974 or 1975), Bristol, UK[1] • Nationality British • Field Graffiti Street Art Bristol underground scene Sculpture • Movement Anti-Totalitarianism Anti-capitalism Pacifism Anti-War Anarchism Atheism Anti-Fascism • Works Naked Man Image One Nation Under CCTV Anarchist Rat Ozone's Angel Pulp Fiction Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians. Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10] Banksy's first film, Exit Through The Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12] Contents • 1 Career •• 1.1 2000 •• 1.2 2002 •• 1.3 2003 •• 1.4 2004 •• 1.5 2005 •• 1.6 2006 •• 1.7 2007 •• 1.8 2008 •• 1.9 2009 •• 1.10 2010 • 2 Notable art pieces • 3 Technique • 4 Identity • 5 Controversy • 6 Bibliography • 7 References • 8 External links Career Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol's DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16] Stencil on the waterline of The Thekla, an entertainment boat in central Bristol - (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17] Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly. In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur's 2003 album Think Tank. 2000 The album cover for Monk & Canatella's Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed] 2002 On 19 July 2002, Banksy's first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19] 2003 In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet's Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper's Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21] 2004 In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen's head with Princess Diana's head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa's Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000. 2005 In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel's highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22] 2006 • Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23] • After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby's London for £50,400, setting an auction record for Banksy's work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol's Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25] • In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy's success.[26] 2007 • On 21 February 2007, Sotheby's auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day's auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can't Believe You Morons Actually Buy This Shit."[6] • In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29] • In April 2007, Transport for London painted over Banksy's iconic image of a scene from Quentin Tarantino's Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying: The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote 'If it's better next time I'll leave it' in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone - rest in peace.[citation needed] Ozone's Angel • On 27 April 2007, a new record high for the sale of Banksy's work was set with the auction of the work Space Girl & Bird fetching £288,000 (US$576,000), around 20 times the estimate at Bonhams of London.[32] • On 21 May 2007 Banksy gained the award for Art's Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status. • On 4 June 2007, it was reported that Banksy's The Drinker had been stolen.[33][34] • In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35] • Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy's Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell's graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips' "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness." • A small number of Banksy's works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop. • In the 2007 film Shoot 'Em Up starring Clive Owen, Banksy's tag can be seen on a dumpster in the film's credits. • Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38] 2008 • In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39] • Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn't cover anyone else's.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed] • In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41] • A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42] • His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43] • The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009. • In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45]. 2009 • May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works. • On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50] • In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51] • In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don't believe in global warming" which was submerged in water.[52] 2010 • The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53] • In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55] • In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56] • In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner $50 for the use of their wall for one of his stencils.[58] • In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city. Notable art pieces In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following: • At London Zoo, he climbed into the penguin enclosure and painted "We're bored of fish" in seven foot high letters.[59] • At Bristol Zoo, he left the message 'I want out. This place is too cold. Keeper smells. Boring, boring, boring.' in the elephant enclosure.[60] • In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61] • He put up a subverted painting in London's Tate Britain gallery. • In May 2005 Banksy's version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62] Near Bethlehem - 2005 • Banksy has sprayed "This is not a photo opportunity" on certain photograph spots. • In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65] See also: Other Banksy works on the Israeli West Bank barrier • In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT's transformation from an old-fashioned telecommunications company into a modern communications services provider."[66] • In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67] • In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton's debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70] • In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72] Technique Asked about his technique, Banksy said: “I use whatever it takes. Sometimes that just means drawing a moustache on a girl's face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]” Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy's work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work. He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour. Identity Banksy's real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62] Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77] In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6] In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78] In July 2008, it was claimed by The Mail on Sunday that Banksy's real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports. In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard. Banksy, himself, states on his website: “I am unable to comment on who may or may not be Banksy, but anyone described as being 'good at drawing' doesn't sound like Banksy to me.[82]” Controversy In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying: “To actually [have to] go through the process of having a painting selected must be quite boring. It's a lot more fun to go and put your own one up.[83]” Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy's work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy's street art glorifies what is essentially vandalism".[6] In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn't fond of it, and the portaloos were removed before the 2008 festival. In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London's Regent Canal. In retaliation several Banksy pieces in London have been painted over by 'Team Robbo'.[85][86] Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia's Melbourne CBD. [87] Bibliography Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings: • Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0 • Banksy, Existencilism (2002) ISBN 978-0-95417041-7 • Banksy, Cut it Out (2004) ISBN 978-0-95449600-5 • Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2 • Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3 Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16] Two books authored by others on his work were published in 2006 & 2007: • Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 - with new editions in 2007 and 2008) ISBN 978-0-95547120-9. • Steve Wright, Banksy's Bristol: Home Sweet Home (2007) ISBN 978-1906477004 External links • Official website • Banksy street work photos

Interestingly, both of the Boston area Banksy pieces are on Essex St: • F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston • NO LOITRIN in Central Square, Cambridge. Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well. Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that. But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify: I can only surmise that he's having a 'dig' at Essex UK, especially with the misspelling of 'Loitering'. Here, the general view of the urban districts in Essex: working class but with right wing views; that they're not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the 'chit chat', and swagger around showing off their dosh (money). It was also the region that once had Europe's largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream. • • • • • This photo appeared on Grafitti - A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now -- I was as surprised as you are. • • • • • Banksy From Wikipedia, the free encyclopedia Banksy • Birth name Unknown • Born 1974 or 1975 (1974 or 1975), Bristol, UK[1] • Nationality British • Field Graffiti Street Art Bristol underground scene Sculpture • Movement Anti-Totalitarianism Anti-capitalism Pacifism Anti-War Anarchism Atheism Anti-Fascism • Works Naked Man Image One Nation Under CCTV Anarchist Rat Ozone's Angel Pulp Fiction Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians. Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10] Banksy's first film, Exit Through The Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12] Contents • 1 Career •• 1.1 2000 •• 1.2 2002 •• 1.3 2003 •• 1.4 2004 •• 1.5 2005 •• 1.6 2006 •• 1.7 2007 •• 1.8 2008 •• 1.9 2009 •• 1.10 2010 • 2 Notable art pieces • 3 Technique • 4 Identity • 5 Controversy • 6 Bibliography • 7 References • 8 External links Career Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol's DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16] Stencil on the waterline of The Thekla, an entertainment boat in central Bristol - (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17] Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly. In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur's 2003 album Think Tank. 2000 The album cover for Monk & Canatella's Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed] 2002 On 19 July 2002, Banksy's first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19] 2003 In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet's Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper's Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21] 2004 In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen's head with Princess Diana's head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa's Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000. 2005 In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel's highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22] 2006 • Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23] • After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby's London for £50,400, setting an auction record for Banksy's work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol's Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25] • In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy's success.[26] 2007 • On 21 February 2007, Sotheby's auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day's auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can't Believe You Morons Actually Buy This Shit."[6] • In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29] • In April 2007, Transport for London painted over Banksy's iconic image of a scene from Quentin Tarantino's Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying: The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote 'If it's better next time I'll leave it' in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone - rest in peace.[citation needed] Ozone's Angel • On 27 April 2007, a new record high for the sale of Banksy's work was set with the auction of the work Space Girl & Bird fetching £288,000 (US$576,000), around 20 times the estimate at Bonhams of London.[32] • On 21 May 2007 Banksy gained the award for Art's Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status. • On 4 June 2007, it was reported that Banksy's The Drinker had been stolen.[33][34] • In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35] • Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy's Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell's graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips' "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness." • A small number of Banksy's works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop. • In the 2007 film Shoot 'Em Up starring Clive Owen, Banksy's tag can be seen on a dumpster in the film's credits. • Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38] 2008 • In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39] • Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn't cover anyone else's.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed] • In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41] • A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42] • His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43] • The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009. • In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45]. 2009 • May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works. • On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50] • In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51] • In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don't believe in global warming" which was submerged in water.[52] 2010 • The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53] • In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55] • In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56] • In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner $50 for the use of their wall for one of his stencils.[58] • In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city. Notable art pieces In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following: • At London Zoo, he climbed into the penguin enclosure and painted "We're bored of fish" in seven foot high letters.[59] • At Bristol Zoo, he left the message 'I want out. This place is too cold. Keeper smells. Boring, boring, boring.' in the elephant enclosure.[60] • In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61] • He put up a subverted painting in London's Tate Britain gallery. • In May 2005 Banksy's version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62] Near Bethlehem - 2005 • Banksy has sprayed "This is not a photo opportunity" on certain photograph spots. • In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65] See also: Other Banksy works on the Israeli West Bank barrier • In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT's transformation from an old-fashioned telecommunications company into a modern communications services provider."[66] • In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67] • In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton's debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70] • In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72] Technique Asked about his technique, Banksy said: “I use whatever it takes. Sometimes that just means drawing a moustache on a girl's face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]” Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy's work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work. He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour. Identity Banksy's real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62] Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77] In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6] In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78] In July 2008, it was claimed by The Mail on Sunday that Banksy's real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports. In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard. Banksy, himself, states on his website: “I am unable to comment on who may or may not be Banksy, but anyone described as being 'good at drawing' doesn't sound like Banksy to me.[82]” Controversy In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying: “To actually [have to] go through the process of having a painting selected must be quite boring. It's a lot more fun to go and put your own one up.[83]” Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy's work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy's street art glorifies what is essentially vandalism".[6] In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn't fond of it, and the portaloos were removed before the 2008 festival. In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London's Regent Canal. In retaliation several Banksy pieces in London have been painted over by 'Team Robbo'.[85][86] Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia's Melbourne CBD. [87] Bibliography Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings: • Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0 • Banksy, Existencilism (2002) ISBN 978-0-95417041-7 • Banksy, Cut it Out (2004) ISBN 978-0-95449600-5 • Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2 • Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3 Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16] Two books authored by others on his work were published in 2006 & 2007: • Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 - with new editions in 2007 and 2008) ISBN 978-0-95547120-9. • Steve Wright, Banksy's Bristol: Home Sweet Home (2007) ISBN 978-1906477004 External links • Official website • Banksy street work photos