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body art by sue nicholson funeral directors desk calendar

WAIT STILL WINTHROP’S corpse lay silently at home for a week in November 1717, while family members buzzed with activity. They approached the governor, his predecessor, the lieutenant governor, and members of the colony’s council to walk alongside the body as it moved to the burying ground. They bought hundreds of pounds worth of rings, gloves, and clothing—as well as 32 new halberds and 16 new drumheads for the regiment that would accompany the procession. And they ordered the painting of almost fifty black lions on escutcheons bearing the family coat of arms.1

The splendid ceremony they organized was fully worthy of the Winthrop family that had produced Wait Still’s grandfather, the first governor of Massachusetts, as well as his father and brother, both governors of Connecticut. Like these eminent ancestors, Wait Still’s trip to the grave had a military escort and attracted substantial public interest. Besides the regiment, the eminent bearers, and the deceased’s horse bearing the black lion, the procession, a newspaper noted, included “the Chief Gentlemen and Inhabitants both of Town and Country.” The Boston diarist Samuel Sewall, who served as one of the bearers, recorded that “the Streets were crowded with people.”2

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But Wait Still’s ceremony differed from his ancestors’. Most notably, unlike his grandfather’s 1649 and his father’s 1676 ceremonies, his 1717 funeral offered participants extensive gifts. A long (and probably incomplete) list records that the family distributed gloves, scarves, rings, and escutcheons to at least 41 individuals or families, 70 officials, 12 council members, and the entire 100-person lower house of the legislature. As a bearer (as well as part of the council), Sewall received each of these gifts. We can presume that the pious layperson went home with a prayer on his lips; we can be sure that he returned with a ring on his finger, gloves on his hands, and yards of material over his shoulders.3

Often Concerned In Funerals:” Ritual, Material Culture, And The Large Funeral In The Age Of Samuel Sewall

With the possible exception of the weekly church service (which in these years increasingly featured funeral sermons), funerals were eighteenth-century New England’s most common, most substantial, and most highly developed public ceremony. They were also, for the region’s wealthy elites, its most expensive. Rich families spent freely on the material goods they displayed and gave away at funerals. In a year when all of Boston paid £1700 to the province for poll and property tax, the Winthrops’ ceremony cost almost £600, more than the tax payments from any other locality in the colony—and more than twice as much as all Maine put together.4

Contemporaries would have called the 1717 Winthrop ceremony a “large funeral, ” a burial for well-to-do New Englanders that included extensive gifts, expanded use of mourning attire and funeral decorations, and a substantial number of participants. The large funeral of Winthrop’s time was bigger, more visible, and more elegant than earlier ceremonies, so different that contemporaries worried about the strain of these new demands. The “expence of funerals of late years . . . is become very extravagant, ” Massachusetts legislators complained in 1721, leading to “the impoverishment of many families.”5 Yet despite such anxieties, and the legislative action it inspired, the large funeral remained popular until the Revolutionary era.

This paper examines the origin and significance of the large funeral. During the early years of the eighteenth century, it argues, New Englanders such as Samuel Sewall, whose diary provides the major source for this study, adapted the seventeenth-century Calvinist funeral ceremony to the needs of eighteenth-century elites, dressing up its older structures with genteel material culture. The enormous expense of Wait Still Winthrop’s 1717 funeral at first seems distant from the simple, almost wordless ritual established in the 1630s under Winthrop’s grandfather. But a closer look suggests that the large funeral elaborated upon rather than broke free from that structure, a process that created a more complex version of the earlier system rather than making it completely different. By offering room for expanding material culture, the Puritan funeral allowed wealthy New England families in the eighteenth century to employ the emerging vocabulary of gentility, an increasing emphasis upon carefully restrained self-presentation that provided a means of expanding material culture that could express both the honor and taste of the family. The large funeral dramatized the older burial service, making it more theatrical, more expressive, and more genteel.

Doris Anne MacMichael - Body Art By Sue Nicholson Funeral Directors Desk Calendar

Osees And The Existential Rabid Breakthrough \\

This reshaping can be seen more clearly by looking at three major issues: what people brought to the funeral; what happened there; and what people brought from it. After examining mourning, ceremonies, and gifts, the discussion concludes by briefly suggesting how the seemingly motley elements of the large funeral disintegrated in the age of the American Revolution.

These changes have often been noticed, but they are seldom explained convincingly. A long series of works beginning with Alice Morse Earle in the late nineteenth century describe the great increase in material goods at early New England funerals. David Stannard suggests that more expansive funerals resulted from inward-turning tribalism, while Laurie Hochstetler has made the case that they carried an increasingly explicit religious content that distinguished them from earlier Puritan practice. But such discussions tend to mine Sewall’s diary and other sources for examples rather reading them closely for a range of practices and their meanings. More important, these arguments have obscured the eighteenth-century funeral’s connection with its predecessors—and given even less attention to the significance of genteel values, and to the later, more revolutionary, changes that swept away the entire structure by the end of the century.6

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As these studies note, the examination of early eighteenth-century funerals must rest upon the diary of Samuel Sewall, an untiring participant in and observer of New England life and particularly of funerals. His extensive diary, the fullest diary of a mainland English colonial before the mid-eighteenth century, notes that, in the forty-five years before his 1730 death (the longest unbroken stretch of his diary), he attended more than 500 funerals, an average of one funeral a month. He served as a bearer 140 times, about once every four months. Sewall did not consider these ceremonies burdensome social obligations. He filled his diary with lovingly recorded specifics about the funerals he attended—and even many he had not. As he remarked to his fellow bearers at a ceremony almost exactly ten years before Winthrop’s death, “we were often concern’d in Funerals.”7

The Hope Of Happiness, By Meredith Nicholson—a Project Gutenberg Ebook

Sewall offers an insider’s understanding of this world. By 1717, he had long been close to nearly all the centers of power within New England, as a Harvard graduate and former tutor, a member of the council, and a respected jurist, as well as a deacon of Old South Church and a close friend of many of the colony’s ministers, including Cotton Mather. With the death of Winthrop in 1717, he became (at the age of 65) the chief justice of the colony’s highest court. Just as important, Sewall was also deeply interested in the larger issues that were at the heart of the changes within funerals. He was first a staunch defender of the region’s traditions—calling Winthrop a “a very pious. . . New-England Man” was high praise indeed. But Sewall also lived in the larger cultural and material world made possible by increased commerce and communication. Sewall himself had helped to create that expansion, as both a merchant and someone who had managed what was at the time the only press in all New England. Used with a range of evidence from the period, Sewall’s diary allows a close look at the changes and the continuities within funerals and their material culture, a series of changes that reveal the ways that Sewall and his contemporaries struggled to preserve their connections with the community within a world that operated on a new scale and according to new standards.8

Brenda S. Gill - Body Art By Sue Nicholson Funeral Directors Desk Calendar

Samuel Sewall found the months surrounding Wait Still Winthrop’s death particularly difficult. His wife had died three weeks before—an event that “fill’d our House with a flood of Tears.” Other family members and close associates followed. By December, he noted that he had served as bearer for half of the people who had served in that role for his wife only two months ago. He told a correspondent that he felt “the Breakers . . . passing over me, Wave after Wave, Wave after Wave, in a most formidable Succession.”9

Other people recognized Sewall’s situation—and shared it. In the church service the next day, Sewall’s son, a minister, was almost unable to read the note that Sewall had posted asking for prayer. “Our Ruffled Mind can scarcely Think, for Tears, ” mourned a poet writing about Sewall’s wife’s death before describing the widower as being “in Sorrow almost Drown’d.”10

The Hope Of Happiness, By Meredith Nicholson—A Project Gutenberg EBook - Body Art By Sue Nicholson Funeral Directors Desk Calendar

Out Of Area

Sewall and his contemporaries, who often referred to death as “dissolution, ” a dissolving, or breaking apart, understood the agonies created by the death of a loved one. But they also knew of its dangers, especially because the New England tradition had given these difficulties much thought. The first generation of settlers crafted a set of practices that sought to avoid the problems created by excessive grief. The large funeral of the early eighteenth century took shape within the context of expectations

Sewall offers an insider’s understanding of this world. By 1717, he had long been close to nearly all the centers of power within New England, as a Harvard graduate and former tutor, a member of the council, and a respected jurist, as well as a deacon of Old South Church and a close friend of many of the colony’s ministers, including Cotton Mather. With the death of Winthrop in 1717, he became (at the age of 65) the chief justice of the colony’s highest court. Just as important, Sewall was also deeply interested in the larger issues that were at the heart of the changes within funerals. He was first a staunch defender of the region’s traditions—calling Winthrop a “a very pious. . . New-England Man” was high praise indeed. But Sewall also lived in the larger cultural and material world made possible by increased commerce and communication. Sewall himself had helped to create that expansion, as both a merchant and someone who had managed what was at the time the only press in all New England. Used with a range of evidence from the period, Sewall’s diary allows a close look at the changes and the continuities within funerals and their material culture, a series of changes that reveal the ways that Sewall and his contemporaries struggled to preserve their connections with the community within a world that operated on a new scale and according to new standards.8

Brenda S. Gill - Body Art By Sue Nicholson Funeral Directors Desk Calendar

Samuel Sewall found the months surrounding Wait Still Winthrop’s death particularly difficult. His wife had died three weeks before—an event that “fill’d our House with a flood of Tears.” Other family members and close associates followed. By December, he noted that he had served as bearer for half of the people who had served in that role for his wife only two months ago. He told a correspondent that he felt “the Breakers . . . passing over me, Wave after Wave, Wave after Wave, in a most formidable Succession.”9

Other people recognized Sewall’s situation—and shared it. In the church service the next day, Sewall’s son, a minister, was almost unable to read the note that Sewall had posted asking for prayer. “Our Ruffled Mind can scarcely Think, for Tears, ” mourned a poet writing about Sewall’s wife’s death before describing the widower as being “in Sorrow almost Drown’d.”10

The Hope Of Happiness, By Meredith Nicholson—A Project Gutenberg EBook - Body Art By Sue Nicholson Funeral Directors Desk Calendar

Out Of Area

Sewall and his contemporaries, who often referred to death as “dissolution, ” a dissolving, or breaking apart, understood the agonies created by the death of a loved one. But they also knew of its dangers, especially because the New England tradition had given these difficulties much thought. The first generation of settlers crafted a set of practices that sought to avoid the problems created by excessive grief. The large funeral of the early eighteenth century took shape within the context of expectations

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Mark For: BAA BODY ART ALLIANCE™ trademark registration is intended to cover the categories of organization of events, exhibitions, fairs and shows for commercial, promotional and advertising purposes; providing consumer tattoo product information; providing consumer permanent makeup product information; providing consumer body piercing product information; providing consumer body modification product information; providing consumer cosmetic tattooing product information; providing a website featuring product reviews in the field of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing. [all]

Color is not claimed as a feature of the mark. The mark consists of a square, circle and triangle, respectively, within the stylized letters "baa" over the wording "BODY ART ALLIANCE".

A pending trademark application has been examined by the Office and has been published in a way that provides an opportunity for the public to oppose its registration.

Campus Art Collection

IC 035. US 100 101 102. G & S: Organization of events, exhibitions, fairs and shows for commercial, promotional and advertising purposes; providing consumer tattoo product information; providing consumer permanent makeup product information; providing consumer body piercing product information; providing consumer body modification product information; providing consumer cosmetic tattooing product information; providing a website featuring product reviews in the field of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 041. US 100 101 107. G & S: Organizing exhibitions in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Arranging and conducting educational conferences in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring blogs and non-downloadable publications in the nature of articles in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Entertainment services, namely, providing an online interactive website of photos and videos in the fields of tattoos, body piercing, body modification, and permanent make up; Providing instructional information relating to applying tattoos, body piercing, body modification, and permanent make up; Education services, namely, providing non-downloadable webinars in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Providing a web site featuring non-downloadable instructional videos in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 044. US 100 101. G & S: Providing healthcare and skin maintenance information relating to tattoo and tattoo techniques; providing healthcare and skin maintenance information relating to permanent makeup and permanent makeup techniques; providing healthcare and skin maintenance information relating to body piercing techniques; providing healthcare and skin maintenance information relating to body modification techniques; providing health care and skin maintenance information relating to cosmetic tattooing techniques; Providing a website featuring healthcare and skin maintenance information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring skin care and medical information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

Covid Update: High Rate Of Transmission, More Hospitalizations And A Wild Card

IC 035. US 100 101 102. G & S: Organization of events, exhibitions, fairs and shows for commercial, promotional and advertising purposes; providing consumer tattoo product information; providing consumer permanent makeup product information; providing consumer body piercing product information; providing consumer body modification product information; providing consumer cosmetic tattooing product information; providing a website featuring product reviews in the field of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 041. US 100 101 107. G & S: Organizing exhibitions in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Arranging and conducting educational conferences in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring blogs and non-downloadable publications in the nature of articles in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Entertainment services, namely, providing an online interactive website of photos and videos in the fields of tattoos, body piercing, body modification, and permanent make up; Providing instructional information relating to applying tattoos, body piercing, body modification, and permanent make up; Education services, namely, providing non-downloadable webinars in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Providing a web site featuring non-downloadable instructional videos in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 044. US 100 101. G & S: Providing healthcare and skin maintenance information relating to tattoo and tattoo techniques; providing healthcare and skin maintenance information relating to permanent makeup and permanent makeup techniques; providing healthcare and skin maintenance information relating to body piercing techniques; providing healthcare and skin maintenance information relating to body modification techniques; providing health care and skin maintenance information relating to cosmetic tattooing techniques; Providing a website featuring healthcare and skin maintenance information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring skin care and medical information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

Covid Update: High Rate Of Transmission, More Hospitalizations And A Wild Card

IC 035. US 100 101 102. G & S: Organization of events, exhibitions, fairs and shows for commercial, promotional and advertising purposes; providing consumer tattoo product information; providing consumer permanent makeup product information; providing consumer body piercing product information; providing consumer body modification product information; providing consumer cosmetic tattooing product information; providing a website featuring product reviews in the field of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 041. US 100 101 107. G & S: Organizing exhibitions in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Arranging and conducting educational conferences in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring blogs and non-downloadable publications in the nature of articles in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Entertainment services, namely, providing an online interactive website of photos and videos in the fields of tattoos, body piercing, body modification, and permanent make up; Providing instructional information relating to applying tattoos, body piercing, body modification, and permanent make up; Education services, namely, providing non-downloadable webinars in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing for cultural or educational purposes; Providing a web site featuring non-downloadable instructional videos in the fields of tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

IC 044. US 100 101. G & S: Providing healthcare and skin maintenance information relating to tattoo and tattoo techniques; providing healthcare and skin maintenance information relating to permanent makeup and permanent makeup techniques; providing healthcare and skin maintenance information relating to body piercing techniques; providing healthcare and skin maintenance information relating to body modification techniques; providing health care and skin maintenance information relating to cosmetic tattooing techniques; Providing a website featuring healthcare and skin maintenance information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing; Providing a website featuring skin care and medical information relating to tattoos, body piercing, body modification, permanent make up, and cosmetic tattooing

Covid Update: High Rate Of Transmission, More Hospitalizations And A Wild Card

body art by sue nicholson twitter descargar youtube tv

body art by sue nicholson twitter descargar youtube tv

This beautifully crafted collection of poetry and short fiction began life in the North Pennines. It celebrates the human response to wildness and the connections between language and landscape. The writers take us on a journey, from pre-historic fossil remains to the bones of the future, through rivers, moorland, rocks and woodland. Twelve authors, twelve distinct voices

The pamphlet was sponsored by the North Pennines AONB. Copies (£2.50) are on sale at the Bowlees visitor centre in Teesdale or contact 15@

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Hot off the presses … Jamie Tucknutt’s poetry collection ‘POETRY AS PROZAC’ published by Tim Saunders Publications. Listen to Jamie talk about his book in this podcast: https://anchor.fm/meetthewriter/episodes/Poet-Jamie-Tucknutt-chats-about-his-book-e1l7jue#=

Podcasts For Sales

In isolation, but not isolated. While the pause button was pressed on life in 2020, continued to write and to collaborate. First, they made a film and now they’ve produced an anthology. Quirky, lyrical, poignant and at times hilarious. A unique look at life in a remote part of the country during extraordinary times.

This beautifully produced collection of poems, stories and reflections complemented by Marie Gardiner’s fabulous photographs is on sale for only £5.00. All proceeds will be donated to local charities.

Currently, the book is available from Homefront in Stanhope and the Bowlees Visitor Centre. It will, of course, be on sale at the Weardale WordFest. If you can’t wait that long for your copy, well, we quite understand!

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We would like to produce a record of our responses to this unique time.We are creating a body of work, poems, stories, anecdotes that reflects how we are feeling and what it is like to experience lockdown in Weardale. Some of that body of work is a direct response to our isolation, or to what is happening around us, some is our way of saying ‘enough’, we need to take our heads outside lockdown and express our emotions differently. Everybody’s take on the situation is different, but what we have in common is a need for a creative outlet for our feelings, a way of staying safe and sane!

That was how it started … we were lucky enough to receive a grant from the Weardale Area Action Partnership covid-19 assistance fund, and that enabled us to work with Mark and Marie of Lonely Tower Film and Media. They took our writing and produced this wonderful film, OUR ISOLATED DALE. We were delighted that some of our friends, writers Avril Joy, Wendy Robertson, Phil Mews and Mike Powell also contributed their words and ideas.

The Film can be enjoyed in two ways, as a whole piece or you can click on the links below to watch segments by individual writers. We loved making this film and hope that you will love watching it! The next phase of the project is to produce an anthology comprising all of the writing you will hear in the film plus other pieces written by in 2020.

January 16, 2013 By Pittsburgh City Paper

Jo Cundy’s story ‘the Waiting Room’ was shortlisted for the Fish Publishing lockdown prize (Flash Fiction) and is published on the Fish website.

‘The Happiness Equation’ by Chris Powell achieved an ‘Honourable Mention’ (final 10 stories) in the Momaya Press short story competition and will be published in the Momaya Review 2020. Momaya Press is based in the USA.

While confined to quarters, our thoughts turned to all the travel we can’t undertake. Susan remembered a journey from some years ago … Thinking about a travelpiece I felt a fear in the old psycheof looking forward at the moment, so it came to mind that I would write about past excursions to foreign places. Therefore, to begin at the beginning…

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Young And Profiting With Hala Taha: Steven Kotler: Peak Performance Aging, How To Stay At The Top Of Your Game In Your 30s, 40s, 50s, And Beyond

It was our first trip abroad together. Severe storms in the Channel flung around in our ferry bunks. I did not sleep. I waited for us to capsize.Landing at daybreak in early February in St. Malo I looked sickly and grey. I felt sickly and grey. Clutching our Brittany Ferry vouchers we finally found the Pension in Dinan Square, thankfully without knocking anyone over, driving the wrongway at roundabouts, or finishing our marriage of two years from shared and mutual stress. My ‘A’ level French had frozen, so we relied on his 6 sessions of WEA Conversational French evening classes. I translated and supplied key vocabulary, and he put them in usable phrases. Oh, but of course I could have discussed Anouilh’s characters in Antigone or how many parts there were to the verb Confused, but ” how do I use my travel cheque to pay for fuel” terrified me, and images of my French teacher making me stand on a chair when I made a mistake flooded my mind…Ah well, several servings of Normandy cider later, all was pretty well ok with the world as we drank down the delicious, cloudy, unfizzed nectar from stoneware goblets holding half a litre…really? Not just half a pint? How deceptive! How leg numbing! How I wish I’d stayed awake along enough to take paracetemol!Morning dawned, very carefully.Our hosts, new to working with Brittany Ferries, had just opened their premisesafter winter, and we were their first, and on that morning, only customers. The breakfast table heaved with a continental spread which denied our understanding of why this is seen as the smaller, lighter option to start the day. And we had to eat it, for we were being watched. Being first guests, the whole family, all three generations, wished to watch us enjoying theirfare. A seven year old, the only one withany English, said “you like?” We nodded our heads, very carefully, the family beamed with pride, and stayed in position as we fought with crusty loaves, floundered with bowls of hot chocolate, and hid two raging hangovers. What on earth did think of us? I have continuedwonder this, especially in recent times…but I have adored Bonne Maman jams more than any others ever since that day, just don’t let my grandmothers know.

Jim And Sally pored themselves a glass of wine and considered where they would visit. Of course e Greek Islands were their favourite but at the moment that was not possible so they settled if front of the television to see what their options were tonight. First a trip to New Zealand for an episode of Wanted Down Under. The majestic mountains or the relaxed living on the coast. Nice to see but not to live they agreed.

Or they could catch up with Rick Stein on his journey from Venice to Istanbul. He is in Turkey this week visiting Istanbul. A fascinating country that is a melting pot of two continents. Surely a place to put on the bucket list. Tonight he is cooking Grilled Mackerel stuffed with hot red pepper paste, parsley and garlic. One to try definitely.

Dr. Jill Interviews Author Steven Kotler On Using Peak Performance & Flow States

They could stay in the Mediterranean and join Ainsley Harriot on a 44 foot catamaran and imagine the breeze and warm sun on your face as the boat heads to shore to cook another fish dish.

Another glass of wine while they remember boat trips in Spain and Greece, some more successful than others. The near disaster of the shore of Ibizia when the captain had taken them to close to a rocky shore and seemed to have difficulty turning. One Spanish woman had taken out her rosary beads and started praying. That didn’t reassure. However they did get back but the captain was receiving a lot of abuse from the Spanish so they left them to it and headed to a bar for a much needed drink.

Commissioning: Profiles By Stephanie Rafanelli - Body Art By Sue Nicholson Twitter Descargar Youtube Tv

Head Back Down Under this time with Griff Rhys as reports on the work of Dr Julian Fennesey as he sets out to save endangered species of giraffes. Fascinating.

Ed Sheeran On The Nsfw Gift He Sent Courteney Cox — Watch

Back to Britain for a while for a history lesson on Lake Vrynwy, a large resevoir in Powys. Then from there for a trip to the National Botanic Gardens of Wales.

Back for another journey to the Spanish coast to visit Valencia. With the help of local estate agent Scarlett Douglas a couple visit four houses with a view to buying a holiday home.

For a complete change of scenery Simon Reeve takes us to Alaska to witness the effect of climate change in the Denali National Park. A change of mood from the relaxing vibes of the Mediterranean.

Hustle & Flowchart

The journeys are still not over. You could join the teams as they race across the world starting from Panama city. Or go with Joanna Lumley and experience Guantamano before heading with her to The Windward Pass in Haiti. The bucket list gets ever longer.

Handpainted 9 Koi Fish Oil Painting For Home Decor Wall - Body Art By Sue Nicholson Twitter Descargar Youtube Tv

Lockdown will not last forever, it just feels like it. Get out the holiday snaps and plan the next one. Jim and Sally know where they are going

And this is one I wrote earlier, Spring 2019 when things were quite … normal! Never again will I take for granted the freedom to roam, each walk now seems like a privilege.

Commissioning: Profiles By Stephanie Rafanelli

Walking back alongside the River Wear a flash of blue halted me in my tracks. Could it possibly be the kingfisher, with all these people about? No. It couldn’t! It was a plastic carrier bag caught in the

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Drawing on yourself during class would usually land you into some trouble, but 21-year-old artist Jody Steel’s doodles have helped her create a huge following on social media — and a budding career.

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“I noticed she was sketching during class—usually a no-no—but her work was so good as were her grades, ”Cynthia Miller, one of Steel's teachers, toldEmerson's newssite. “We just made a deal for her to show me what she’d done at the end of each class.” Miller recruited Steel to illustrate her award-winning anthology, “Steaming Into a Victorian Future, ” in 2012.

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But it wasn't until 2013, when Steel posted a photo of her portrait of "Breaking Bad"’s Walter White, that her social media status skyrocketed.

The photo received over half a million views on the photo-sharing websiteImgur.Steel continued to post photos of her body art, and received loads of media attention from outlets including CNN, Huffington Post, and the Steve Harvey Show.

Fans started messagingher on Facebook asking about her artwork. Steel, who majored in film, thought it would be a great idea to start recording her process. Now, she creates time-lapse videos of her artwork, and ends each video with her signature wink.

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While hervideos didn’t perform particularly well at first, they started picking up speed after beingreblogged about six months ago, and now her Facebook videos havehundreds of thousands of views. Since February, she's gone from around 11, 000 Facebook followers to half a million and counting.

But growing her social media presence was not based on luck. Steel strategically creates art based on popular culture, fan requests, and collaborations with other influential people. Examples include artwork inspired by "The Walking Dead, " "Superman, " "Batman, " "Mad Max, " and more.

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So far, her success is paying off. Steel, who previously worked at a special effects studio, is focusing on herartwork full-time, primarily earning moneythroughYouTubeand from donations onPatreon, a crowd-funding site for artists.

The End Of An Era

Sheplans to move into traditional filmmaking for YouTube in the near future, in addition to her art videos. She’s hopeful that her fans will continue to show their support.

Jody Steel Body Painting Videos - Body Art Jody Steel Picasso Artista Pirata

Sheplans to move into traditional filmmaking for YouTube in the near future, in addition to her art videos. She’s hopeful that her fans will continue to show their support.

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Due to COVID19 i have no solid source of income and no way to get a job at the moment, so if you wanna help a fellow Queer artist, Im your woman!! If you're interested in commissioning me please get in touch and we can discuss the type of commissions you want, and I can make a custom listing for you.

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Many artists graduate from formal art programs adept in color theory, brush techniques, and composition—but don’t know the first thing about business.

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How can artists sell art and paintings online? How will they market themselves? Making a living as a career artist means understanding how to build an audience, how to price art products, and the unique requirements for shipping art. It means thinking like an entrepreneur.

Before ecommerce platforms, artists relied on third party gallerists, agents, and retailers to distribute work. The creator tools and sales channels of today were nonexistent. Now, independent artists can own their distribution streams, creating and selling their art online—and on their own terms.

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For gallerists and curators, the shift in how we buy and sell in the past two decades has allowed these businesses to represent more artists and expand into selling affordable art prints online to reach larger audiences worldwide.

Whether you’re a creator or a curator looking to make money online selling art such as painting, this step-by-step guide is for you. No matter what type of art you’re into—original acrylic paintings, digital art prints, sculpture—this resource has actionable advice for every artist.

In the following sections, we’ll cover the basics of selling art online for beginners and seasoned artists alike. Explore topics for every level including working with printers and dealing with plagiarism.

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We consulted successful artists, curators, and gallerists for their advice on everything you need to know to sell your art online. In this guide to selling your own artwork, their anecdotes will be woven into practical and actionable advice for any creative entrepreneur. Let’s meet our experts.

Cat Seto is an artist and author, and founder of Ferme à Papier, a San Francisco–based boutique representing unique goods from independent designers. Her stationery has appeared in multiple publications and landed her partnerships with brands like Anthropologie and Gap.

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Best known by her artist moniker Hatecopy, Maria Qamar quit her advertising career to focus on art when her pop art paintings began to catch fire on Instagram. Now she works full time on her art, selling her own paintings in multiple formats, from art prints to books to printed merch.

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Ken Harman is the man behind the art empire that includes Spoke Art, Hashimoto Contemporary, and publishing company Paragon Books. Together, these businesses represent many global artists through physical galleries, online shops, and pop-up exhibitions.

There are two ways to sell art online: create or curate. Cat built her career on both by creating and selling her own work and representing the work of others in her boutique. Which one is right for you?

As an artist, you are the creator, producing original art and/or reproductions of originals and selling directly to your customers or indirectly through a gallery, retail partner, or agent.

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It’s never been easier for artists to sell directly, with emerging creator tools popping up seemingly every day. Depending on your style and medium, choose a sales channel where your desired audience hangs out. This is arguably the easiest way to sell art online for many.

Maria runs her own online shop, where she sells art prints and merchandise, eliminating the middleman and keeping her costs low. But she also leans on relationships with experienced galleries for exhibiting and selling original artwork.

If you’re learning how to sell your art, note that galleries can expose your work to new audiences. They may also have access to resources and professionals to help promote, exhibit, handle, and ship artwork.

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If you’re not personally an artist but you have a great eye and a love of the art world, you can still get into the game of selling art as a curator. Some artists may be disinterested in marketing or figuring out the best way to sell art online and instead rely on gallerists, curators, and retail partners to handle this aspect of the business. As a partner to artists, you make a percentage of the selling price in exchange for your business knowledge and service.

There are several ways to work with artists to sell their art online—be it selling originals or prints to licensing works to be printed on merchandise or used in publication. “Most galleries offer an industry standard 50% consignment split for original art, ” says Ken. “The artist provides the artwork, we do our best to sell it.”

The best way to sell your art online will depend on the nature of your art and your chosen medium. You may choose to sell your art, reproductions of that work, or both.

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Fine artists using classic mediums and selling at high price points may choose to only sell originals, for example, while digital art, which can be reproduced without loss of quality, is great for prints and merch. However, most art created in 2D mediums have multiple options for generating unlimited sales on a single work.

Some mediums, like sculpture, are more difficult to reproduce or use for merchandise applications. But for those impossible to scan and print, there are still ways to generate additional income from a single design. For example, clay works may use the same mold to generate similar pieces, and 3D designs can be created over and over with a 3D printer.

Reproducing art on t-shirts or mugs, or as art prints means that a single work can bear fruit indefinitely—or for a limited time. There are two ways to approach selling your art as prints: open edition or limited edition.

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Limited edition means printing only a certain number of prints before they are gone. These are often numbered and signed by the artist to add value and authenticity.

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This print by Mike Davis has a limited run of 50 prints available on Spoke’s website, each of which is signed and numbered by the artist.

Spoke often opts for the limited edition strategy. “We work really hard to find things that are very special to sell. Things that

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