INTERNATIONAL FLOOR PAINT COLOURS - PAINT COLOURS


INTERNATIONAL FLOOR PAINT COLOURS - WEAK PELVIC FLOOR SYMPTOMS.



International Floor Paint Colours





international floor paint colours






    international
  • external: from or between other countries; "external commerce"; "international trade"; "developing nations need outside help"

  • Existing, occurring, or carried on between two or more nations

  • concerning or belonging to all or at least two or more nations; "international affairs"; "an international agreement"; "international waters"

  • Agreed on by all or many nations

  • Used by people of many nations

  • International is a 1975 studio album released by the female girl group The Three Degrees.





    colours
  • colors: a distinguishing emblem; "his tie proclaimed his school colors"

  • The property possessed by an object of producing different sensations on the eye as a result of the way the object reflects or emits light

  • The use of all colors, not only black, white, and gray, in photography or television

  • colors: a flag that shows its nationality

  • (colour) color: having or capable of producing colors; "color film"; "he rented a color television"; "marvelous color illustrations"

  • One, or any mixture, of the constituents into which light can be separated in a spectrum or rainbow, sometimes including (loosely) black and white





    floor
  • A level area or space used or designed for a particular activity

  • shock: surprise greatly; knock someone's socks off; "I was floored when I heard that I was promoted"

  • a structure consisting of a room or set of rooms at a single position along a vertical scale; "what level is the office on?"

  • The lower surface of a room, on which one may walk

  • the inside lower horizontal surface (as of a room, hallway, tent, or other structure); "they needed rugs to cover the bare floors"; "we spread our sleeping bags on the dry floor of the tent"

  • All the rooms or areas on the same level of a building; a story





    paint
  • Cosmetic makeup

  • a substance used as a coating to protect or decorate a surface (especially a mixture of pigment suspended in a liquid); dries to form a hard coating; "artists use `paint' and `pigment' interchangeably"

  • An act of covering something with paint

  • make a painting; "he painted all day in the garden"; "He painted a painting of the garden"

  • apply paint to; coat with paint; "We painted the rooms yellow"

  • A colored substance that is spread over a surface and dries to leave a thin decorative or protective coating











Frost & Reed - Art Publishers (Bristol)




Frost & Reed - Art Publishers (Bristol)





'Not Forgotten' Published in 1923 by Frost & Reed. Signed in pencil - Etching by Dicksee after his own painting.

If you wanted an original oil-painting, the place to go a century and a half ago was Frost and Reed, in Clare Street.

The firm was founded in 1808 by William Hill, whose son sold it to John Frost in 1858; he moved to Clare Street, where he advertised himself as “Carver, Gilder, Print seller, Wholesale and retail artists’ colour-man and drawing paper depot”. At some stage he was appointed carver and gilder to Queen Victoria.

He eventually handed over to his nephew Walter, who started selling original paintings as well as prints, and then went into partnership with William Reed in 1875.

The firm became art publishers as well, and Frost went as far as the United States to sell the firm’s reproductions, which were of sporting, topographical, animal and marine subjects, and mezzotints of works by painters such as Reynolds, Lawrence and Gainsborough.

They also started buying and selling paintings, and in 1908 owned a gallery in London; when it was bombed in 1943 they moved to Bond Street and started dealing in Old Masters, selling very profitably to America. They handled many famous paintings and dealt with some exceptional works by de Hooch, Van Dyke and Constable; the Tate Gallery bought one Constable they had handled. Other works sold to national museums were by Corot, Monet and Sisley, and the firm figured in some exciting auction-room dramas.

Clients earlier this century included members of the Royal family, a past president of the United States, newspaper magnates such as Randolph Hearst, and Lawrence of Arabia.

Walter Frost died in 1930, and his daughter Edith became governing director; in 1946 his grandson joined the firm briefly, but there the family connection ended. The carving, gilding and framing side of the business continued, and picture restoration was added, with craftsmen’s factories set up in St. George, the firm’s present home, in 1946.

The Clare Street premises, which were damaged in the Blitz — on one occasion a giant cauldron of valuable cooking fat was found lodged in the roof — continued trading until 1981 when the entire operation was moved to St. George. The firm is now owned by the HTV Group.

Frost & Reed have been dealers in fine art for very nearly 200 years, initially in Bristol, then London, and for the last 80 years or so, around the globe. Throughout that time, we have never wavered from our aspiration to source and offer our clients the finest paintings at the most competitive prices. The roster of artist names in whom we have and/or deal in is eclectic: from Constable to Klimt in the 19th century, and Munnings to Picasso in the 20th. We have also consistently taken an active interest in living painters with long and fruitful associations with a number of now pre-eminent names.

Established in 1808, in the decade between the battles of Trafalgar and Waterloo, Frost & Reed is one of the oldest dealerships still in operation in Britain today. Throughout the intervening 200 years, the gallery has obviously undergone many directional changes, some intentional and strategic, and others completely involuntary and fortuitous. But the marque has survived through hot wars and cold wars, booms and depressions. As Chairman, Martyn Rose, observes “Frost & Reed was founded in 1808 and has flourished ever since precisely because it has consistently aspired to keep abreast of change in a notoriously fickle and volatile trading arena”.

Frost & Reed initially produced fine engravings and prints, operating in much the same market as contemporaries such as Ackermans, Agnews and Colnaghi’s. In the early 19th century, original paintings were naturally bought and sold largely amongst the richer echelons of society. Print publishing was therefore a means by which such companies could broaden the market for a work, thereby improving the income of artists, and at the same time service the increasing demand from a burgeoning middle class. However, as the century wore on, and the financial strength of that class, and the numbers and standing of artists increased, so the demand for original works saw the natural diversification of those companies, including Frost & Reed, into dealing in original works.

In 1908 the decision was taken to open for the first time in London. Located initially at 47 Duke Street, St. James’s (some fifty yards away from our current space) and after a brief hiatus at 4a Albany Court Yard, the gallery moved to larger premises at 26c King Street in 1927. Originally laid out in the late 17th century by Henry Jermyn, 1st Earl of St Albans, the area around St. James’s Square has remained one of London’s oldest and most traditional districts and, despite almost constant development, the area still retains an indisputable architectural elegance.

Long home to the many famous private gentlemen’s clubs, it was perhaps an inevitable l











Hope...still / Esperanzas...aun




Hope...still  / Esperanzas...aun





The coup d'etat in Argentina on 24 of March 1976 established a terrorist regime that had like axis the forced disappearance of the opponents and the imposition of a terror climate destined to avoid any reclamation; only to inquire for the whereabouts of a disappeared relative was risky and could lead to your own detention and disappearance. The feelings of defenselessness and impotence of the relatives of the missing people was extreme, as no democracy around the world, nor the Catholic Church, or humanitarian international organizations, had any important influence in the country; later on, at the time the atrocities committed by the military regime and illegal repression were, on the contrary, in some cases supported. It was not possible to resort to the judicial system, since the Argentine judges systematically rejected the resources of habeas corpus so the Mothers and Grandmothers started to march every Thursday around the "Plaza de Mayo" located in front of the government house (Casa Rosada). Initially they recognized each other because they carried a small nail in their hand but soon after the women decided to cover their hair with a white fabric diaper. The group quickly received the name of Mothers of Plaza de Mayo and by their single presence it began to exert national and international pressure on the destiny of the people who disappeared in Argentina. Up to November of 2007 thousands remain disappeared but 88 grandchildren have been identified and recoved. Painted in the floor of "Plaza de Mayo" you can see the symbol of the "shawl" they used in their heads. Love can make miracles.
This is an extremely touching issue for me.
Never...again!

~~~~~

El golpe de estado del 24 de marzo de 1976 establecio un regimen terrorista que tuvo como eje la desaparicion forzada de los opositores y la imposicion de un clima de terror destinado a evitar cualquier reclamo; el solo hecho de preguntar por el paradero de un familiar detenido-desaparecido era riesgoso y podia resultar a su vez en la detencion-desaparicion.En ese momento la situacion de indefension e impotencia de los familiares de las personas desaparecidas era extrema, ya que ninguna democracia del mundo, ni la Iglesia Catolica, de gran influencia en el pais, o las organizaciones internacionales humanitarias, estaba dispuesta a condenar las atrocidades cometidas por el regimen militar y, por el contrario, en algunos casos cooperaban con la represion ilegal.Tampoco era posible recurrir al sistema judicial, ya que los jueces argentinos rechazaban sistematicamente los recursos de habeas corpus. Las Madres y Abuelas de los desaparecidos comenzaron a marchar cada jueves alrededor de la Piramide de Mayo, en la plaza del mismo nombre, situada frente a la casa de gobierno (Casa Rosada). Inicialmente se reconocian entre si llevando un pequeno clavo; luego las mujeres decidieron cubrirse el cabello con un panal de tela blanco. El grupo recibio rapidamente el nombre de Madres de Plaza de Mayo y por su sola presencia comenzo a ejercer presion nacional e internacional sobre el destino de las personas que desaparecian en la Argentina.
Hasta Noviembre de 2007 miles siguen desaparecidos, pero se han recuperado a 88 nietos. Pintado en la Plaza de mayo esta el simbolo del panal que utilizaban en la cabeza. El amor produce milagros.
Este es un tema de especial importancia para mi.
Nunca...mas!

Plaza de Mayo
Buenos Aires, Argentina
February 2008









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