title: Wilfred Bion

texts: or her children, and some especially ambitious leaders may be susceptible to this role. Resentment at being dependent may eventually lead the group members to "take down" the leader, and then search for a new leader to repeat the process. In the basic assumption of fight-flight, the group behaves as though it has met to preserve itself at all costs, and that this can only be done by running away from someone or fighting someone or something. In fight, the group may be characterized by aggressiveness and hostility; in flight, the group may chit-chat, tell stories, arrive late or any other activities that serve to avoid addressing the task at hand. The leader for this sort of group is one who can mobilize the group for attack, or lead it in flight. The final basic assumption group, pairing, exists on the assumption that the group has met for the purpose of reproduction—the basic assumption that two people can be met together for only one purpose, and that a sexual one'.Two people, regardless the sex of either, carry out the work of the group through their continued interaction. The remaining group members listen eagerly and attentively with a sense of relief and hopeful anticipation. <mask> considered that "the three basic-assumption groups seem each in turn to be aggregates of


title: Wilfred Bion

type: original

texts:
 individuals sharing out between them the characteristics of one character in the Oedipal situation". Behind the Oedipal level, however, <mask> postulated the existence of still more primitive, part-object phantasies; and "the more disturbed the group, the more easily discernible are these primitive phantasies and mechanisms". Such phantasies would prove the main focus of <mask>'s interest after his second analysis. <mask> on thinking
"During the 1950s and 1960s, <mask> transformed Melanie Klein's theories of infantile phantasy...into an epistemological "theory of thinking" of his own." <mask> used as his starting point the phenomenology of the analytic hour, highlighting the two principles of "the emergence of truth and mental growth.The mind grows through exposure to truth." The foundation for both mental development and truth are, for Bion, emotional experience. The evolution of emotional experience into the capacity for thought, and the potential derailment of this process, are the primary phenomena described in <mask>'s model. Through his hypothesized alpha and beta elements, Bion provides a language to help one think about what is occurring during the analytic hour. These tools are intended for use outside the hour in the clinician's reflective process. To attempt to apply his

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title: Wilfred Bion

texts:
 models during the analytic session violates the basic principle whereby "<mask> had advocated starting every session 'without memory, desire or understanding'—his antidote to those intrusive influences that otherwise threaten to distort the analytic process." Alpha elements, beta elements, and alpha function
Bion created a theory of thinking based on changing beta elements (unmetabolized psyche/soma/affective experience) into alpha elements (thoughts that can be thought by the thinker).Beta elements were seen as cognate to the underpinnings of the "basic assumptions" identified in his work with groups: "the fundamental anxieties that underlie the basic assumption group resistances were originally thought of as proto-mental phenomena...forerunners of <mask>'s later concept of beta-elements." They were equally conceptual developments from his work on projective identification—from the "minutely split 'particles'" <mask> saw as expelled in pathological projective identification by the psychotic, who would then go on to "lodge them in the angry, so-called bizarre objects by which he feels persecuted and controlled". For "these raw bits of experience he called beta-elements...to be actively handled and made use of by the mind they must, through what <mask> calls alpha-functions, become

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title: Wilfred Bion

texts: alpha-elements". β elements, α elements and α function are elements that <mask> (1963) hypothesizes. He does not consider β-elements, α- elements, nor α function to actually exist. The terms are instead tools for thinking about what is being observed. They are elements whose qualities remain unsaturated, meaning we cannot know the full extent or scope of their meaning, so they are intended as tools for thought rather than real things to be accepted at face value (1962, p. 3).Bion took for granted that the infant requires a mind to help it tolerate and organize experience. For Bion, thoughts exist prior to the development of an apparatus for thinking. The apparatus for thinking, the capacity to have thoughts "has to be called into existence to cope with thoughts" (1967, p. 111). Thoughts exist prior to their realization. Thinking, the capacity to think the thoughts which already exist, develops through another mind providing α-function (1962, p. 83)—through the "container" role of maternal reverie. To learn from experience alpha-function must operate on the awareness of the emotional experience; alpha–elements are produced from the impressions of the experience; these are thus made storable and available for dream thoughts and for unconscious waking thinking... If there are only


title: Wilfred Bion

texts:
 beta-elements, which cannot be made unconscious, there can be no repression, suppression, or learning.(<mask>, 1962, p. 8)

α-function works upon undigested facts, impressions, and sensations, that cannot be mentalized—beta-elements. α-function digests β-elements, making them available for thought (1962, pp. 6–7). Beta-elements are not amenable to use in dream thoughts but are suited for use in projective identification. They are influential in producing acting out. These are objects that can be evacuated or used for a kind of thinking that depends on manipulation of what are felt to be things in themselves as if to substitute such manipulations for words or ideas... Alpha-function transforms sense impressions into alpha-elements which resemble, and may in fact be identical with, the visual images with which we are familiar in dreams, namely, the elements that Freud regards as yielding their latent content when the analyst has interpreted them. Failure of alpha-function means the patient cannot dream and therefore cannot sleep.As alpha-function makes the sense impressions of the emotional experience available for conscious and dream—thought the patient who cannot dream cannot go to sleep and cannot wake up. (1962, pp. 6–7)

Bizarre object
Bizarre objects, according to Bion, are


title: Wilfred Bion

texts:
 external objects which, by way of projective identification, are imbued with characteristics of the subject's own personality; they form part of his interpretation of object relations theory. <mask> saw psychotic attacks on the normal linking between objects as producing a fractured world, where the patient felt themselves surrounded by hostile bizarre objects—the by-products of the broken linkages. Such objects, with their superego components, blur the boundary of internal and external, and impose a kind of externalised moralism on their victims. They can also contain ego-functions that have been evacuated from the self as part of the defence against thinking, sensing, and coming to terms with reality: thus a man may feel watched by his telephone, or that the music player being listened to is in fact listening to him in turn. Later developments
Hanna Segal considered bizarre objects more difficult to re-internalise than either good or bad objects due to their splintered state: grouped together in a mass or psychic gang, their threatening properties may contribute to agoraphobia.Knowledge, love and hate
Successful application of alpha-function leads to "the capacity to tolerate the actual frustration involved in learning ("K") that [Bion] calls 'learning from experience. The


title: Wilfred Bion

texts: opposite of knowledge "K" was what Bion termed "−K": "the process that strips, denudes, and devalues persons, experiences, and ideas." Both K and −K interact for Bion with Love and Hate, as links within the analytic relationship. "The complexities of the emotional link, whether Love or Hate or Knowledge [L, H, and K – the Bionic relational triad]" produce ever-changing "atmospheric" effects in the analytic situation. The patient's focus may wish to be "on Love and Hate (L and H) rather than the knowledge (K) that is properly at stake in psychoanalytic inquiry." For Bion, "knowledge is not a thing we have, but a link between ourselves and what we know ... K is being willing to know but not insisting on knowledge." By contrast, -K is "not just ignorance but the active avoidance of knowledge, or even the wish to destroy the capacity for it" – and "enacts what 'Attacks on Linking' identifies as hatred of emotion, hatred of reality, hatred of life itself."Looking for the source of such hate (H), <mask> notes in Learning from Experience that, "Inevitably one wonders at various points in the investigation why such a phenomenon as that represented by −K should exist. ... I shall consider one factor only – Envy. By this term I mean the phenomenon described by Melanie Klein in Envy and


title: Wilfred Bion

texts:
 Gratitude" (1962, p. 96). Reversible perspective and −K
"Reversible Perspective" was a term coined by Bion to illuminate "a peculiar and deadly form of analytic impasse which defends against psychic pain". It represents the clash of "two independently experienced views or phenomena whose meanings are incompatible". In <mask>'s own words, "Reversible perspective is evidence of pain; the patient reverses perspective so as to make a dynamic situation static."As summarised by Etchegoyen, "Reversible perspective is an extreme case of rigidity of thought. ... As <mask> says, what is most characteristic in such cases is the manifest accord and the latent discord." In clinical contexts, what may happen is that the analyst's "interpretation is accepted, but the premises have been rejected ... the actual specificity, the substance of the interpretation". Reversible perspective is an aspect of "the potential destruction and deformation of knowledge" – one of the attacks on linking of −K. O: The ineffable
As his thought continued to develop, <mask> came to use Negative Capability and the suspension of Memory and Desire in his work as an analyst, in order to investigate psychic reality - which he regarded as essentially 'non-sensuous' (1970). Following his 1965 book Transformations he had an

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title: Wilfred Bion

texts: increasing interest in what he termed the domain of "O" – the unknowable, or ultimate Truth. "In aesthetics, <mask> has been described as a neo-Kantian for whom reality, or the thing-in-itself (O), cannot be known, only be "be-ed" (1965).What can be known is said by Bion to be in the realm of K, impinging through its sensory channels. If the observer can desist from "irritably reaching for fact and reason", and suspend the normal operation of the faculties of memory and apperception, what <mask> called transformations in knowledge can permit an 'evolution' where transformations in K touch on transformations in Being (O). <mask> believed such moments to feel both ominous and turbulent, threatening a loss of anchorage in everyday 'narrative' security. <mask> would speak of "an intense catastrophic emotional explosion O," which could only be known through its aftereffects. Where before he had privileged the domain of knowledge (K), now he would speak as well of "resistance to the shift from transformations involving K (knowledge) to transformations involving O ... resistance to the unknowable". Hence his injunctions to the analyst to eschew memory and desire, to "bring to bear a diminution of the 'light' – a penetrating beam of darkness; a reciprocal of the searchlight. If any object


title: Wilfred Bion

texts:
 existed, however faint, it would show up very clearly".In stating this he was making connections to Freud, who in a letter to Lou Andreas Salome had referred to a mental counterpart of scotopic, "mole like vision", used to gain impressions of the Unconscious. He was also making links with the apophatic method used by contemplative thinkers such as St John of the Cross, a writer quoted many times by Bion. Bion was well aware that our perception and our attention often blind us to what genuinely and strikingly is new in every moment. Reverie

<mask>'s concept of maternal "reverie" as the capacity to sense (and make sense of) what is going on inside the infant has been an important element in post-Kleinian thought: "Reverie is an act of faith in unconscious process ... essential to alpha-function'" It is considered the equivalent of Stern's attunement, or Winnicott's maternal preoccupation. In therapy, the analyst's use of "reverie" is an important tool in his/her response to the patient's material: "It is this capacity for playing with a patient's images that Bion encouraged". Late Bion

"For the later Bion, the psychoanalytic encounter was itself a site of turbulence, 'a mental space for further ideas which may yet be developed'." In his unorthodox quest to maintain such "mental


title: Wilfred Bion

texts:
 space", <mask> "spent the final years of his long and distinguished professional life [writing] a futuristic trilogy in which he is answerable to no one but himself, A Memoir of the Future."If we accept that "<mask> introduced a new form of pedagogy in his writings...[via] the density and non-linearity of his prose", it comes perhaps to a peak here in what he himself termed "a fictitious account of psychoanalysis including an artificially constructed dream ... science fiction". We may conclude at least that he achieved his stated goal therein: "To prevent someone who KNOWS from filling the empty space". Bibliography

 <mask>, W.R. (1940). The war of nerves. In Miller and Crichton-Miller (Eds. ), The Neuroses in War (pp. 180 – 200).London: Macmillan, 1940. <mask>, W.R. (1943). Intra-group tensions in therapy, Lancet 2: 678/781 - 27 Nov. 1943, in Experiences in Groups (1961). <mask>, W. R.(1946). Leaderless group project, Bulletin of the Menninger Clinic, 10: 77–81. <mask>, W. R. (1948a). Psychiatry in a time of crisis, British Journal of Medical Psychology, vol.XXI.<mask>, W. R. (1948b). Experiences in groups, Human Relations, vols. I-IV, 1948–1951, Reprinted in Experiences in Groups (1961). <mask>, W. R. (1950). The imaginary twin, read to the British Psychoanalytical Society, 1

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title: Wilfred Bion

texts: Nov. 1950. In Second Thoughts (1967). <mask>, W. R. (1952).Group dynamics: a review. International Journal of Psycho-Analysis, vol. 33:, Reprinted in M. Klein, P. Heimann & R. Money-Kyrle (editors). New Directions in Psychoanalysis (pp. 440–477). Tavistock Publications, London, 1955. Reprinted in Experiences in Groups (1961).<mask>, W. R. (1954). Notes on the theory of schizophrenia. Read in the Symposium "The Psychology of Schizophrenia" at the 18th International psycho-analytical congress, London, 1953 International Journal of Psycho-Analysis, vol. 35: Reprinted in Second Thoughts (1967). <mask>, W. R. (1955a). The Development of Schizophrenic Thought, International Journal of Psycho-Analysis, vol. 37: Reprinted in Second Thoughts (1967).<mask>, W. R. (1955b). Language and the schizophrenic, in M. Klein, P. Heimann and R. Money-Kyrle (editors). New Directions in Psychoanalysis (pp. 220 – 239).Tavistock Publications, London, 1955. <mask>, W. R. (1957a). The differentiation of the psychotic from the non-psychotic personalities, International Journal of Psycho Analysis, vol. 38: Reprinted in Second Thoughts (1967).<mask>, W. R. (1957b). On Arrogance, 20th International Congress of Psycho-Analysis, Paris, in Second Thoughts (1967). <mask>, W. R. (1958). On Hallucination,

masks: Bion Bion Bion Bion Bion Bion Bion


title: Wilfred Bion

texts: International Journal of Psycho-Analysis, vol. 39, part 5: Reprinted in Second Thoughts (1967). <mask>, W. R. (1959). Attacks on linking, International Journal of Psycho-Analysis, vol.40: Reprinted in Second Thoughts (1967). <mask>, W. R. (1961). Experiences in Groups, London: Tavistock. <mask>, W. R. (1962a). A theory of thinking, International Journal of Psycho-Analysis, vol. 43: Reprinted in Second Thoughts (1967). <mask>, W. R. (1962b).Learning from Experience, London: William Heinemann. [Reprinted London: Karnac Books,]. Reprinted in Seven Servants (1977e). <mask>, W. R. (1963). Elements of Psycho-Analysis, London: William Heinemann. [Reprinted London: Karnac Books]. Reprinted in Seven Servants (1977e).<mask>, W. R. (1965). Transformations. London: William Heinemann [Reprinted London: Karnac Books 1984]. Reprinted in Seven Servants (1977e). <mask>, W. R. (1966). Catastrophic change, Bulletin of the British Psychoanalytical Society, 1966, N°5. <mask>, W. R. (1967a).Second Thoughts, London: William Heinemann. [Reprinted London: Karnac Books 1984]. <mask>, W. R. (1967b). Notes on memory and desire, Psycho-analytic Forum, vol. II n° 3 (pp. 271 – 280). [reprinted in E. Bott Spillius (Ed.).Melanie Klein Today Vol. 2 Mainly Practice (pp. 17–21) London: Routledge 1988]. <mask>, W. R.

masks: Bion Bion Bion Bion Bion Bion Bion Bion Bion Bion


title: Wilfred Bion

texts: (1970). Attention and Interpretation. London: Tavistock Publications. [Reprinted London: Karnac Books 1984].Reprinted in Seven Servants (1977e). <mask>, W.R. (1973). Bion's Brazilian Lectures 1. Rio de Janeiro: Imago Editora. [Reprinted in one volume London: Karnac Books 1990]. <mask>, W. R. (1974). <mask>'s Brazilian Lectures 2.Rio de Janeiro: Imago Editora. [Reprinted in one volume London: Karnac Books 1990]. <mask>, W.R. (1975). A Memoir of the Future, Book 1 The Dream. Rio de Janeiro: Imago Editora. [Reprinted in one volume with Books 2 and 3 and 'The Key' London: Karnac Books 1991]. <mask>, W. R. (1976a).Evidence. Bulletin British Psycho-Analytical Society N° 8, 1976. Reprinted in Clinical Seminars and Four Papers (1987). <mask>, W.R. (1976b). Interview, with A.G.Banet jr., Group and Organisation Studies, vol. 1 No. 3 (pp.268 – 285). September 1976. <mask>, W.R. (1977a). A Memoir of the Future, Book 2 The Past Presented. Rio de Janeiro: Imago Editora. [Reprinted in one volume with Books 1 and 3 and 'The Key' London: Karnac Books 1991]. <mask>, W.R. (1977b).Two Papers: The Grid and Caesura. Rio de Janeiro: Imago Editora. [Reprinted London: Karnac Books 1989]. <mask>, W. R. (1977c). On a Quotation from Freud, in Borderline Personality Disorders, New York: International

masks: Bion Bion Bion Bion Bion Bion Bion Bion Bion


title: Wilfred Bion

texts: University Press. Reprinted in Clinical Seminars and Four Papers(1987). [Reprinted in Clinical Seminars and Other Works.London: Karnac Books, 1994]. <mask>, W. R. (1977d). Emotional Turbulence, in Borderline Personality Disorders, New York: International University Press. Reprinted in Clinical Seminars and Four Papers(1987). [Reprinted in Clinical Seminars and Other Works. London: Karnac Books, 1994]. <mask>, W. R. (1977e).Seven Servants. New York: Jason Aronson inc. (includes Elements of Psychoanalysis, Learning from Experience, Transformations, Attention and Interpretation). <mask>, W.R. (1978). Four Discussions with W.R<mask>. Perthshire: Clunie Press. [Reprinted in Clinical Seminars and Other Works. London: Karnac Books, 1994].<mask>, W.R. (1979a). Making the best of a Bad Job. Bulletin British Psycho-Analytical Society, February 1979. Reprinted in Clinical Seminars and Four Papers (1987). [Reprinted in Clinical Seminars and Other Works. London: Karnac Books, 1994]. <mask>, W.R. (1979b).A Memoir of the Future, Book 3 The Dawn of Oblivion. Perthshire: Clunie Press. [Reprinted in one volume with Books 1 and 2 and 'The Key' London: Karnac Books 1991]. <mask>, W.R. (1980). Bion in New York and São Paulo. (Edited by <mask>). Perthshire: Clunie Press.<mask>, W.R. (1981). A Key to A

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. Bion
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title: Wilfred Bion

texts:
 Memoir of the Future. (Edited by F.<mask>). Perthshire: Clunie Press. [Reprinted in one volume London: Karnac Books 1991]. <mask>, W.R. (1982). The Long Weekend: 1897-1919 (Part of a Life).(Edited by F.<mask>). Abingdon: The Fleetwood Press. <mask>, W.R. (1985). All My Sins Remembered (Another part of a Life) and The Other Side of Genius: Family Letters. (Edited by F.<mask>). Abingdon: The Fleetwood Press. <mask>, W.R. (1985).Seminari Italiani. (Edited by <mask>). Roma: Borla. <mask>, W.R. (1987). Clinical Seminars and Four Papers, (Edited by <mask>). Abingdon: Fleetwood Press. [Reprinted in Clinical Seminars and Other Works.London: Karnac Books, 1994]. <mask>, W.R. (1992). Cogitations. (Edited by F.<mask>). London: Karnac Books. <mask>, W.R. (1997a). Taming Wild Thoughts.(Edited by F.<mask>). London: Karnac Books. <mask>, W.R. (1997b). War Memoirs 1917 - 1919. (Edited by F.<mask>). London: Karnac Books. <mask>, <mask> R (1999).Seminar held in Paris, 10 July 1978. Transcribed by <mask> Sept
 Bion, <mask> R (2014). The Complete Works of W. R. <mask>. Edited by Mawson, C. (2014). Karnac Books, London. 16 Volumes

See also

References

External links
"A Seminar Held in Paris" by Bion, online in full
Useful summary of Bion - Robert Young book
Bion: Basic Assumptions & The Grid
Bion

masks:
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Bion
Bion
Bion
Bion
Bion
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Bion
F Bion
Bion
Bion
Bion
Bion
Bion
Bion
Bion
Wilfred
Francesca Bion
Wilfred
Bion


title: Wilfred Bion

texts:
 talks (video clip, 07:11) Excerpt from a seminar at the Tavistock Clinic Monday July 4, 1977. Robin Pape: Biography of <mask> Ruprecht <mask> in: Biographical Archive of Psychiatry (BIAPSY), 2015.Bizarre object at encyclopedia.com

Further reading
 Bleandonu, Gerard,  <mask> <mask>: His Life and Works. Free Association Books, London, 1994
 Grinberg, Leon. New Introduction to the Work of Bion. Karnac Books, London, 1977
 Symington, Neville and Joan. The Clinical Thinking of <mask> <mask>. Routledge, London, 1996
 Michael Eigen, The Electrified Tightrope (London 2004)
 Michael Eigen, "Contact With the Depths", London, 2011. López-Corvo, Rafael, The Dictionary of the Work of W.R. Bion, Karnac Books, London, 2003
 Donald Meltzer, Dream-Life: A Re-Examination of the Psycho-Analytical Theory and Technique Publisher: Karnac Books, 1983,
 Donald Meltzer, Studies in Extended Metapsychology: Clinical Applications of Bion's Ideas.Perthshire: Clunie Press, 1986
 Joseph Mintz, Professional Uncertainty, Knowledge and Relationship in the Classroom: A Psycho-social Perspective London Routledge 2014
 Paulo Cesar Sandler, The Language of Bion: A Dictionary of Concepts (London 2005)
 Meg Harris Williams,Bion's Dream: A Reading of the Autobiographies London: Karnac, 2010
 López-Corvo, Rafaël E., Wild

masks: Wilfred Bion Wilfred Bion Wilfred Bion


title: Lamberto Alvarez

texts:
<mask> (born March 21, 1953) is an American painter, sculptor, photographer, musician and author of Mexican-American descent living in Texas. "Lamberto" is his registered trademark. He was one of three Latinos chosen by the Walt Disney Company in 2004 to create a life-size statue to commemorate the 75th anniversary of Mickey Mouse. He was also a contributor to the San Jose Mercury Newss 1985 Pulitzer Prize–winning investigative series of articles "The Hidden Billions" about massive corruption in the government of Philippine President Ferdinand Marcos and his hidden wealth in the United States and abroad. Early life
<mask> was born in El Paso, Texas, to <mask>. and Ana Espino. Although a native-born American who claims El Paso as his hometown, <mask> spent his earliest years in neighboring Ciudad Juárez, Mexico, his mother's hometown. Divided by the customs bridges, <mask>. commuted for several years from Juarez to work for an American construction company as a cement finisher.Although it was not common for American citizens to live in Mexico when they could legally live in the United States, Ana's bond with her own parents was strong, and it provided the foundation for <mask>'s study and knowledge of the Spanish language. In his early grades, Lamberto attended Escuela Narcisa Primero, a strict yet creative private school in Juarez, which catered to gifted students and instilled in him both discipline and a love of the arts. Young <mask> became a distinguished student in the arts, math and science, and became fluent in Spanish. At age 6, he also discovered the magic of art from his parents, who both possessed a gift for drawing. They would spend weekend evenings entertaining their children by drawing and scribbling around the kitchen table. At age 11, his family moved to El Paso, where his teachers noticed his gift for math and art. He attended Southloop Elementary School, a

masks:
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Lamberto
Lamberto Alvarez Sr
Lamberto
Lamberto Sr
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title: Lamberto Alvarez

texts:
 predominantly Latino school, and quickly became fluent in English.With encouragement from his mother and his friends, Lamberto learned to play the guitar and formed a band called "The Finks". He also learned to play the bass guitar and the drums, and continued to play in bands for much of his adult life. Education
Lamberto graduated from Ysleta High School in 1972, where he was an active art student, participating in many art projects and contests. Lamberto attended the University of Texas at El Paso, studying fine art and photography. During college, he was heavily influenced by surrealist artist Salvador Dalí, which is revealed in some of his early oil paintings. Diego Rivera, Picasso and Jackson Pollock also influenced his later, more mature body of work. Career
In 1975, during his junior year of college, <mask> was hired by the El Paso Times as an artist and photographer.<mask> worked at the Times for several years, producing artwork for all sections of the newspaper. The body of artwork he established at the Times was integral in his being hired by San Jose Mercury News in San Jose, California. After five years with The Mercury News, <mask> became an art director at the Fort Worth Star-Telegram and later at The Dallas Morning News. During his time in Fort Worth, Lamberto began to broaden the scope of his artwork to include children's books, national magazines and college textbooks. In 2004, he made the leap from publications to fine art and now works as a painter of figurative and abstract fine art, and creator of stained concrete art, assemblage art and three-dimensional sculptures. <mask> and his artist son, Beto <mask>, collaborated on creating illustrations for a children's book entitled Muffler Man, or El Hombre Mofle, published by Arte Publico Press of the University of Houston. Both father and son worked together for several years at The Dallas Morning News, <mask> as

masks: Lamberto Lamberto Lamberto Lamberto Alvarez Lamberto


title: Lamberto Alvarez

texts:
 Director of Illustration and Beto as a news illustrator.Both father and son also were accepted in an international show sponsored by Nordstrom entitled "El Amor Ahora", ("Love Now"), a celebration of National Hispanic Heritage Month. They were invited to participate in the annual show from 2004–2006. Lamberto also illustrated another children's book for Arte Publico, Dancing Miranda, or Baila Miranda, Baila. In addition to his work with newspapers, <mask>'s artwork has been published by Time magazine, Harcourt Brace College Publishers, The Boston Globe, Los Angeles Times, Scholastic Books, Arte Publico Press, among many others. With author Michael H. Price, Lamberto contributed to a self-published novel entitled "Muñeca: An Anthology of Crime Stories". <mask>, who owns a fine art studio, Lamberto Art and Design, has received attention from the media for his innovative acid-stain concrete art (www.acidstainconcreteart.com). These concrete creations are an outgrowth of the work he created in scratchboard in the early 1990s, marked with Lamberto's distinctive style of using motion, color and bold strokes.Lamberto explores many art forms, including assemblage artwork, sculpture, music, photography, literature, songwriting and design. Lamberto's publishing company is Solare Media, which publishes inspirational schoolbook covers for children in need of positive role models. The Shining Star Heroes book cover series depicts heroes from all walks of life who are encouraging examples for children to follow. In 2006, Lamberto was involved in a year-long event to celebrate the 50th anniversary of Southlake, Texas, the city in which he currently resides. He designed and painted three longhorn statues, with the help of his wife, Elizabeth, and daughter, Veronica, to represent the sponsors that selected him to paint their longhorns: Verizon, Sabre Holdings and Aeristo. Accomplishments
During his

masks: Lamberto Lamberto


title: Lamberto Alvarez

texts:
 time working in the newspaper industry, Lamberto received many illustration and design awards, most notably from the Society for News Design (SND), the Associated Press, Print Regional Design Annual, the Headliners and the Associated Press Managing Editors. Lamberto also was a contributor to a 1985 Pulitzer Prize–winning investigative article "The Hidden Billions", about Ferdinand and Imelda Marcos of the Philippines, which was published while he was working for The San Jose Mercury News.<mask> came into the national spotlight as a personality when he was involved in the Walt Disney Company's 75th anniversary celebration of Mickey Mouse — the "75 InspEARations" celebration. He was invited to create a life-size statue of Mickey Mouse in his own style, which he called "El Mickey". <mask> was one of 75 celebrities, and one of only three Latinos, involved in the project. <mask>'s "El Mickey", number 66, represented the Dallas/Fort Worth-based Disney Radio station. The 75 statues were exhibited throughout the United States for one year and are on permanent public display at Disneyland in California. Although the statues reside at Disneyland, they were auctioned at Sotheby's in New York to raise money for a variety of charities; proceeds from the sale of "El Mickey" benefited the "Make-A-Wish Foundation." Mickey Mouse, as a pop culture icon, was visited by millions.Other celebrities participating in this event included John Travolta, Ben Affleck, Elton John, Kelly Ripa, Tom Hanks, George Lopez, Shaquille O'Neal, Jamie Lee Curtis and Andy García. References

External links
  75th Anniversary of Mickey Mouse "InspEARations" program
  Lamberto's Official Web Site
  Lamberto's Art Gallery

Living people
1953 births
Artists from El Paso, Texas
University of Texas at El Paso alumni
American artists of Mexican descent
Musicians from El Paso, Texas
Writers from Texas
The Mercury News

masks: Lamberto Lamberto Lamberto


title: Patrice de MacMahon

texts:
<mask>, marquis de MacMahon, duc de Magenta (; 13 June 1808 – 17 October 1893) was a French general and politician, with the distinction of Marshal of France. He served as Chief of State of France from 1873 to 1875 and as President of France from 1875 to 1879. MacMahon led the main French army in the war against the Germans in 1870. He was trapped and wounded at the Battle of Sedan in September 1870. The army surrendered to the Germans, including MacMahon and Emperor Napoleon III. Thus France lost the war and the Emperor went into exile. After convalescence MacMahon was appointed head of the Versailles Army, which defeated the Paris Commune revolt in May 1871 and set the stage for his political career.MacMahon was a devout conservative Catholic, a traditionalist who despised socialism and strongly distrusted the secular Republicans. He took his duty as the neutral guardian of the Constitution seriously and rejected suggestions of a monarchist coup d'état. He also refused to meet with Gambetta, the leader of the Republicans. He moved for a parliamentary system in which the assembly selected the ruling government of the Third Republic, but he also insisted on an upper chamber. He later dissolved the Chamber of Deputies, resulting in public outrage and a Republican electoral victory. Soon after MacMahon resigned and retired to private life. Biography

Family origins

The Mac Mahon family is of Irish origin.They were Lords of Corcu Baiscind in Ireland and descended from Mahon, the son of Muirchertach Ua Briain,


title: Patrice de MacMahon

texts:
 High King of Ireland. After losing much of their land in the Cromwellian confiscations, a branch moved to Limerick for a time before settling in France during the reign of King William III because of their support of the deposed King James II in the Glorious Revolution They applied for French citizenship in 1749; after the definitive installation of the family in France, their nobility was recognised by the patent letter of King Louis XV of France. A military family (14 members of the house of <mask> Mahon were in the Army), they settled in Autun, Burgundy, at the Chateau de Sully, where <mask> <mask> Mahon was born on 13 June 1808, sixteenth and the second last son of Baron  (1754–1831), Baron of Sully, Count <mask> Mahon and de Charnay, and Pélagie <mask> <mask> (1769–1819), a descendant of Pierre-Paul Riquet. <mask> <mask> (as he was usually known before being elevated to a ducal title in his own right) was born in Sully near Autun, in the département of Saône-et-Loire. He was the 16th of 17 children of a family already in the French nobility; his grandfather Knight Lord Overlord Jean-<mask> MacMahon, was named <mask> MacMahon and 1st Marquis d'Éguilly (from his wife Charlotte Le Belin, Dame d'Éguilly) by King Louis XV, and the family in France had decidedly royalist politics. Early military career and service in Algeria

In 1820, MacMahon entered the Petit Séminaire des Marbres at Autun; then completed his education at Lycée Louis-le-Grand at Paris. He then entered the Special Military School at Saint-Cyr

masks:
de Mac
Patrice
de Mac
de Mac
de Riquet
de Caraman
Patrice
de MacMon
Baptiste de
Marquis de


title: Patrice de MacMahon

texts: on 23 October 1825.He then joined the application school at the General Staff Headquarters on 1 October 1827, for a period of two years. Following his graduation from Saint-Cyr, MacMahon entered the French Army in 1827. He was assigned to the 4th Hussars Regiment in 1830. MacMahon subsequently participated in the French conquest of Algeria as a sous-lieutenant in the . He was commended for his capacity and bravery during the seizure of Algiers. On 24 November 1830, MacMahon further distinguished himself while serving with his regiment, during the , during the . He was awarded the Knight Order of the Legion d'honneur.Recalled to France, MacMahon participated in 1832 to the Ten Days' Campaign where he was noticed again during the Siege of Antwerp. He became a captain in 1833, and returned to Algeria, this time, in 1836 where he was placed under the orders of General Bertrand Clausel, and then General Charles-Marie Denys <mask>. He led several audacious cavalry raids across tribal occupied plains and distinguished himself during the Siege of Constantine, in 1837, where he was slightly wounded. In 1840, he left Africa (Algeria) and upon his return to France, he learnt that he had been promoted to chef d'escadron (cavalry squadron chief). In May 1841, he returned again to Algeria at the head of the  with whom he distinguished himself with, in April, at the Battle of Bab el-Thaza and against the troops of Emir <mask>, on 25 May. On 31 December 1842, he was promoted to lieutenant-colonel at the 2nd Regiment of the

masks:
de Damrémont
Abdkader


title: Patrice de MacMahon

texts:
 against the Kabyles. On his return to France, he voted as senator against the unconstitutional law on general security, proposed after the failed assassination attempt of Felice Orsini against Emperor Napoleon III. Magenta: Marshal of France

MacMahon distinguished himself during the Italian Campaign of 1859. He advanced his troops without having received orders at a critical moment during the Battle of Magenta, which assured French victory.For his military services, he was appointed a Marshal of France by Emperor Napoleon III, and awarded the title of Duke of Magenta. Governor General of Algeria
In 1861 MacMahon represented France at the coronation of William I as King of Prussia. In 1864, he was named as Governor General of Algeria. MacMahon did not distinguish himself in this appointment. While he initiated several reforms, numerous complaints were made against him. During the first half of 1870, he submitted his resignation to Napoleon III. When the Olivier cabinet was formed, the Emperor abandoned his Algerian projects and MacMahon was recalled.War and the Paris Commune
<mask> led the main French army in the Franco-Prussian War where he suffered several defeats in Alsace. He was seriously wounded during the Battle of Sedan. In 1871 the French army surrendered, and the Germans had clearly won the war. Overall his strategic planning was confused and marked by indecision. He, along with the rest of the army including the Emperor, was made prisoner during the capitulation of Sedan on 1 September. In 1871,


title: Patrice de MacMahon

texts: in Germany and France when the German press reported that influential Germans, alarmed by France's rapid recovery from defeat in 1871 and its rearmaments program, were talking of launching a preemptive attack on France.Britain and Russia made it clear that they would not tolerate such aggression. Bismarck did not seek war either, but the unexpected crisis forced him to take into consideration the alarm that his aggressive policies, plus Germany's fast-growing power, were causing among its neighbors. The 16 May 1877 crisis heightened MacMahon's conflict with the Chamber of Deputies. After the bishops of Poitiers, Nimes and Nevers had ensured Pius IX of the French government's support in the Roman Question, the Chamber passed a resolution that asked the government to "suppress the ultramontanism manifestations". Twelve days later, dismissed Prime Minister Jules Simon and again appointed <mask> Broglie. Hoping for a conservative victory, MacMahon then convinced the Senate to dissolve the Chamber of Deputies, and campaigned across the country, while protesting that he had no intention of overthrowing the Republic. On 15 August 1877, Léon Gambetta declared: "Le Président n'a que ce choix: il lui faut se soumettre ou se démettre."("The President has only but one choice: he must submit or resign.") The elections of 14 October gave the Republicans a majority of 120 seats, and prime minister Broglie accordingly resigned on 19 November. MacMahon attempted first to form a government under General Gaëtan <mask>t, but the

masks:
Albert de
de Rochebouë


title: Patrice de MacMahon

texts:
 Chamber refused to cooperate with him. Rochebouët resigned the next day, and the President recalled Dufaure to form a Republican government. On 5 January 1879, elections to the Senate also resulted in a Republican majority, depriving MacMahon of his last parliamentary support. Faced with a decree which revolved around confiscating and diminishing a number of military authorities and commands to certain generals, MacMahon preferred to resign on 30 January 1879. His presidency may be summarised thus: on the one hand, he allowed the Republic to establish itself; on the other hand, so far as his lawful prerogatives permitted, he restrained the political advance of parties hostile to the Catholic Church, convinced that the triumph of Radicalism would be to the detriment of the nation.MacMahon's government was mildly repressive toward the left. Newspapers were prosecuted, senior officials were removed if they were suspected of support for republicanism. Critical pamphlets were suppressed while the government circulated its own propaganda. The proprietors of meeting places were advised not to allow meetings of critics of the government. On the other hand, he gave no support to a coup d'état by monarchists. MacMahon truly believed that the National Assembly should rule France and not the president. Last years

From 1887 to 1893, he directed the Société de secours aux blessés militaires (S.S.B.M) - Rescue Society of Wounded Military, which in 1940 became the French Red Cross.<mask> <mask>ahon died on 17 October 1893, at

masks:
Patrice
de MacM


title: Patrice de MacMahon

texts:
 whom he did not love, afterwards called him:

. Showing his faith in the Foreign Legion during the Battle of Magenta: "The Legion is here. It's in the bag!"("Voici la Légion ! L'affaire est dans le sac !"). During the Siege of Sevastopol in the Crimean War, MacMahon led an assault by French troops against the Malakoff redoubt. MacMahon captured the Malakoff, but was urged to withdraw rather than be crushed by imminent Russian counter-attacks. He refused, replying "J'y suis. J'y reste!" ("Here I am, Here I stay!").MacMahon's troops held the Malakoff, and Sevastopol soon fell. MacMahon's line became widely quoted as an expression of defiance. P. G<mask>'s character Bertie Wooster used it in response to pressure from his valet Jeeves to shave off his new moustache ('Jeeves and the Feudal Spirit' Ch.1). Gallery

See also

Origins of the French Foreign Legion
Marie Louis Henry <mask>-Lacroix de Chabrières
François Certain Canrobert
Jean-Luc Carbuccia
Francois Achille Bazaine

References

Further reading
 D.W. Brogan, France Under the Republic: The Development of Modern France (1870-1939) (1940) pp 127–43. External links

 https://web.archive.org/web/20030224080507/http://www.limerick.com/history/marshallmcmahon.html

1808 births
1893 deaths
19th-century presidents of France
19th-century Princes of Andorra
People from Saône-et-Loire
Marshals of France
French marquesses
French monarchists
French Senators of the Second Empire
French military personnel of the Crimean War
French military personnel of the

masks:
. Wodehouse
de Granet


title: Kevin Weldon

texts:
<mask>  (born 1933) is an Australian book publisher, businessman, aviator and philanthropist. In the field of science and education, he is a founder of Earthwatch Australia, a voluntary organization supporting scientific research expeditions. He has served on a variety of committees and boards, including Powerhouse Museum (Sydney) and the Institute of Aboriginal Studies (Canberra). He is the founding president of the World Lifesaving and International Life Saving Federation, a member of the President's Board of National Council of Surf Lifesaving Association of Australia. On 10 June 1994, <mask> was honored as a member of the Order of Australia for his philanthropy, contribution to water safety as president of World Life Saving, and service to the publishing industry. <mask> is married with three children. Background
<mask> was born in 1933 in the small town of Ingham, Queensland, the youngest of five children.His father, Vivian, was the local Ford dealer. At the outbreak of World War II, the family relocated to Brisbane, where he spent many days as a child scouring the shores of the Brisbane River. At age 15, he joined the Pacific Surf Club as a Cadet, which would cement his interest in the surf lifesaving movement. <mask> studied at the Brisbane Grammar School but in 1949, when his mother died suddenly, he left school early. He later enrolled in college two nights a week, where he learned his first trade of color etching. Career

Early career (1953–1962)

<mask> began his career at Brisbane's Truth newspaper as a half-tone color etcher in the process engraving department. It was there he was taught by his first boss, Horrie Hogarth, two guiding principles, "never compromise on quality; and, allow workers now and

masks:
Kevin Ernest Weldon
Weldon
Weldon
Weldon
Weldon
Weldon


title: Kevin Weldon

texts:
 then to spend time with the boss."Despite the brevity of his tenure at Truth, Hogarth had an indelible impact on <mask> during these formative years. Shortly thereafter, driven by his enduring fascination for all things maritime, he joined the Royal Australian Naval Reserve, a decision that was to have a major effect in charting the course of his life. Rising rapidly through the ranks he received his commission as a lieutenant in 1956. During this period he also became acquainted with Tony Pixley and thus began the next phase of his career, "He and I got on and his family was well known in the Brisbane business community. They had an agency for Grenville Publishing and they gave me a job selling books.”

By 1957 at the age of 24, <mask> had set up a new branch of Grenville Publishing in Queensland and employed a staff of eight. Two years later he was appointed general manager of sales and moved to Sydney, wherein in 1963 he published his first book, Cake Decorating and Icing by Beryl Gertner; it proved to be a success, selling 25,000 copies (a best-seller during this period was around 5,000). This was quickly followed by the equally popular best seller, Collecting Australian Gemstones.The Paul Hamlyn Group Australia (1964–79)

In 1964 <mask> became the founding managing director of the Paul Hamlyn Group in Australia. Employing aggressive marketing strategies he published a string of best-sellers, including launching Australia's Heritage partworks. This transpired to be the most successful publishing venture Australia had seen to date, with 7.8 million units sold over two years. <mask>'s marketing success earned him the Hoover Award. Another initiative he undertook was the launch of Music for Pleasure, Australia's

masks: Weldon Weldon Weldon Weldon


title: Kevin Weldon

texts:
 first budget record company, and he became responsible for introducing music into supermarkets, namely Woolworths and Coles. The secret to the company's success was repackaging old records and advertising them on television (a repackaged Johnny Cash album sold 120,000 albums in just two weeks whilst a Simon & Garfunkel album sold a quarter of a million copies). Meanwhile, in 1971 he became president of the World Life Saving Movement.The following year he established Australia's first large-scale animation studio, a joint venture with Hanna-Barbera – the creators of such hits as Yogi Bear and the Flintstones. The venture, known as Hanna-Barbera Australia, evolved into Neil Balnaves's Southern Star Group. Not only did he increase the company holdings, acquiring Australian publishers Lansdowne Press (Melbourne), Ure Smith (Sydney), and Jacaranda (Brisbane), but he steadfastly continued to build a best-selling list in Australia and developed local publishing lists in New Zealand and the Philippines. Additionally, he expanded the Heritage partworks to include the Wildlife series both nationally and internationally, he developed a prestigious limited edition list and curated a significant library of rare Australian books. In 1979 <mask> resigned from Paul Hamlyn. Out on his own (1980–89)

In 1980, <mask>, formed his own company, Kevin Weldon & Associates, and launched a successful publishing list. He garnered instant success with A Day in the Life of Australia and the concept became one of this country's greatest publishing exports; subsequent volumes have been produced on India, China, Africa, the Soviet Union and the United States.The next few years saw him enter the local US market with joint ventures, notably in Texas,

masks: Weldon Weldon


title: Kevin Weldon

texts: as well as guiding the takeover of British publisher Marshall Cavendish by Straits Times, Singapore. His brief tenure as chairman of Marshall Cavendish led it to a record profit of €6 million the following year. Meanwhile, he founded Earthwatch in Australia, a voluntary body to fund scientific research expeditions, and <mask> consolidated his success with the publication of The Macquarie Dictionary, a definitive work that is now the undisputed arbiter of the Australian language. In 1984, together with John Owen, <mask> founded Weldon Owen Publishing. The first US office was set up in Seattle, Washington in 1988 and subsequently moved to San Francisco a year later. He also entered into a joint venture with major newspaper groups John Fairfax Ltd (Sydney) and David Syme Ltd (Melbourne) for major bicentennial work, Australians: a historical library. In 1985 he purchased 50 percent of the Paul Hamlyn Group (Australia) with James Hardie Industries Ltd and snapped up the balance three years later.He proceeded to change the company name to Weldon International. Retail sales had increased by about $10 million a year and <mask> continued to diversify, taking an interest in films; he developed complementary book products including Wall of Iron and Over China. More importantly, he initiated a policy of devolution in which Weldon International was formed into relatively small, creative publishing and marketing units, which operated independently reporting to a small executive center. No territorial limits were imposed on any of the companies, encouraging export. Thus, he catalyzed a vigorous offshore drive that resulted in Weldon International exports accounting for 55 percent of Australia's total export of book products.

masks: Weldon Weldon Weldon


title: Kevin Weldon

texts:
 Breaking boundaries (1990–2000s)

The group's policy of devolution delivered growth, particularly in offshore activity. Weldon International rose to 183rd of Australia's top 500 exporters.Publishing companies of Weldon International were now firmly established in the US and UK and the Weldon policy of devolution continued as spin-off publishing activity warranted. Local and US educational publishing for elementary schools became so successful that it was reorganized for marketing overseas through jointly-owned marketing companies in U.S. and UK. Mimosa also became active in Canada, New Zealand, Southeast Asia, and South Africa, producing national commemorative books for governments in Singapore, China, the US, and Indonesia. Meanwhile, his philanthropic activities continued with the establishment of Gwinganna in the Gold Coast hinterland for Indigenous study groups. Moreover, he became founding President of the newly formed International Lifesaving Federation. The Federation included over sixty member countries and over 25 million members, amalgamating the world's three largest water-safety organizations. For his service to the publishing industry and water safety, <mask> received the Order of Australia on 10 July 1994.Recent publishing ventures

In 2010 <mask> returned to Australian publishing to launch the 30th-anniversary edition of the 'Macquarie Encyclopaedic Dictionary' and the re-launch of the Australian classic, 'What Bird is That's by Neville Cayley. In 2012 <mask> launched 'The New Long March' a historic co-publishing project between China's Qingdao Publishing Group and Weldon International. The book. celebrating the 75th Anniversary of the Long March was launched at the London Book Fair and included the


title: Kevin Weldon

texts:
 first Augmented Reality feature to be printed in a book. Activated through an app that triggered extra content. The Ripper Group
In 2015 <mask> established The Ripper Group, a new organization using remotely piloted aircraft systems, technology and education in the area of search and rescue. Life saving

<mask> attributes much of his success to his activities in the lifesaving movement.He joined the Pacific Surf Club as a fifteen-year-old cadet during 1948–49, and within a year attained the position of the social organizer. He rose rapidly through the ranks, holding the posts of vice-captain, captain, chief instructor, and ultimately president. Throughout this period Pacific flourished, becoming one of the most reputable clubs in the state. Moreover, the club accrued large parcels of surrounding land through <mask>'s drive and initiative, borrowing money from the bank, and then organizing the sale of chooks through hotels to pay off the debt. Still a trustee of the club and living in Sydney, <mask> has continued guiding the club and promoting its commercial viability. In 1970, having been the Queensland delegate to the National Council of Surf Lifesaving, <mask> was approached to form an international lifesaving group. Though honored, <mask> only accepted on the proviso that it would be truly international, with the headquarters moved around the world.Because of this, a great number of innovations were brought to Australia's beaches. The 'rubber ducky' inflatable rescue boats, torpedo rescue tubes and the use of helicopters in surf rescue were all ideas that came from other countries. Ideas were shared through what became known as World Lifesaving. In the 1990s <mask> was instrumental in uniting World Lifesaving with

masks: Weldon Weldon Weldon Weldon Weldon Weldon Weldon


title: Peter Gzowski

texts:
<mask>  (July 13, 1934 – January 24, 2002), known colloquially as "Mr. Canada", or "Captain Canada", was a Canadian broadcaster, writer and reporter, most famous for his work on the CBC radio shows This Country in the Morning and then Morningside. His first biographer argued that <mask>'s contribution to Canadian media must be considered in the context of efforts by a generation of Canadian nationalists to understand and express Canada's cultural identity. Gzowski wrote books, hosted television shows, and worked at a number of newspapers and at Maclean's magazine. Gzowski was known for a friendly, warm, interviewing style. Life and career
Gzowski was born in Toronto, Ontario, the son of Margaret McGregor (née Young) and <mask>. His paternal great-great-grandfather was Sir <mask>, of Polish nobility, who became a prominent engineer in Canada, noted in particular for his work on the Grand Trunk Railway and the Welland Canal. Sir <mask> was an aide de camp of Queen Victoria - who knighted him - and briefly acted as the Lieutenant Governor of Upper Canada, when his predecessor died in office.The marriage of Gzowski's parents ended shortly after <mask> was born, with <mask> leaving the marriage for a Depression-era vagabond life. <mask> and his mother were supported by <mask>'s family, following <mask>'s departure. Gzowski's mother then married Reg Brown, a sales manager of a local textile mill, and the family relocated to Galt, Ontario, in 1939, when Gzowski was five. Gzowski encountered difficulties succeeding in high school in Galt. During the Christmas break in his Grade 11 year, Gzowski reconnected with his father in Toronto, living with him for a short period, before his father encouraged him to attend Ridley College boarding school, in St. Catharines, Ontario, which Gzowski's father had also attended. Gzowski's mother died the summer following the commencement of Gzowski's studies at Ridley College. Gzowski's mother was 40;

masks:
Peter John Gzowski
Gzowski
Harold Edward Gzowski
Casimir Gzowski
Casimir Gzowski
Gzowski
Harold Gzowski
Gzowski
Harold Gzowski
Harold Gzowski


title: Peter Gzowski

texts: Gzowski was 16.Gzowski attended the University of Toronto but never graduated; he was later awarded 11 honorary degrees. Midway through university, he took time off to work for the Timmins Daily Press. During his last year, 1956–57, at the U of T, he edited the student newspaper The Varsity. In the spring of 1957, he became city editor of the Moose Jaw Times-Herald. After a few months in Moose Jaw, he was hired by the Chatham Daily News. In September 1958, he joined the staff of Maclean's magazine. When he was 28 he became the youngest-ever managing editor of Maclean's.In the 1960s he moved to the Toronto Star and became the last editor of The Star Weekly magazine until it was sold in 1968. His first regular radio show was Radio Free Friday, 1969–1970. In 1971 he became host of radio the CBC's This Country in the Morning. From 1976 to 1978 he hosted the television show 90 Minutes Live on CBC Television. In 1982 he returned to his former morning radio program, which had by now been renamed Morningside, where he remained until 1997. He also narrated a few Heritage Minutes. He returned to Moose Jaw, to host his last episode of Morningside from the Temple Gardens Mineral Spa Resort.In 1986, <mask> held the first fundraising golf tournament for literacy, a cause that was very important to him. That tournament has evolved and is now held in every province and territory of Canada and has raised more than $13-million for volunteer-based literacy programs. As part of its activities, it honours a Canadian each year with the <mask>wski Award for contributions to adult literacy in Canada. Throughout most of his life, Gzowski had been a heavy smoker of cigarettes, consuming up to 75 cigarettes per day. In 2000, Gzowski stopped smoking through attending a treatment centre for persons with addictions. A few months following the completion of treatment, Gzowski developed emphysema, following a chest infection. By the fall of 2001, he was largely

masks:
Gzowski
Peter Gzo


title: Peter Gzowski

texts:
 confined to his home, breathing with the assistance of an oxygen tank.In 2001, he contributed the essay "How to Quit Smoking in Fifty Years or Less" to Addicted:  Notes from the Belly of the Beast, edited by Lorna Crozier and Patrick Lane, and published by Greystone Books. The essay was reprinted in September 2001 by The Globe and Mail as "Out of breath". He also wrote the essay "Life after smoking", which was published in 50+ Magazine in June 2001 and included in A <mask>wski Reader, published by McClelland and Stewart in October, 2001. The book is a collection of <mask>'s written works, commencing from his time as a writer for The Varsity at the University of Toronto, collected and with commentary by <mask>. Gzowski died of emphysema in Toronto on January 24, 2002. Gzowski was divorced from his first wife, Jennie Lissaman, from Brandon, Manitoba, whom he met while residing in Moose Jaw and with whom he had five children (Alison, Maria, <mask>, John and Mick). He was survived also by two common-law partners, Jan Walter and Gillian Howard, whom he called his "Partner for Life".Gzowski was the father of a son (<mask> Perkins), born in 1961, from an extra-marital relationship. Following his death, his remains were placed in the family tomb at St. James Cemetery in Toronto. Honours
1974, 1985, 1987 ACTRA Awards for the best host-interviewer on radio
1981 – National Magazine Award for his profile of Wayne Gretzky
1982 – Became host of Morningside on September 6. 1984 – Honorary Doctor of Letters, University of New Brunswick
1986 – Officer of the Order of Canada
1988 – Honorary Doctor of Laws, Trent University
1995 - Governor General's Performing Arts Award
1997 – International Peabody Award for broadcasting
1997 – Gold Medal from the Royal Canadian Geographical Society
1998 – Companion of the Order of Canada. ), Total Gretzky: The Magic,The Legend, The Numbers (McClelland and Stewart)
2001 "How to Quit Smoking in Fifty Years or Less",

masks:
Peter Gzo
Gzowski
Gzowski
Peter
Peter Lawrence


title: Peter Gzowski

texts:
 contained in Lorna Crozier and Patrick Lane (eds), Addicted:  Notes from the Belly of the Beast (Greystone Books)
2002 Foreword to Chris Czajkowski,  Cabin at Singing River: One Woman's Story of Building a Home in the Wilderness (Raincoast Books)

Biographies
 Aleksandra Ziolkowska-Boehm, "Dreams and Reality Polish Canadian Identities”, chapter: The King of CBC, Toronto 1984,
 Aleksandra Ziolkowska-Boehm, „Kanada, Kanada”, chapter: Gwiazdor Kanadyjskiego Radia CBC, Warsaw 1986. 1994 Marco Adria, <mask>: An Electric Life (ECW Press)
2002 Edna Barker (ed. ), with introduction by Shelagh Rogers, Remembering <mask>: A Book of Tributes (Douglas Gibson Books)
2010 R.B.Fleming, <mask>: A Biography (Dundurn Press)

Audio CD

2003  A Celebration of <mask> (CBC Audio) - Collection of Gzowski interviews, compiled by Barbara Brown and Patsy Stevens. In Music
 Gzowski co-wrote the song "One Single River"/"Song For Canada " with Ian Tyson. The song, advocating Canadian unity, was performed by Ian and Sylvia, as well as by Bob Dylan and The Band, during their Basement Tapes sessions. Scottish post-rock band Mogwai use an audio recording of <mask>'s interview with Iggy Pop in the song "Punk Rock", the first song from their album Come on Die Young (1999). References

External links

 Entry at thecanadianencyclopedia.ca

1934 births
2002 deaths
Journalists from Toronto
Writers from Toronto
People from Cambridge, Ontario
Canadian magazine editors
Canadian magazine journalists
Canadian non-fiction writers
Canadian people of Polish descent
Canadian television talk show hosts
Canadian newspaper journalists
Canadian male journalists
Canadian talk radio hosts
Chancellors of Trent University
Companions of the Order of Canada
Peabody Award winners
CBC Radio hosts
University of Toronto alumni
Governor General's Performing Arts Award winners
Maclean's writers and editors
Deaths from emphysema
Burials at St. James Cemetery, Toronto
20th-century

masks:
Peter Gzowski
Peter Gzowski
Peter Gzowski
Peter Gzowski
Gzowski


title: Attaphol Buspakom

texts:
 short time in office

Muangthong United
In 2009, he received an offer from Muangthong United F.C., which he accepted and changed. He can champion Muang Thong United for 2009 Thai Premier League and Attaphol won Coach of The year for Thai Premier League and he was able to lead Muang Thong United to play AFC Champions League qualifying play-off for the first in the club's history. Buriram United
In 2010 Buspakom moved from Muangthong United to Buriram United F.C. He received Coach of the Month in Thai Premier League 2 time in June and October. In 2011, he led  Buriram United win 2011 Thai Premier League second time for club and set a record with the most points in the Thai League T1 for 85 point and He led  Buriram win 2011 Thai FA Cup by beat Muangthong United F.C. 1-0 and he led  Buriram win 2011 Thai League Cup by beat Thai Port F.C.2-0. In 2012, he led Buriram United to the 2012 AFC Champions League group stage. Buriram along with Guangzhou Evergrande F.C. from China, Kashiwa Reysol from Japan and Jeonbuk Hyundai Motors which are all champions from their country. In the first match of Buriram they beat Kashiwa 3-2 and Second Match they beat Guangzhou 1-2 at the Tianhe Stadium. Before losing to Jeonbuk 0-2 and 3-2 with lose Kashiwa and Guangzhou 1-0 and 1-2 respectively and Thai Premier League Attaphol lead Buriram end 4th for table with win 2012 Thai FA Cup and 2012 Thai League Cup. Bangkok Glass
In 2013, he moved from Buriram United to Bangkok Glass F.C.Personal life
Attaphol's sons, Wannaphon <mask> and Kanokpon Buspakom, are professional footballers. Death
On April 16, 2015, while serving as  manager  at Police United, Died at Rama 9 Hospital, after battling a blood


title: Berenice Abbott

texts:
<mask> (July 17, 1898 – December 9, 1991) was an American photographer best known for her portraits of between-the-wars 20th century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s. Early years
<mask> was born in Springfield, Ohio and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. <mask> in Chillicothe OH, 1886). She attended Ohio State University for two semesters, but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. <mask> took revealing portraits of Ray's fellow artists.Trip to Europe, photography, and poetry

Her university studies included theater and sculpture. She spent two years studying sculpture in Paris and Berlin. She studied at the Académie de la Grande Chaumiere in Paris and the Prussian Academy of Arts in Berlin. During this time, she adopted the French spelling of her first name, "Berenice," at the suggestion of Djuna Barnes. In addition to her work in the visual arts, <mask> published poetry in the experimental literary journal transition. <mask> first became involved with photography in 1923, when Man Ray hired her as a darkroom assistant at his portrait studio in Montparnasse. Later, she wrote: "I took to photography like a duck to water.I never wanted to do anything else." Ray was

masks:
Berenice Alice Abbott
Abbott
Abbott
Abbott
Abbott
Abbott


title: Berenice Abbott

texts: impressed by her darkroom work and allowed her to use his studio to take her own photographs. In 1921 her first major works was in an exhibition in the Parisian gallery Le Sacre du Printemps. After a short time studying photography in Berlin, she returned to Paris in 1927 and started a second studio, on the rue Servandoni. <mask>'s subjects were people in the artistic and literary worlds, including French nationals (Jean Cocteau), expatriates (James Joyce), and others just passing through the city. According to Sylvia Beach, "To be 'done' by Man Ray or Berenice <mask> meant you rated as somebody". <mask>'s work was exhibited with that of Man Ray, André Kertész, and others in Paris, in the "Salon de l'Escalier" (more formally, the Premier Salon Indépendant de la Photographie), and on the staircase of the Théâtre des Champs-Élysées.Her portraiture was unusual within exhibitions of modernist photography held in 1928–1929 in Brussels and Germany. In 1925, Man Ray introduced her to Eugène Atget's photographs. She became interested in Atget's work, and managed to persuade him to sit for a portrait in 1927. He died shortly thereafter. She acquired the prints and negatives remaining in Eugène Atget's studio at his death in 1927. While the government acquired much of Atget's archive – Atget had sold 2,621 negatives in 1920, and his friend and executor André Calmettes sold 2,000 more immediately after his death — <mask> was able to buy the remainder in June 1928, and quickly started work on its promotion. An early tangible result was the 1930 book Atget, photographe de Paris, in which she is described as photo editor.Due to a lack of funding,

masks: Abbott Abbott Abbott Abbott


title: Berenice Abbott

texts:
 <mask> sold a one-half interest in the collection to Julien Levy for $1,000. <mask>'s work on Atget's behalf would continue until her sale of the archive to the Museum of Modern Art in 1968. In addition to her book The World of Atget (1964), she provided the photographs for A Vision of Paris (1963), published a portfolio, Twenty Photographs, and wrote essays. Her sustained efforts helped Atget gain international recognition. Changing New York

In early 1929, <mask> visited New York City, ostensibly with the goal of finding an American publisher for Atget's photographs. Upon seeing the city again, <mask> recognized its photographic potential. She went back to Paris, closed up her studio, and returned to New York in September.There, over the next decade, she focused on documentary photography and on portraying the city as it underwent a transformation into a modern metropolis. During this period, <mask> became a central figure and important bridge between the photographic hubs and circles of Paris and New York City. Her first photographs of New York were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera, which produced 8 × 10-inch negatives. Using this large format camera, <mask> photographed the city with the diligence and attention to detail she had so admired in Eugène Atget. After Atget's death in 1927, she and Julien Levy had acquired a large portion of his negatives and glass slides, which she then brought over to New York in 1929. Her subsequent work provides a historical chronicle of many now-destroyed buildings and neighborhoods in Manhattan. <mask> had her first exhibition in New

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title: Berenice Abbott

texts: York in 1937 entitled "Changing New York" at the Museum of the City of New York.A book under the same title was also published, depicting the city's physical transformation, including changes to its neighborhoods and the replacing of low rise buildings with skyscrapers. <mask> worked on her New York project independently for six years, unable to get financial support from organizations (such as the Museum of the City of New York), foundations (such as the Guggenheim Foundation), or individuals. She supported herself with commercial work and with teaching gigs at the New School of Social Research beginning in 1933. In 1935, <mask> was hired by the Federal Art Project (FAP) as a project supervisor for her "Changing New York" project. While she continued to take photographs of the city, she hired assistants to help her in the field and in the office. This arrangement allowed <mask> to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York.<mask>'s project was primarily a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what


title: Berenice Abbott

texts: she described as "fantastic" contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it). <mask>'s ideas about New York were highly influenced by Lewis Mumford's historical writings from the early 1930s, which divided American history into a series of technological eras. <mask>, like Mumford, was particularly critical of America's "paleotechnic era", which, as he described it, emerged at the end of the American Civil War, a development other historians have dubbed the Second Industrial Revolution. Like Mumford, <mask> was hopeful that, through urban planning efforts (aided by her photographs), Americans would be able to wrest control of their cities away from paleotechnic forces and bring about what Mumford described as a more humane and human-scaled, "neotechnic era".<mask>'s agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era – before the advent of urban planning. Most often, buildings from this era appeared in <mask>'s photographs in compositions that made them look downright menacing. In 1935, <mask> moved into a Greenwich Village loft with art critic Elizabeth McCausland, with whom she lived until McCausland's death in 1965. McCausland was an ardent supporter of <mask>, writing several articles for the Springfield Daily Republican, as well as for Trend and New Masses (the latter under the pseudonym Elizabeth Noble). In addition, McCausland contributed the captions for Changing New York which was published


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 in 1939. Although well-received, the final book showed important differences from the one initially envisioned by <mask> and McCausland, especially with respect to captions and sequencing. In 1949, her photography book Greenwich Village Today and Yesterday was published by Harper & Brothers.Ralph Steiner wrote in PM that <mask>'s work was "the greatest collection of photographs of New York City ever made." As the city and architecture are two main themes in <mask>'s photographs, her work has been commented on and reviewed together with the work of Eugène Atget and Amanda Bouchenoire, in the book Architecture and Cities. Three Photographic Gazes, where author Jerome Saltz analyzes historicist perspectives and considers their aesthetic implications: "(...) the three authors coincide in the search for and exaltation of intrinsic beauty in their objectives, regardless of quality and clarity of their references." Gallery

Beyond New York City

In 1934, Henry-Russell Hitchcock asked <mask> to photograph two subjects: antebellum architecture and the architecture of H. H. Richardson. Two decades later, <mask> and McCausland traveled US 1 from Florida to Maine, where <mask> photographed small towns and growing automobile-related architecture. The project resulted in more than 2,500 negatives. Shortly after the trip, <mask> underwent a lung operation.She was told she should move from New York City due to air pollution. She purchased a rundown home in Blanchard, Maine along the banks of the Piscataquis River for US$1,000. Later, she moved to nearby Monson and remained in Maine until her death in 1991. Most of her work is shown in the United


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texts:
 States, but a number of photographs are shown in Europe. <mask>'s last book was A Portrait of Maine (1968). Approach to photography
<mask> was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers.Most of <mask>'s work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams. Throughout her career, <mask>'s photography was very much a reflection of the rise in development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century. Scientific work
In addition to her photography, <mask> co-founded a company, the "House of Photography," which developed, promoted and sold photographic equipment and devices from 1947 to 1959. <mask>'s inventions included a distortion enlarging easel, which created unusual effects on images, and the telescopic lighting pole, known today by many studio photographers as an "autopole," to which lights can be attached at any level.Owing to poor marketing, the House of Photography quickly lost money, and with the deaths of two designers, the company closed. <mask>'s style of straight photography helped her make important contributions to scientific photography. She once stated, “We live in a world made by science.


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texts:
 There needs to be a friendly interpreter between science and the layman. I believe photography can be this spokesman, as no other form of expression can be.”

From 1958 to 1960, she produced a series of photographs for a high-school physics textbook, developed by the Physical Science Study Committee project based at MIT to improve secondary school physics teaching. Her work included images of wave patterns in water and stroboscopic images of moving objects, such as Bouncing ball in diminishing arcs, which was featured on the cover of the textbook. She contributed to the understanding of physical laws and properties of solids and liquids though her studies of light and motion.Between 1958 and 1961, she made a series of photographs for Educational Services Inc., which were later published. They were subsequently presented by the Smithsonian Institution in an exhibition titled Image of Physics. In 2012, some of her work from this era was displayed at the MIT Museum in Cambridge, Massachusetts. Personal life
The film Berenice <mask>: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned,  "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian. She lived with her partner, art critic Elizabeth McCausland, for 30 years.<mask>'s life and work are the subject of the 2017 novel The Realist: A Novel of <mask> <mask>, by Sarah Coleman. The first comprehensive biography was published in 2018, Berenice <mask>: A

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title: Berenice Abbott

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 Life in Photography by Julia Van Haaften (W. W. Norton); it was nominated for a PEN America award and a Lammy in biography, and excepted in The Paris Review April 10, 2018. Works, exhibitions and collections

Notable photographs
 Under the El at the Battery, 1932. New York at Night, 1932. Tempo of the City I, 1938. James Joyce, 1928. Jay Street #115, New York, c.1936.Automat, 977 Eighth Avenue, New York, 1936. Radio Row, Cortland Street, Manhattan, c. 1936. Marie Laurencin, Paris, c.1925. Triboro Barber School, New York, 1935. The Hands of Jean Cocteau, 1927. Fifth Avenue Coach Company, New York, 1932. Edward Hopper in His Studio, 1949.Fifth Avenue, Nos. 4,6,8, 1936. Flatiron Building, Broadway and Fifth Avenue, New York City, 1938. Father Duffy, Times Square, 1937. Gunsmith and Police Department Headquarters, 1937. Church of God, 1936. Eugene Atget, 1927.Edna St. Vincent Millay, c.1929. Books
Books of photographs by <mask>
 1939 Changing New York. New York: Dutton, 1939. With text by Elizabeth McCausland. Reprint: New York in the Thirties, as Photographed by <mask> <mask> (New York: Dover, 1973). Catalog raisonné edition: augmented, annotated by Bonnie Yochelson, ed., <mask> <mask>: Changing New York (New York: New Press and the Museum of the City of New York, 1997)  /. Critical edition:
 1949 Greenwich Village: Yesterday and Today.New York: Harper, 1949. With text by Henry Wysham Lanier. 1968 A Portrait of Maine. New York: Macmillan, 1968. With text by Chenoweth Hall. Other books by, or with major contributions from, Abbott
 1930 Atget, photographe de Paris. Paris: Henri Jonquières; New York: E. Weyhe, 1930.(As photograph

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 editor.) 1941 A Guide to Better Photography. New York: Crown, 1941 Revised edition: New Guide to Better Photography (New York: Crown, 1953)
 1948 The View Camera Made Simple. Chicago: Ziff-Davis, 1948
 1956 Twenty Photographs by Eugène Atget 1856–1927 (portfolio of silver prints by <mask> from original Atget negatives in her possession)
 1963 A Vision of Paris: The Photographs of Eugène Atget, the Words of Marcel Proust. New York: Macmillan, 1963. Edited by Arthur D. Trottenberg
 1964 The World of Atget. New York: Horizon, 1964.(And later editions.) 1964 Magnet. Cleveland: World, 1964. With text by Evans G. Valens. 1965 Motion. London: Longman Young, 1965. With text by Evans G. Valens
 1968 A Portrait of Maine.NY: Macmillan, 1968. With text by Chenoweth Hall
 1969 The Attractive Universe: Gravity and the Shape of Space. Cleveland: World, 1969. With text by Evans G. Valens
 2008 <mask> <mask>. Germany/New York: Steidl, 2008. 2v. Edited by Hank O'Neal and Ron Kurtz.2010 Berenice <mask>". London: Thames & Hudson, 2010, Introduction by Hank O'Neal
 2012 <mask> <mask>: Documenting Science. Göttingen: Steidl, 2012. Edited by Ron Kurtz, with introduction by Julia Van Haaften. 2014 The Unknown <mask> <mask>. Göttingen: Steidl, 2014. 5v.Edited by Ron Kurtz and Hank O'Neal
 2015 <mask> <mask>: Paris Portraits. Göttingen, Germany: Steidl; New York: Commerce Graphics, 2016. Edited by Hank O'Neal

Anthologies of and/or about <mask>'s works
 1970 <mask> <mask>: Photographs. New York: Horizon, 1970; reprinted, Washington, D.C.: Smithsonian Institution Press, 1990
 1982 O'Neal, Hank. <mask> <mask>: American Photographer. New York: McGraw-Hill,

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texts:
 1982. British title: Berenice <mask>: Sixty Years of Photography.London: Thames & Hudson, 1982
 1986 <mask> <mask>, fotografie / Berenice <mask>: Photographs. Venice: Ikona, 1986
 1989 Van Haaften, Julia, ed. <mask> <mask>, Photographer: A Modern Vision. New York: New York Public Library, 1989. [Winner, American Association of Museums' exhibition catalog design award]
 2009 Shimizu, Meredith Ann TeGrotenhuis. "Photography in Urban Disclosure: <mask> <mask>'s Changing New York and the 1930s," Ph.D. dissertation, Northwestern University, 2009
 2012 Morel, Gaëlle. <mask> <mask>.Paris: Éditions Hazan, 2012
 2015 <mask> <mask>. Aperture Masters of Photography 9, by Julia Van Haaften. New York: Aperture, 1988; trilingual edition, 1997; completely revised edition, with new photos and text, 2015. Contemporary women artists. Detroit: St. James Press. Van Haaften, Julia (2018). <mask> <mask>: A Life in Photography, W. W. Norton & Company., . External links

 Corinne, Tee A. "Berenice <mask>" (GLBTQ: An encyclopedia of gay, lesbian, transgender and queer culture.) Teicher, Jessica E. "Inspired by <mask> <mask>"
 "<mask> <mask>'s Photographic Prints"(Commerce Graphics Ltd, Inc.)
 <mask> <mask> (The Museum of Modern Art)
 Get the Picture: <mask> <mask> (Minneapolis Institute of Art)
 <mask> <mask> (Archives of Women Artists, Research and Exhibitions)
 Portraits by <mask> <mask> in the collection of the National Portrait Gallery, London
 Find A Grave

American women photographers
Architectural photographers
1898 births
1991 deaths
Federal Art Project artists
Lesbian artists
LGBT photographers from the United States
LGBT people from Ohio
Women

masks: Abbott Berenice Abbott Abbott Berenice Abbott Berenice Abbott Berenice Abbott Berenice Abbott Berenice Abbott Abbott Berenice Abbott Berenice Abbott Berenice Abbott Berenice Abbott Berenice Abbott Berenice Abbott


title: Rowland Egerton-Warburton

texts:
<mask>  (14 September 1804 – 6 December 1891) was an English landowner and poet from the Egerton family in Cheshire. He was a devout Anglican in the high church tradition and a local benefactor. He paid for the restoration of his parish church and for the building of two new churches in villages on his estates. He also built cottages and farm buildings in the villages. Through his mother's line he inherited the Arley and Warburton estates in Cheshire. He is best remembered for rebuilding Arley Hall and its chapel dedicated to St Mary, and for helping to create the picturesque appearance of the village of Great Budworth. He and his wife designed extensive new formal gardens to the southeast of the hall, which included one of the earliest herbaceous borders in Britain.The hall and gardens are still owned by his family, but are open to the public. Egerton-Warburton's main hobby was hunting. He was a keen member, and later the president, of the nearby Tarporley Hunt Club. He also wrote poetry, the subject matter of which reflected his interests in hunting and in the countryside. Some of his rhymes are to be found on signposts in the grounds of the hall. Early life

He was born <mask> in 1804 at Norley Bank, Norley, Cheshire, the eldest son of <mask> and his wife, Emma. His father was the seventh son of Philip Egerton who became the 9th baronet of Egerton and Oulton on the death of his elder brother in 1825.His maternal grandmother (also called Emma) was the youngest sister of Sir Peter Warburton, 5th baronet of Arley, who had no children. Sir Peter

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title: Rowland Egerton-Warburton

texts:
 died in 1813 and in his will he left the estates of Warburton and Arley to <mask> junior, who was at that time still a minor. His father added the name "Warburton" by royal licence in the same year. Egerton-Warburton was educated at Eton College, and although he was admitted to Corpus Christi College, Oxford in 1823, there is no evidence that he was awarded a degree. After his time in Oxford he went on a Grand Tour, and returned to the life of a squire at Arley Hall, having gained control of the estates on achieving his age of majority in 1825. Landowner and benefactor

Egerton-Warburton managed the Arley estate from 1825 until his death in 1891. During this time the estate was profitable and he was able to enjoy a larger income than his predecessors.He was a high church Anglican and a supporter of the Oxford Movement, having been influenced by Keble, Pusey and Newman. He regularly attended choral Matins in the chapel at Arley Hall, and on hunt days he wore his hunting colours. He took little interest in politics, in which respect he is regarded as having been "passive". In the 1850s he paid for the restoration of his local parish church of St Mary and All Saints at Great Budworth, where he encouraged a more Anglo-Catholic style of worship. He paid for the building of new churches in two villages on his estates. In the village of Warburton he paid for the new church of St Werburgh. This was built in 1883–85 to a design by John Douglas of Chester, at which time Egerton-Warburton's nephew, Rev.Geoffrey Egerton-Warburton, was the incumbent. This


title: Rowland Egerton-Warburton

texts:
 leather strap by his gardener. He had a path, Furlong Walk, constructed from the terrace at the hall with wire to guide him.His health began to fail from 1888 and he died in 1891 at the age of 87. He was buried in the family vault at Great Budworth church. His estate amounted to a little over £51,670 (£ today). References
Citations

Sources

External links

Hunting Songs, Ballads, &c., by <mask>-Warburton (1834) (includes "Quaesitum meritis")

1804 births
1891 deaths
English Anglicans
Alumni of Corpus Christi College, Oxford
People educated at Eton College
People from Cheshire West and Chester
High Sheriffs of Cheshire
Deputy Lieutenants of Cheshire
British Militia officers
Cheshire Yeomanry officers
English male poets
19th-century English poets
19th-century English male writers
Egerton


title: Colin Archer

texts:
<mask> (22 July 1832 – 8 February 1921) was a Norwegian naval architect and shipbuilder known for his seaworthy pilot and rescue boats and the larger sailing and polar ships. His most famous ship is the Fram, used on both in Fridtjof Nansen's and Roald Amundsen's polar expeditions. He was born at Tollerodden in Larvik, Norway, where he also had his own house built and his boatyard. Early life
<mask> was born in Larvik in southern Norway as the 12th of 13 children to parents who immigrated to Norway from Scotland in 1825. Before his career in naval architecture, he spent time as a farmer and administrator in Queensland, Australia with several of his brothers, including David who first arrived in Sydney in 1834. During his time as an administrator he was contracted to produce a map of the Fitzroy River. Their settlement is now known as Gracemere Homestead.In 1861, <mask> returned to Larvik and undertook the study of practical and theoretical shipbuilding. He married Karen Sophie Wiborg in 1869 with whom he had five children. Career
<mask> designed his vessels in the workroom of his residence at Tollerodden. Before he started building sailboats, he studied the work of Fredrik Henrik af Chapman and especially his displacement curve. He also studied John Scott Russell's theories. His first boats were designed with a combination of Chapman's displacement parabola curve and Scott Russell's positioning of midship section (defined as section with widest beam) that was well aft of amidships and with sharp bow waterlines. Based on this, <mask> started to reform the pilot boat

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 design in 1872.In 1892 several of his pilot-boats rescued fishing boats in a severe off shore gale on the southeast coast of Norway, and after a design competition, he received an order to design a rescue boat for the Norwegian Society for Sea Rescue (Norsk Selskab til Skibbrudnes Redning). This 47-foot boat proved so seaworthy that 33 were built, giving <mask> and his shipyard a reputation for durable and safe ships. After the pilot boat had shown its seaworthiness, all other boat builders started to copy <mask>'s lines and building method. The boats became referred to as a <mask> or <mask>-type no matter who designed or built them. <mask> built about 200 boats, 120 with ballast keels. His designs were also built at other yards, totaling about 50 in his lifetime. Today, 35 of his boats are still sailing.<mask> also became famous for his ships, especially the polar ship FRAM. <mask> closed his business in 1909 at the age of 78. <mask> built about 120 double-enders, but thousands have since been built worldwide. Boats are still (2017) being built and labelled <mask>-type. Naval architect with ship yard

In 1872 <mask> wanted to share his knowledge on ship and boat design. He published a 29-page design lecture that included Fredrik Henrik af Chapman's and John Scott Russell's theories. This was also good advertising for him that soon gave him orders.Fueled by his belief in 1873 that shipbuilding is more lucrative than building boats, in 1874, <mask> and investors founded the shipyard "Laurvig Strandværft" in Rekkevik in the Larvik fjord. At its start, <mask> was a

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 30% owner in his shipyard. Rekkevik lies 3 km from the inner harbour of Larvik where his boatyard was situated at Tollerodden. One of the part owners of the shipyard was a ship owner and ordered the first ship. In 1886 <mask> became sole owner of the shipyard. Sailing ships
Laurvig Strandværft built four ships to <mask>'s designs:

 1875: schooner Aries, 86 feet
 1880: brigantine Leon, 108 feet
 1892: polar ship Fram, 140 feet
 1900: auxiliary steam yacht Ingeborg, 94 feet

<mask> also designed several three-masted barks 135–155 feet that were used for building seven sailing ships in Arendal 1875-1886 and one in Grimstad in 1887, both towns on the south coast. Archer's shipyard also performed repair work and especially conversion and outfitting for polar expeditions.The brigantine Leon; ship and model boat

Leon was built 1878–1880 for Herlofson brothers in Arendal. The Herlofsons were a sailing and ship owning family, and Leon remained in the family's ownership until 1894. Leon then changed hands several times among various Norwegian owners. Leon was always rigged as Brigantine, but in Norway this rig is called "Skonnertbrigg" and most often shorted to schooner, which has led authors to believe she was re-rigged, but she was not. In late autumn 1915 she developed a serious leak while on a voyage in the North Sea from Granton to Porsgrunn with coal, and was abandoned. The plans for Leon were reproduced by Harold A. Underhill in 1958 in his book Plank-On-Frame Models and Scale Masting and Rigging, vol. I.Many Leon models exist around the world, including one at

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 Royal Museums Greenwich. Polar ships

The most notable single ship built by <mask> was the Fram, used by Fridtjof Nansen in his expedition attempt to the North Pole 1893-96 and by Roald Amundsen's 1911 historic expedition as the first to the South Pole. Fram is now preserved in the Fram Museum on Bygdøy, Oslo, Norway. In 1886 the 3-masted bark Pollux seal and whaling ship was built to <mask>'s design in Arendal. In 1897 she was bought by Carsten Borchgrevink, taken to <mask>'s yard, and fitted out for polar expeditions. Renamed Southern Cross she sailed to Antarctica 1898-1900, where Borchrevivk made important discoveries and was the first man to step on land on Antarctica. Information from this expedition was later used by Roald Amundsen for his expedition to the south pole.In 1898 the Italian prince and explorer Prince Luigi Amedeo, Duke of the Abruzzi wanted to do polar expeditions. He travelled to Norway and consulted the famous polar explorer Fridtjof Nansen. In 1899 Amedo bought the former whaling vessel Jason, renamed her Stella Polare and took her to <mask>'s shipyard. The interior was stripped out and new beams, diagonals and knees heavily strengthened the ship. Amedo set off in June 1899 and Stella Polare had hard time but survived thanks to <mask>'s work. In 1899, <mask> also fitted Zarya for the Russian polar expedition of 1900–02. Zarya was strengthened with internal frames and beams, and deckhouses were added.The rig was changed to barkentine (square sail on foremast only). In October 1899 the ship was certified by Norwegian authorities for a

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 three-year expedition in the Arctic. Pilot boat reformator
<mask>'s first pilot-boat, 33 feet in length, was built in 1872. Influenced by Scott Russell's theories, it had the midship section 58% from the forward perpendicular as opposed to the traditional position of 44%. The traditional boats were thus of the old blunt Cod's Head-Mackerel Tail-type. They were also beamy and shallow with poor windward abilities. <mask> also made his boats deeper with more ballast, strongly built in oak and they soon became known for seaworthiness and speed.Thus he started revolutionizing the Norwegian double-ended pilot-boats from his first boat. The next and biggest pilot-boat improvement came in 1882, when he introduced the ballast keel and carvel building as before used on his yachts. With the improved stability generated by the ballast keel, <mask> reduced the beam to 33% as opposed to the traditional 38-40%. The 36-foot boats were outstanding in performance and resisted capsizing. In 1886 his pilot-boats outclassed all others in a pilot race with 1st, 2nd, 3rd, 4th, 6th, and 7th place of 12 participants. After that, he was made a Knight of the Order of St. Olav. Rescue boats

After an off shore gale in 1892 when several of <mask>'s pilot boats rescued fishermen, it was thought that pilots should do the rescue operations.Three cutter-rigged <mask> pilot boats were built; 38-, 41- and 42-foot length, fitted out as rescue boats and put into service in 1893 manned by pilots. To try a bigger and more specialized rescue boat, a design competition was held in 1892 and <mask> got

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title: Colin Archer

texts: the order. He based his design on his newest pilot-boat and scaled the lines to 46 feet and reduced the beam ratio to 33.5%. Freeboard height was increased with about 20 cm. The keel was widened so the ballast keel became considerably heavier at 6.5 tons. The inside ballast remained the same, 6-7 tons. Ceiling, 45 mm planking fitted inside the frames, were made watertight and thus the boat would float and be maneuverable in case of a leak or damage.The boat was rigged as ketch and launched July 1893 as the RS 1 COLIN ARCHER.In service, it was soon realized, that the rescue boats had to sail out with fishing fleets every day. As there were no weather forecasts and no distress signals, the rescue boats had to be at the scene if a storm arrived. As the wind increased, the smallest boats were towed to safety and returned to tow larger boats. The pilots could not be with the fishermen all day so the design chosen for new boats was the large ketch. 33 ketch-rigged rescue boats were built from 1893 to 1924. 28 of the ketches were <mask>’s design and 13 were built by <mask>. From 1909 – 1924 the last 13 ketches were built in the Risør area (35 n.m. SW of Larvik).Only one rescue boat was lost at sea with no traces. <mask> made two new plans for rescue boats. The Mk II was built in 1897 has more overhang in the bow profile and thus more flare in the bow sections and a slightly fuller waterline in the bow. Length over deck became 47 feet and the boat had more stability for towing. Mk. III was built in 1908 with 20 cm more beam (34.4%) and a considerably fuller bow, but a


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 finer stern. All versions have the midship section approx.53% from the forward perpendicular. Mk. III’s lines are more symmetrically shaped than <mask> normally used. The Mk. III rescue boat was considered the best boat in strong winds and most towing abilities. Framing is kept relatively light with frame spacing 60–66 cm c-c with a thin stem bent oak rib in between. Planking was 38 mm oak and the inside of the frames was also planked (ceiling) with 50 mm pine.This was caulked watertight to the watertight cabin sole (floor) and thus, and floated when the planking got a leak. To minimize pitching to give the boats an easier motion and keep the deck dry, the ballast was concentrated midships, and anchor windlass and chain placed aft of the mast. The rig was ketch (two mast) with a relatively short mast and very small mizzen. In a strong wind, they normally sailed with main and staysail only, often reefed. With boats in tow, the mizzen was used to point higher to the wind and help to tack. The rig was basically the same for all boats, but the spars became heavier for each upgrade. The last sailing rescue boat was built in 1924.Next generation boats, the Bjarne Aas design with an engine but also full rig was built in 1932. A dozen of <mask>'s design served without an engine until 1940. With engine installed, they served until 1960. Yachts

<mask> built about 60 yachts, each to a unique drawing, half being double-enders and the other half with counter sterns. Many of both double-enders and the counter stern yachts have plum stems. All yachts have more undercut forefoot

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 than the workboats, especially after 1897. The beam is 22-30% of the length over the deck.(As opposed to 33-36% for the pilot-boats and the rescue boats). All yachts, except the Asgard, and all pilot-boats, are cutter rigged (one mast). The yachts have their main boom extending the stern for several feet that with a relatively tall mast enhanced performance. (The pilot-boats' boom normally extends the sternpost by one foot. Only the rescue boats and a few fishing boats, are ketch-rigged (two masts)). The sail area for the yachts is in the range 100-125% of waterline length squared. On almost all boats, <mask> spaced grown pine frames 2 feet c-c with a thin steam-bent oak rib between.This, together with thin, canvassed decks, made the yachts fairly light. The yachts have large ballast keels and normally no inside ballast, except a little for trim. <mask>'s Wave Form Theory
<mask> spent much time calculating how an efficient hull should be designed. He started with Chapman's displacement parabola curve, but with Scott Russell's positioning of the midship section well aft of amidships and thus with sharp bow waterlines. In 1876 he changed Chapman's parabola for the displacement curve, with Scott Russell's wave curves; the sine curve forward and the trochoid curve aft. The change gave designers more freedom in shaping the hull than Scott Russell's theory. <mask>'s theory did not change <mask>'s early lines much, more confirmed them.<mask>'s theory gave fuller bow lines than Scott Russell's, but unless the forefoot was well undercut, <mask>'s bow lines also became too

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