A jobbing press, job press, or jobber is a variety of printing press used in letterpress printing. The press is meant to be operated by a pressman working on small jobs, as opposed to long print runs or newspaper work, or jobs that require less than a full-sized sheet of paper, though the definition of "small jobs" may vary depending on the printing shop; such work might include printing personal stationery, handbills, or other small printing jobs, or may include a small book. Such presses were common in the 19th and 20th centuries, have yet been replaced by the photocopier for small and medium runs, by the desktop computer for personal stationery. Today, the jobber is the preferred press for letterpress printers who now produce high-end prints for customers who want an antique effect. Though the term can refer to any small printing press or machine intended for such work, it most refers to a class of small, vertical platen presses. Depending on the time-period when the machine was made, they may be operated by treadle, line shaft, electricity, or by hand lever.
The most common form of job presses were those classified as platen presses. A platen press is one that has a platen to apply the needed pressure against the paper and bed of type to form the impression, in contrast to those presses that use a cylinder. George Phineas Gordon developed a design of press, adopted, his "Franklin Press". Chandler & Price was a company that made a used jobber press. Golding Pearl Adana Printing Machines
This article is about women as subjects of art. For women creating art in the Philippines, see Filipino women artists. Women in Philippine art is the many forms of art in the Philippines that utilizes women in the Philippines and women from other parts of the world as the main subject depending on the purpose of the Filipino artist; the portrayal of women in the visual arts depend on the context on how Philippine society perceives women and their roles in human communities, such as their own. In the field of painting, Filipino visual artists depicted women in their painting as women who are influential and with authority, women who are engaged in domestic activities, women who are shown to be under the control of influential men in the Philippines or foreign men. In painting the faces and figures of Filipino women, Philippine National Artist Fernando Amorsolo was able to develop his own template on how to paint and create Filipino women in his art: women with rounded faces but not oval, with "exceptionally lively eyes", with "firm and marked" noses, with clear skin and fresh color, not of white complexion nor of dark brown Malayan color.
Amorsolo painted Filipino women, similar to the stature of a "blushing" girl. In contrast, Filipino painter, ilustrado, political activist and revolutionary hero Juan Luna painted women in a different light. In his painting known as España y Filipinas, Luna used symbolism and allegory by rendering a taller and strong-shouldered maternal Spaniard woman guiding a shorter, graceful and "humbly dressed" Filipino woman towards the way to progress. Prolific in his career as a painter, Luna produced scenes that depict European life. Luna's portrayal of European women can be seen in his Las Damas Romanas, the Odalisque, La Madrileña, En el Balcon, Picnic in Normany, The Parisian Life, Despues del Baile, Street Flower Vendor, Ensueños de Amor, Mi Novia and La Marquesa de Monte Bolivar. Luna's depiction of Filipino women can be viewed in La Bulaqueña, Nena y Tinita. Luna painted a scene depicting Egyptian women in his La Muerte de Cleopatra. Félix Resurrección Hidalgo, one of the great Filipino painters of the late 19th century, has his fair share of artistic contribution in painting historical female characters through the visual arts during his time.
Hidalgo's Las Virgenes Cristianas Expuestas al Populacho recounting the suffering that women has experienced during the period in ancient Roman history when the persecution of Christians in Ancient Rome occurred. Presented in the masterpiece were two nude female slaves and stripped of dignity, being auctioned to boorish and sexually-hungry Roman male onlookers. Hidalgo has a painting of a caucasian woman titled A lady in the Moonlight. Fabián de la Rosa, the mentor and uncle of Fernando Amorsolo and his brother Pablo Amorsolo had his own technique of painting women. De la Rosa painted a group of Women Working in a Rice Field in 1902 and his portrait of a Young Filipina in 1928. Pablo Amorsolo himself painted his own rendition of a female Fruit Vendor. Painter, writer and Philippine national hero José Rizal used the theme of a woman of power in his sculptures, his clay sculpture known as The Triumph of Science over Death was a rendering of a naked and young woman with overflowing hair standing and trampling a skull while bearing a torch held high.
The sculpture symbolized the ignorance of humankind durings the Dark Ages. The torch being held by the woman signified the victory and enlightenment that humankind has received by vanquishing death through science. In another sculpture known as the Victory of Death over Life, Rizal portrayed a woman, limp and lifeless against the hold and embrace of a cloaked figure of a standing skeleton. Rizal sculpted another figure of a woman known as the Reclining Nude. Rizal's technique of molding women into sculptures involved the rendering of the young female body as a representation of vitality and virtue. Rizal's "sculptured women", as described by Raquel A. G. Reyes in her book Love and Patriotism: Sexuality and the Philippine Propaganda Movement, 1882 - 1892 were smooth, with unblemished condition, with traditional signs of long abundant and flowing hair on the head, with rounded conical breasts, with absence of pubic hair on the genital area; this overall softness and fluidity were a contrasting effect against the hardness of the escayola material used by Rizal in sculpting these women.
Rizal had drawn a sketch, using crayons, of his former girlfriend Leonor Rivera. As one example of women in Philippine art, Rizal's three sculptures were described by Raquel A. G. Reyes as a "rare representation of the insatiable female sexuality that Rizal attributed to the non-Filipino woman". Reyes further explained that Rizal did not want women in the Philippines to "imitate or to emulate" the foreign women, such as the European women of his time, who were the basis of his sculptures. Filipino women artists Women in art History of painting
Noch koroche dnya, is the sixth studio album by Russian Heavy metal band Aria. It is the first album to feature guitarist Sergey Terentyev. During the recording of Noch koroche dnya, the band was about to split up, as vocalist Valery Kipelov was going to leave the band alongside Mavrin to start a new project. Alexey Bulgakov was recorded several songs with Aria. Moroz Records persuaded Kipelov to return to band and record his part. Versions of songs with Bulgakov on vocals were never released. Songs for Kipelov and Marvin planned. All lyrics are written by Margarita Pushkina. Валерий Кипелов - Vocals Владимир Холстинин - Guitar, Sound Engineer Виталий Дубинин - Bass, Sound Engineer Сергей Терентьев - Guitar Александр Манякин - Drums Aleksandr Myasnikov - Keyboard Маргарита Пушкина - Lyrics Aria - Management Andrey Subbotin - Mastering Vasily Gavrilov - Artist Nadir Chanishev - Photography Pavel Semenov - Computer Design
Lento Violento...e altre storie is a double CD album by Gigi D'Agostino, released on April 27, 2007. Gigi D'Agostino - "E Di Nuovo Cambio Casa" Gigi D'Agostino - "Impressioni Di Settembre" Gigi D'Agostino - "L'Uomo Sapiente" Gigi D'Agostino - "Gigi's Love" Gigi D'Agostino & Magic Melodien - "Vorrei Fare Una Canzone" Gigi D'Agostino - "Ginnastica mentale F. M." Gigi D'Agostino & The Love Family - "Please Don't Cry" Lento Violento Man - "Passo Folk" Gigi D'Agostino - "Lo Sbaglio" Gigi D'Agostino - "Arcobaleno" Gigi D'Agostino & Ludo Dream - "Solo In Te" Gigi D'Agostino - "Ho Fatto Un Sogno" Gigi D'Agostino - "Gioco Armonico" Gigi D'Agostino & The Love Family - "Viaggetto" Gigi D'Agostino & The Love Family - "Stand by Me" Dimitri Mazza & Gigi D'Agostino - "Il Cammino" Gigi D'Agostino - "Ginnastica Mentale" Gigi D'Agostino - "Un Mondo Migliore" Gigi D'Agostino - "Lo Sbaglio" Gigi D'Agostino - "Ininterrottamente" Lento Violento Man - "Capatosta" Lento Violento Man - "Pietanza" Lento Violento Man - "Oscillazione Dag" Lento Violento Man - "Passo Felino" Lento Violento Man - "Endis" La Tana Del Suono - "Tira E Molla" Lento Violento Man - "Raggi Uonz" Lento Violento Man - "La Batteria Della Mente" Lento Violento Man - "Passo Folk" Lento Violento Man - "Legna Degna" Lento Violento Man - "Tordo Sordo" Gigi D'Agostino & The Love Family - "Please Don't Cry" Gigi D'Agostino - "Ho Fatto Un Sogno" Gigi D'Agostino - "Un Mondo Migliore" Gigi D'Agostino - "Voyage" Official website
Stroud railway station served the town of Stroud, in Gloucestershire, England. The station was on a short 1.25 mi-long branch from Dudbridge on the Stonehouse and Nailsworth Railway, part of the Midland Railway. It was not connected to the earlier and still used Stroud railway station on the Great Western Railway. Dudbridge had opened as "Dudbridge for Stroud" with the Stonehouse and Nailsworth Railway in 1867; the railway was taken over by the Midland, whose main line between Bristol and Gloucester it joined at Stonehouse. In 1885, the Midland Railway built a short branch line from Dudbridge to a new station at Stroud; the new line opened for goods traffic in 1885 and for passengers on 1 July 1886. The station at Stroud was perched on a high embankment above the Thames and Severn Canal; the building was wooden and was described at the opening to passenger traffic as "temporary", though it lasted throughout the station's life and beyond. Goods traffic was always more important than passenger traffic at the station, there was a large goods yard to the east of the passenger platforms.
The station was always known as "Stroud", but to distinguish it from the nearby GWR station, various publications referred to it as either "Stroud Wallbridge" or "Stroud Cheapside". That 1910 timetable shows the journey between Dudbridge and Stroud taking an average of five minutes, with fewer than 10 trains a day, a few of them directly running to or from Stonehouse; the station closed temporarily on 1 January 1917, reopening four weeks on 29 January. The Stonehouse and Nailsworth Railway, along with the rest of the Midland Railway, became part of the London Midland and Scottish Railway at the 1923 Grouping. Passenger services were suspended on the line as an economy measure to save fuel in June 1947, were withdrawn from 8 June 1949; the station remained open for goods traffic until 1966, though much of the freight had transferred to the former Great Western station. The station buildings are covered by the town's ring road. Stonehouse Station - Stonehouse History Group