Elmer James Lach was a Canadian professional ice hockey player who played 14 seasons for the Montreal Canadiens in the National Hockey League. A centre, he was a member of the Punch line, along with Toe Blake. Lach led the NHL in scoring twice, was awarded the Hart Memorial Trophy in 1945 as the league's most valuable player, he won three Stanley Cups with Montreal. When Lach retired in 1954, he was the league's all-time leading scorer and was inducted into the Hockey Hall of Fame twelve years later, his number 16 was retired on December 4, 2009, during the Montreal Canadiens centennial celebrations. In 2017 Lach was named one of the'100 Greatest NHL Players' in history. Lach was born in a small town 133 kilometres north of Regina. Elmer was the youngest of two boys and four girls born to William and Mary-Ann Lach, who arrived in Canada from Eastern Europe in 1910. Lach's father was at first a farmer took a job as the head of public works for Nokomis, population 550. Lach played ice hockey for his school team, starting at age 12.
Against the wishes of his Baptist parents, Elmer would sneak away to play ice hockey on a local pond instead of attending church on Saturday mornings. Lach began playing junior ice hockey with the Regina Abbotts in the 1935–36 season, arranged by a Nokomis doctor with contacts in Regina. In Regina, Lach would work at the team's owner's pool hall, he played the two following seasons with the senior Weyburn Beavers of the Saskatchewan Senior Hockey League. He moved again in 1938 to star for two seasons for the senior Moose Jaw Millers, playing hockey in the winter for $75 a month and baseball in the summer, where he would be paid $2.50 per game behind the plate. In his first season with the Millers, he led them in assists, with 20, was the leading playoff scorer, he scored 17 regular-season goals. The next season, he scored 15 goals and 29 assists, led in playoff scoring again. Lach was noted for his defensive contributions. In 1937, along with future Hockey Hall of Fame member Doug Bentley attended the Toronto Maple Leafs training camp.
According to Lach, Conn Smythe, manager of the Leafs, saw Lach and Bentley and said "They were sending me big guys from the West, but instead they’ve sent me peanuts."It was during his time in Moose Jaw that Lach met his future wife, Kay Fletcher. Lach had a job reading meters for the National Light & Power Co. and one day he met Kay in her home. They married in 1941; that same year, Lach's mother died and his father moved to Vancouver, beginning a lifelong estrangement from his son. In 1945, Elmer and Kay celebrated the birth of son Ron. Ron was born. According to Montreal Gazette columnist Dave Stubbs, Elmer wired Kay the message "Nice going, honey." Rejecting the Maple Leafs' assessment, the Montreal Canadiens signed Lach as a free agent on October 24, 1940. With the arrangement of Moose Jaw's owner Cliff Henderson, Montreal player-scout Paul Haynes paid Lach $100 for his rights, "more money than I'd had in my pocket in my life.". He came to the Canadiens' training camp with only an overnight bag, not expecting to be offered a contract.
Henderson had encouraged Lach to go. In his first NHL season, Lach played 43 games, adding 14 assists, he was limited to only one game the following season, after crashing into the boards in the first game, dislocating his shoulder, fracturing his wrist and injuring his elbow. He returned the following season to score 58 points in 45 games. A highlight of the 1942–43 season came when he set a still-standing Canadiens record of six assists in one game on February 6, 1943. In the 1943–44 season, Montreal head coach Dick Irvin tried a line combination of Lach at centre, Maurice Richard on the right wing, Toe Blake at left; this line dominated the NHL for four seasons. In the first season of the Punch line, Lach played scoring on average an assist per game. At the conclusion of the season, Lach was named to the Second All-Star Team. Montreal won the Stanley Cup, his first with the team, sweeping the Chicago Black Hawks in the Stanley Cup Final series. In the 1944–45 season, Lach played in all 50 games, picking up a league-leading 80 points, of which 26 were goals and 54 were assists.
That season, line mate Maurice Richard became the first player in the NHL to score 50 goals in 50 games. The Punch line amassed 220 points in total for an NHL record until the 1960s. Lach won the Hart Memorial Trophy as the league's most valuable player, was named to the First All-Star Team. In the 1945–46 season, Lach led all players with 34 regular season assists, was named once more to the Second All-Star Team; the Canadiens won the Stanley Cup for the second time in Lach's career, defeating the Boston Bruins in five games. In the 1947–48 season, Lach became the first recipient of the Art Ross Trophy, after leading the league in points, with 61; the Punch line era ended. At the end of the 1948–49 season, Lach announced his retirement while recovering from a fractured jaw, but returned for the following season. Lach led the league in assists for the last time in the 1951–52 season, with 50. In the 1952 -- 53 season, Lach won his final Stanley Cup in a memorable finish. In the 1953 Stanley Cup Final against the Boston Bruins, Lach scored the cup-winning goal at 1:22 of overtime in the fifth game of the series.
Margaret Whyte is a Uruguayan visual artist. Margaret Whyte began her artistic activity in 1972 at the Círculo de Bellas Artes in Montevideo, she studied with Clarel Neme, Jorge Damiani, Amalia Nieto, Rimer Cardillo, Hugo Longa, Fernando López Lage. She has been a member of the Contemporary Art Foundation since its inception, her work includes paintings, soft sculptures and interventions. Whyte evokes the memory of the materials she uses – fragments of dresses and bedspreads bring an intense color to her textile works in which she questions the ideals of beauty and their rituals – as a way to revalue the aesthetic independent of the beautiful, her assemblages are accumulations and layers of cut and torn, wrapped and sewn objects which propose a reflection on the situation of women, beauty and their commercial logic. In 2014 she received the Figari Award in recognition of her career; the jury, composed of Olga Larnaudie, Lacy Duarte, Enrique Aguerre, cited the extreme uniqueness of her works and the intergenerational reference that she represents in the Uruguayan art world.
Pinturas, Museum of Contemporary Art, Montevideo, 1992 Las cosas mismas, Juan Manuel Blanes Museum, Montevideo, 1995 Misterios y ritos, Museo del Gaucho y la Moneda, Montevideo, 1996 Cajas de Petri, Sala Vaz Ferreira, Montevideo, 1999 Espacios medios, Molino de Pérez, Montevideo, 2001 Cuerpos atávicos, Colección Engelman-Ost, 2003 Hasta que duela, Cabildo de Montevideo, 2003 Pliegues, Subte Exposition Center, 2007 Kanga, intervention, CCE elevator, Montevideo, 2008 Madame Butterfly, Solís Theatre staircase, Montevideo, 2009 Belleza compulsiva, National Museum of Visual Arts, 2009 Lo que queda, Contemporary Art Show, 2012 Acquisition Award, 39th National Salon of Plastic and Visual Arts, 1975 Ministry of Tourism Award, 6th Spring Biennale, Salto, 1996 Special and Acquisition Award, Centennial Painting Salon of the Banco República, 1997 Spring Biennale Award, Salto, 1998 Figari Award for Career, MEC-BCU, 2014 Official website Belleza compulsiva at the National Museum of Visual Arts
Richmond Palace was a royal residence on the River Thames in England which stood in the sixteenth and seventeenth centuries. Situated in what was rural Surrey, it lay upstream and on the opposite bank from the Palace of Westminster, located nine miles to the north-east, it was erected about 1501 by Henry VII of England known as the Earl of Richmond, in honour of which the manor of Sheen had been renamed "Richmond". Richmond Palace therefore replaced Shene Palace, the latter palace being itself built on the site of an earlier manor house, appropriated by Edward I in 1299 and, subsequently used by his next three direct descendants before it fell into disrepair. In 1500, a year before the construction of the new Richmond Palace began, the name of the town of Sheen, which had grown up around the royal manor, was changed to "Richmond" by command of Henry VII. However, both names and Richmond, continue to be used, not without scope for confusion. Curiously, today's districts of East Sheen and North Sheen, now under the administrative control of the London Borough of Richmond upon Thames, were never in ancient times within the manor of Sheen, but were rather developed during the 19th and 20th centuries in parts of the adjoining manor and parish of Mortlake.
Richmond remained part of the County of Surrey until the mid-1960s, when it was absorbed by the expansion of Greater London. Richmond Palace was a favourite home of Queen Elizabeth, who died there in 1603, it remained a residence of the kings and queens of England until the death of Charles I in 1649. Within months of his execution, the Palace was surveyed by order of Parliament and was sold for £13,000. Over the following ten years it was demolished, the stones and timbers being re-used as building materials elsewhere. Only vestigial traces now survive, notably the Gate House.. The site of the former palace is the area between Richmond Green and the River Thames, some local street names provide clues to existence of the former Palace, including Old Palace Lane and Old Palace Yard. Henry I divided the manor of Shene from the royal manor of Kingston and granted it to a Norman knight; the manor-house of Sheen was established by at least 1125. In 1299 Edward I took his whole court to the manor-house at Sheen, close by the river side.
In 1305, he received at Sheen the Commissioners from Scotland to arrange the Scottish civil government. It returned to royal hands in the reign of Edward II and after his deposition it was held by his wife, Queen Isabella; when the boy-king Edward III came to the throne in 1327 he gave the manor to his mother Isabella. After her death he extended and embellished the manor house and turned it into the first Shene Palace. Edward III died at Shene on 21 June 1377. In 1368 Geoffrey Chaucer served as a yeoman at Sheen. Richard II was the first English king to make Sheen his main residence in 1383, he took his bride Anne of Bohemia there. Twelve years Richard was so distraught at the death of Anne at the age of 28, that he, according to Holinshed, "caused it to be thrown down and defaced. For 20 years it lay in ruins until Henry V undertook rebuilding work in 1414; the first, pre-Tudor, version of the palace was known as Sheen Palace. It was positioned at 51.460388°N 0.310219°W / 51.460388. In 1414 Henry V founded a Carthusian monastery there known as Sheen Priory, adjacent on the N. to the royal residence.
Henry VI continued the rebuilding in order that the palace might be worthy of the reception of his queen, Margaret of Anjou. Edward IV granted it to his queen for life. In 1492 a great tournament was held at the Palace by Henry VII. On 23 December 1497 a fire destroyed most of the wooden buildings. Henry named the new palace "Richmond" Palace after his title of Earl of Richmond; the earldom was seated at Richmond Castle, from which it took its name. In 1502, the new palace witnessed the betrothal of Princess Margaret, daughter of Henry VII, to King James IV of Scotland. From this line came the House of Stuart. In 1509 Henry VII died at Richmond Palace. However, at Christmastide 1497 a horrific fire broke out in the king's private chambers, destroying a large portion of the palace: the Milanese ambassador, Raimondo Soncino, witnessed the blaze, estimated the damage at 60,000 ducats, in modern money about $10,138,450, or £7 million; the fire lasted three hours and tore through the rest of the palace, causing panic and hundreds to flee.
Hammerbeam roofs of the Middle Ages were a structural necessity as much as they were pretty architecture as they kept the heavy timbered roofs from caving in. In as large a fire as described by Soncino the English oak beams of the great hall, a centrepiece of a royal Christmas, would have stood no chance of remaining upright and intact, they would have been engulfed in flames in the high temperatures well exceeding 270 °C. Much of the tapestry work of earlier ages was burnt to cinders, losses included crown jewels and much of the royal wardrobe including a large amount of cloth of gold, at this time a luxury item only wearable by royalty and in the case of Sheen Palace it was a feature of the bedding. Accounts refer to Henry Tudor