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Here is the ticket :
I have at home since several years a old ticket (originally, I thought it was a stamp) and I would like try to determine its value and where it was printed. I think it is written in Greek but I don't understand the text because I don't speak a word of Greek. If you can help me, thanks =)
Here is the complete image with a new ticket. What is the abbreviation ΕΠ ? Thanks for this, I will already learn more about the Greek orator :)
These are tickets to the archaeological sites of Epidaurus (which includes the still in use theatre) and Mycenae. In the Epidaurus ticket, the images are of the Athenian Pnyx and the orator Demosthenes. In the Mycenae ticket you can see the Lion Gate, as Pieter Geerkens already mentioned.
The fine print on the left (the printing company's name) is written in katharevousa. This and the price (70 drachmas) points to the tickets being issued sometime in the 70s or early 80s.
The text above the first image is in both Greek alphabet and in English, the latter being:
(He did did not seem to be resting, but his mind was in action and he seemed to be revolving some subtle plan… )
More on the background of the Palatine Anthology and it's significance is available here (pp 362)
The Palatine Anthology was discovered in Heidelberg in 1606, and is a collection of approximately 3700 epigrams, or poems, derived from the collection compiled by the Byzantine protopapas (archpriest) Constantine Cephelas around 900 AD.
The second image is of the Lion Gate in Mycenae:
and is accompanied by a poem fragment that is attributed to the Greek Anthology, which is the collective title for the Palatine Anthology and the smaller Planudea Anthology.
The text underneath the first image translates into English as Archaia Epidavros, the current name for a small fishing village at the east coast of the Peloponnese.
The text above the price on both stamps translates into Latin lettering as Eisithirion, the Greek word for ticket. (Observe also the perforations along the left edge of both images.)
OP's guess that they are museum tickets might explain the dual Greek/English wording.
I guess those are greek tickets (εισιτηριον) for excavation sites or museums. The EP and MYK correspond to the location, ancient epidaurus (Palaia epidauros, ancient epidauros) and mykene.
The vertical writing on the left points to the printing company, Aspioti-ELKA that was declared bancrupt in 1997.
That is indeed Greek Looks like a Ticket to a museum or field.
Experiencing history with you
A map of buildings and owners in what we know as Canalside today. In 1872, when this map was made, Buffalo’s canal district was a dense, roiling center of commerce, industry, transportation, immigration, wealth, poverty, crime, and disease.
Portrait of Mary Burnett Talbert (1866-1923) by G. Gonzalez, a civil rights activist, educator, and WWI Red Cross nurse. Talbert was a tireless worker for human rights in the late 19th and early 20th century and is perhaps best remembered for laying the foundations for the passage of the Dyer Anti-Lynch Bills.
What were early films like?
At first, films were very short, sometimes only a few minutes or less. They were shown at fairgrounds, music halls, or anywhere a screen could be set up and a room darkened. Subjects included local scenes and activities, views of foreign lands, short comedies and newsworthy events.
The films were accompanied by lectures, music and a lot of audience participation. Although they did not have synchronised dialogue, they were not ‘silent’ as they are sometimes described.
The Museum of Alchemists and Magicians of Old Prague
Prague is a city steeped in history both known and otherwise, and the darker side of the Czech capital’s past is brought to light in evocative displays at The Museum of Alchemists and Magicians of Old Prague, which looks at some of the famous dabblers in the dark arts that have called the city home.
As king of much of eastern Europe and eventually Holy Roman Emperor during the 16th century, Rudolf II was not known as an especially effective ruler, but he is widely remembered for his interest and patronage of the occult arts. It was during his reign that he turned Prague into the unofficial capital of the dark arts. Funding a number of alchemists and other so-called sorcerers, most notably the likes of Edward Kelley and John Dee, Rudolf created possibly the most active period of occult practice in history.
Whether or not his patrons were simply charlatans wrapped in mystery (which they probably were), or bold proto-scientists, the legacy of these magicians and madmen is remembered with a carnival flair at The Museum of Alchemists and Magicians of Old Prague. Consisting of two levels of displays and tableaux, the exhibits trace the history of Rudolf’s alchemists in the city, especially Kelley. The main floor has displays and replica artifacts of the trade alongside such fantastical scenes as a failed magician being stolen up into the ceiling by the Devil while cackling sorcerers huddle around the glowing runes beneath. The second floor, which claims to be the actual tower where the real Kelley performed his esoteric experiments, is decked out like an alchemist’s lab, all aged scrolls and stacked grimoires, complete with a half-completed homunculus, the ultimate alchemical achievement.
The museum is more than a little sensational in its presentation, but to be fair, these alchemists were likely more than a little bit showmen themselves. What better way to remember and learn about their arcane history than with a little bit of magical realism?
The famous typological displays
In most ethnographic and archaeological museums, the objects are arranged according to geographical or cultural areas. At the Pitt Rivers Museum, they are arranged according to type: musical instruments, weapons, masks, textiles, jewelry and tools are all displayed to show how there are many ways of being, of knowing and of copying. Parallels and juxtapositions show how there are a great diversity of ways to solve similar problems in different time and by different peoples.
Many of the cases appear to be very crowded, as a large percentage of the total collection is on view. If you look carefully, you will see that a great deal of information is provided about individual objects, but we are conscious that there are many stories that remain left untold. We would love to hear from you and have developed an app where you can make your own tour through self curation.
Origins of The Henry Ford
We are often asked about the origins of The Henry Ford. What was Henry Ford thinking when he built the museum and the village? Why did he build it? What did he hope to accomplish?
Although Henry Ford had developed from a farm boy with a mechanical bent into one of the world’s most powerful and wealthy industrialists, he and his wife, Clara, never forgot the values of the rural life they had left behind. As the inventor of the Model T and champion of the assembly line, Henry Ford was aware of the changes that the automobile and growing industrialization could and would bring to the way of life in rural America. Collecting the tangible evidence of America’s pre- and early industrial history eventually became Henry Ford’s passion. In the early 1900s he began accumulating items associated with his lifelong hero, Thomas Edison.
He started storing a few miscellaneous items picked up through the years in a spare office at the Ford Motor Company’s Highland Park plant as early as 1906-07. By the 1910s, the clocks and watches he had loved tinkering with and repairing since childhood days had grown into a collection. He had also accumulated many other “artifacts” along with inventions and tools that he felt exemplified ordinary Americans’ day-to-day lives.
In 1916, the Chicago Tribune printed a series of three articles based on interviews with Henry Ford, calling Ford “an anarchist” and “an ignorant idealist.” Ford sued for libel for $1 million with the case coming to trial in Mt. Clemens, Michigan, in 1919. In one of the original articles, the Tribune quoted Ford as saying, “history is more or less bunk.” During the trial, the defense attorneys, trying to prove Ford’s “ignorance,” quizzed him on this statement, and Ford responded with, “I did not say it was bunk. It was bunk to me, but I did not say…”
What you could say is, Henry Ford never really believed that “history is bunk.” He believed that the kind of history taught in schools, the history that emphasized kings and generals—and omitted ordinary folks and the tools of everyday life—was useless. As he told his secretary, Ernest G. Liebold, on the way home from the trial (from Accession 65, Oral Reminiscences of Ernest Liebold. Volume 11, p.890):
“We’re going to start something. I’m going to start up a museum and give people a true picture of the development of the country. That’s the only history that is worth observing, that you can preserve in itself. We’re going to build a museum that’s going to show industrial history, and it won’t be bunk! We’ll show the people what actually existed in years gone by and we’ll show the actual development of American industry from the early days, from the earliest days that we can recollect up to the present day.”
After ten more years of collecting, planning, and finally building this dream, the Edison Institute—the original name of The Henry Ford—opened on October 21, 1929. Henry Ford dedicated this institution to his friend Thomas Edison, and celebrated with a grand opening known as Light’s Golden Jubilee, in honor of the 50th anniversary of his invention of the electric light.
Henry Ford created a remarkable collection that tells stories of ordinary and extraordinary people. Some of these people and their ideas changed our lives. Today, our collections both honor and build upon Henry Ford’s legacy.
Early Paper Clip Gallery
|Image||Brand Name |
Other Brand Names
The date in Bold font was used for the chronological order.
An X at the end of this box indicates that the Museum has an example of this clip.
|Fay Paper Clip |
Amneco (1917-21), C (1910, 1918), Chicago,
Cinch (1896), Climax (198[fix]-22), Clinch (1896, 1918),
Fay (1918), Jiffy, New York,
Philadelphia, Queen City, Simplex (1918),
Uneedit (1928), West
Advertised 1896 (as Clinch)-1961
| The patent awarded to Samuel B. Fay described this clip as a ticket fastener to be used, in lieu of a pin, to fasten tickets to fine fabrics. The patent noted that the clip could be used to attach a paper ticket to another piece of paper.|
|Wright Paper Clip |
Advertised c. 1877
|The patent awarded to Erlman J. Wright stated that the clip was designed for "fastening together loose leaves of papers, documents, periodicals, newspapers," in lieu of sewing, "pointed bent-over paper fasteners," or eyelets. The clip was advertised as a newspaper clip.|
|Angell Paper Clip |
|The patent for this clip is titled "Book-Leaf or Paper Holder." However, the patent description states that one of its uses is to "hold together two or more pieces of paper--as, for instance, a letter and check received together." The patent states that this item consists of "a piece of flat metal bent or folded to form two lips of unequal length, the shorter lip curved upward and the longer lip flat." The scan to the left shows the shorter, curved lip (the right side of which bulges toward you as you view the scan) in front of the longer, flat lip.|
| ||Utility Paper Clip |
|Made from sheet metal by |
O. W. Smith Manufacturing Co. Detroit, MI.
and subsequently Stationers' Mfg. Co. Detroit, MI.
Also distributed by Library Bureau,
|Gem Paper Clip |
Glide, Superior (1920), Lightning (UK),
Facile (UK), Fixum (Germany), Kimhar
In 1904, Cushman & Denison obtained a trademark for "Gem" used in connection with paper clips. The announcement of the trademark stated "Used since March 1, 1892," so it is probable that the Gem Paper Clip was introduced on that date.
August 1894 ad. All rights reserved.
The earliest known Gem paper clip advertisement, which was discovered by the Early Office Museum, is in the September 1893 issue of The American Lawyer. The seller was Cushman & Denison.
|Patent Spring Clasps |
|Distributed by the Library Bureau, Boston, MA, which claimed that these spring clasps "largely supersede pins, staples, paper fasteners, rubber bands, clips, and all devices for fastening papers or cards together." |
Image from online article by Alan Walker, Processing Archivist, National Archives, College Park, MD.
|Eureka Clip |
(The brand name Farmer comes from the name of the inventor, George P. Farmer)
Made from sheet metal, not bent wire, by Consolidated Safety Pin Co., Bloomfield, NJ.
|Niagara Paper Clip |
|Niagara Clip Co., New York, NY |
Standard clip is small.
Larger version sold as Giant Niagara Clip.
Add image from 1904 System X
|Simplex Clip |
Patented by Reeve Apr. 20, 1897
|"Holds securely from one to twenty thicknesses."|
Made by M. P. & J. R. Schooley, Homestead, Pa.
The patent states: "I am aware that prior to my invention paper-clips have been made somewhat similar to mine in their general idea." X
Improved Niagara Paper Clip
Same 1897 patent as the Niagara Paper Clip above
Additional paper clips are listed by name but not illustrated in Who Makes It and Where: The Stationers' Book of Knowledge, 1918-19, Andrew Geyer, Inc., New York, copyright 1916. Also, "You are Cordially Invited to a Preview of the Emanuel Fritz Paper Clip Collection at the Smithsonian Institution, Washington, D.C.," American Collector, July 1973, contains photographs of portions of several paper clips that are not included above. Because the complete clips are not visible, we are unable to match them to patent diagrams.
A Nifty Story About Paper Clips
/> />Matt Boytim writes: "My buddy and I were students in the early 80's. We commuted to school and parked in a lot with meters. Being poor college students we were interested in feeding the meters with something other than money, and we had heard that you could use 'paper clips'. Of course, this made no sense to us until my buddy bought a box of Nifty Clips. We put a Nifty Clip in the dime slot of the meter, and a penny in the nickel slot, and wind the meter up to 4 hours. This worked because the nifty clip was slightly bigger in diameter than a dime and acted as a spring. It would compress to fit through the dime slot and once through would expand to engage the timer when you turned the knob. The penny was needed, I guess, because something solid had to be in one of the coin slots. We went to get more clips from an office supply store. When we paid, the guy said, 'So these things still work in the parking meters.' We did this for about two years, until they raised the price of parking and removed the dime and nickel slot. If you really care I can tell you what we did after that, but it had nothing to do with Nifty Clips."
While people usually think of diamonds as colorless, most are actually yellowish. Some come in “fancy” colors like pink, blue, purple, and red. Only colorless diamonds reflect white light into the full rainbow spectrum.
Abundant in Earth’s crust, quartz is found in many environments.
The gem forms of quartz that occur as crystals can be of various colors or hues, or colorless, as rock crystal. The colors derive from natural radiation, heat, and trace contaminants.
Pinwheels in Amethyst
A typical quartz is a six-sided prism topped by a six-sided pyramid. Alternating pyramid faces have different surface properties and, as a result, two faces next to each other can display different colors.
The result is a three-bladed pinwheel effect in some amethysts.
History of Sweatshops
Sweatshop by George Biddle
Design for mural at U.S. Department of Justice, Washington, D.C., around 1935 Courtesy National Museum of American Art, Smithsonian Institution
The term "sweatshop" was first used in the late 19th century to describe aspects of the tailoring trade, but sweatshop conditions exist in other industries as well. The forces that promote sweatshop production have always been varied. Some shops are the result of greed and opportunism others stem from competitive pressures.
"Sweater: employer who underpays and overworks his employees, especially a contractor for piecework in the tailoring trade." - Standard Dictionary of the English Language, 1895
"Sweatshop: A usually small manufacturing establishment employing workers under unfair and unsanitary conditions." - Webster's Third New International Dictionary, 1993
The Museum of Modern Art history
In the late 1920s, three progressive and influential patrons of the arts, Miss Lillie P. Bliss, Mrs. Cornelius J. Sullivan, and Mrs. John D. Rockefeller, Jr., perceived a need to challenge the conservative policies of traditional museums and to establish an institution devoted exclusively to modern art. They, along with additional original trustees A. Conger Goodyear, Paul Sachs, Frank Crowninshield, and Josephine Boardman Crane, created The Museum of Modern Art in 1929. Its founding director, Alfred H. Barr, Jr., intended the Museum to be dedicated to helping people understand and enjoy the visual arts of our time, and that it might provide New York with “the greatest museum of modern art in the world.”
The public’s response was overwhelmingly enthusiastic, and over the course of the next 10 years the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of the building it still occupies in midtown Manhattan. Upon his appointment as the first director, Barr submitted an innovative plan for the conception and organization of the Museum that would result in a multi-departmental structure based on varied forms of visual expression. Today, these departments include architecture and design, drawings and prints, film, media and performance, painting and sculpture, and photography. Subsequent expansions took place during the 1950s and 1960s, planned by the architect Philip Johnson, who also designed The Abby Aldrich Rockefeller Garden. In 1984, a major renovation designed by Cesar Pelli doubled the Museum’s gallery space and enhanced visitor facilities.
The rich and varied collection of The Museum of Modern Art constitutes one of the most comprehensive and panoramic views into modern art. From an initial gift of eight prints and one drawing, The Museum of Modern Art’s collection has grown to approximately 200,000 paintings, sculptures, drawings, prints, photographs, media and performance art works, architectural models and drawings, design objects, and films. MoMA also owns approximately two million film stills. The Museum’s Library and Archives contain the leading concentration of research material on modern art in the world, and each of the curatorial departments maintains a study center available to students, scholars, and researchers. MoMA’s Library holds over 320,000 items, including books, artists’ books, periodicals, and extensive individual files on more than 90,000 artists. The Museum Archives contains primary source material related to the history of MoMA and modern and contemporary art.
The Museum maintains an active schedule of modern and contemporary art exhibitions addressing a wide range of subject matter, mediums, and time periods, highlighting significant recent developments in the visual arts and new interpretations of major artists and art historical movements. Works of art from its collection are displayed in rotating installations so that the public may regularly expect to find new works on display. Ongoing programs of classic and contemporary films range from retrospectives and historical surveys to introductions of the work of independent and experimental film- and video makers. Visitors also enjoy access to bookstores offering an assortment of publications, and a design store offering objects related to modern and contemporary art and design.
The Museum is dedicated to its role as an educational institution and provides a complete program of activities intended to assist both the general public and special segments of the community in approaching and understanding the world of modern and contemporary art. In addition to gallery talks, lectures, and symposia, the Museum offers special activities for parents, teachers, families, students, preschoolers, bilingual visitors, and people with special needs. In addition, the Museum has one of the most active publishing programs of any art museum and has published more than 2,500 editions appearing in 35 languages.
In January 2000, the Museum and P.S.1 Contemporary Art Center (now MoMA PS1) exercised a Memorandum of Understanding formalizing their affiliation. The final arrangement results in an affiliation in which the Museum becomes the sole corporate member of MoMA PS1 and MoMA PS1 maintains its artistic and corporate independence. This innovative partnership expands outreach for both institutions, and offers a broad range of collaborative opportunities in collections, exhibitions, educational programs, and administration.
In 2006, MoMA completed the largest and most ambitious building project in its history to that point. The project nearly doubled the space for MoMA’s exhibitions and programs. Designed by Yoshio Taniguchi, the facility features 630,000 square feet of new and redesigned space. The Peggy and David Rockefeller Building, on the western portion of the site, houses the main exhibition galleries, and The Lewis B. and Dorothy Cullman Education and Research Building—the Museum’s first building devoted solely to these activities—on the eastern portion of the site, provides over five times more space for classrooms, auditoriums, teacher training workshops, and the Museum’s expanded Library and Archives. These two buildings frame the enlarged Abby Aldrich Rockefeller Sculpture Garden. The new Museum opened to the public on November 20, 2004, and the Cullman Building opened in November 2006.
To make way for that renovation and rebuilding project, MoMA closed on 53 Street in Manhattan on May 21, 2002, and opened MoMA QNS in Long Island City, Queens, on June 29, 2002. MoMA QNS served as the base of the Museum’s exhibition program and operations through September 27, 2004, when the facility was closed in preparation for The Museum of Modern Art’s reopening in Manhattan. This building now provides state-of-the-art storage spaces for the Museum.
Today, The Museum of Modern Art and MoMA PS1 welcome millions of visitors every year. A still larger public is served by MoMA’s national and international programs of circulating exhibitions, loan programs, circulating film and video library, publications, Library and Archives holdings, websites, educational activities, special events, and retail sales.