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just as mean-spirited too .
skye asked .
he was huffing like a bull and red-faced from anger .
well , whatever shed done , they were definitely looking for something they thought shed got .
`` stop it , okay ?
these-these ... '' hell .
PHONE+ is a monthly trade publication for communication distribution channels providing news and strategic information to private-label resellers, agents, brokers, VARs, systems integrators, interconnects and dealers that deliver bundled voice, data, wireless, Internet and content services, and CPE. The magazine was established in 1987 and has a circulation of 20,000. The publication also is the sponsor of the Channel Partners Conference & Expo. It was published by Virgo Publishing's Telecom Division, based in Phoenix, Arizona, U.S.A. Virgo was acquired by Informa in 2014. Then the magazine was renamed as Channel Partners. References External links Official website Business magazines published in the United States Monthly magazines published in the United States Magazines established in 1987 Magazines published in Arizona Professional and trade magazines Mass media in Phoenix, Arizona Informa brands
i asked .
`` i wo n't go to castaldini .
he 'd felt her hunger last week , too , but she 'd had n't been ready for more than kisses .
he 'd read volumes on watches as a part of his study of horology , the science of the measurement of time .
emma shut the german text .
if you were a class iv , a class v became invisible .
she lifted the bat again .
tears sparked her eyes and she surrendered to his need , allowing this tough but tender man to demonstrate it in the only way he knew how-with his body .
The olive-backed woodcreeper (Xiphorhynchus triangularis) is a species of bird in the subfamily Dendrocolaptinae of the ovenbird family Furnariidae. It is found in Bolivia, Colombia, Ecuador, Peru, and Venezuela. Taxonomy and systematics The olive-backed woodcreeper and the spotted woodcreeper (X. erythropygius) were formerly considered conspecific but since the mid-20th century have been treated as separate species. The olive-backed woodcreeper has these four subspecies: X. t. triangularis (Lafresnaye, 1842) X. t. hylodromus Wetmore, 1939 X. t. intermedius Carriker, 1935 X. t. bangsi Chapman, 1919 Description The olive-backed woodcreeper is long, males weigh and females . It is a medium-sized member of genus Xiphorhynchus, with a slightly decurved bill. The sexes have the same plumage. Adults of the nominate subspecies X. t. triangularis have a finely streaked face with a buffy supercilium and eyering. Their crown and nape are blackish brown with pale buff elongated spots. Their back, wing coverts, and rump are bright olive to brownish olive. Their upper back has scattered buff streaks. Their uppertail coverts are cinnamon to rufous-chestnut. Their flight feather have cinnamon to rufous-chestnut inner webs and bright olive outer webs with dusky tips on the primaries. Their tail is dark rufous-chestnut. Their throat is buffy white with a blackish brown scaly appearance. Their underparts are a slightly lighter olive than their upperparts. Their breast has many buffy whitish spots that become more triangular on the belly. Their flanks are plain, their undertail coverts have thin streaks, and their underwing coverts are ochraceous. Their iris is dark brown, their maxilla horn-black and whitish to bluish ivory on the side, their mandible gray with paler spots on the side, and their legs and feet blue-gray to gray with a faint olive cast. Juveniles are similar to adults but duller overall and with smaller spots on the breast. Subspecies X. t. hylodromus has brighter olive brown upperparts than the nominate; its secondaries are darker and less reddish, its throat paler with thinner scaling, and its underparts lighter, more greenish olive, and more heavily spotted. Subspecies X. t. bangsi has more rufescent (less olive) upperparts than the nominate, its crown spots are larger, its back is more distinctly streaked, its throat is more whitish with olive, not blackish, scaling, its underparts' spots are smaller and are replaced with narrow streaks on the belly, its undertail-coverts are more rufescent with finer streaks, and its bill is whitish with black only on the base and tip of the maxilla. X. t. intermedius is intermediate between the nominate and bangsi, with slightly browner upperparts and paler and browner underparts than the nominate. Distribution and habitat Subspecies X. t. hylodromus of the olive-backed woodcreeper is the northernmost. It is found in the coastal and interior mountains of northern Venezuela. The nominate X. t. triangularis is found from the Andes of western Venezuela south in all three Andean ranges of Colombia and through eastern Ecuador into northern Peru as far as the Marañón River. X. t. intermedius is found on the eastern slope of the Ander in Peru's departments of Pasco, Junín, and Cuzco. X. t. bangsi is found on the eastern slope of the Andes from southeastern Peru into central Bolivia. The olive-backed woodcreeper inhabits the middle elevations of the Andes. It is most common in humid evergreen montane forest and very humid cloudforest and extends into elfin forest. It favors the interior of mature primary forest but sometimes occurs at its edge and in mature secondary forest. In elevation it mostly ranges between but reaches as high as in Colombia and Peru and as low as in Colombia and Bolivia. Behavior Movement The olive-backed woodcreeper is believed to be a year-round resident throughout its range. Feeding Though the olive-backed woodcreeper's diet has not been detailed, it is believed to be mostly arthropods. It typically forages singly or in pairs and occasionally in small groups. It sometimes joins mixed-species feeding flocks. It hitches up and along trunks, vines, and large branches, usually from the forest's mid-level to the subcanopy but sometimes higher and lower. Much prey is taken from clumps of moss; some is taken from the bark surface and crevices and from epiphytes. Breeding The olive-backed woodcreeper's breeding seasons have not been fully defined. In northern Venezuela it nests from April to June and apparently in that span in Colombia's western and central Andes. It appears to nest later in Colombia's eastern Andes. Nothing else is known about the species' breeding biology. Vocalization The olive-backed woodcreeper appears to be less vocal than many others of its genus. Its song is "a series of hard notes that accelerates then slows, 'we we we-we-we-we-we-WE-WE-We-we-wa' ". It also has a fainter song, "a weak and somewhat nasal series that accelerates into a slow trill, 'quee, quee QUEE-que-que’e’e’e’e'." Its most frequently-described call is "a rather sharp and piercing, strongly downslurred 'keeeyur' at times interspersed with a run-together series of semimusical notes". Status The IUCN has assessed the olive-backed woodcreeper as being of Least Concern. It has a fairly large range but its population size is not known and is believed to be decreasing. No immediate threats have been identified. It is considered uncommon to fairly common throughout its range. It is "[l]argely restricted to mature forest, and therefore believed to be highly sensitive to human disturbance." References olive-backed woodcreeper Birds of the Northern Andes olive-backed woodcreeper Taxonomy articles created by Polbot
skittles .
Francesco Monaco (born 6 May 1960) is an Italian association football manager and a former player. Career Player Monaco has been a former player in the lower ranks of Italian professional football of Squinzano, Sampdoria, Novara, Teramo, Lucchese, Lanciano and Forlì. Coach Monaco successively entered into a coaching career, serving as assistant coach of Lucchese during the 2000–01 season and then as Ascoli's youth coach until 2005. In July 2005 he took his first head coaching job at Serie C1's Lanciano, then working as head coach of A.C. Ancona from July to December 2006, and again from March 2007 to May 2009, leading the biancorossi to promotion to Serie B in 2008, before being sacked due to poor results in May 2009. His successive coaching experience was at the helm of Potenza on Prima Divisione, where he replaced Ezio Capuano for a bare month (from September to October 2009). In July 2010 he was appointed new head coach of Lega Pro Seconda Divisione club Carrarese. In summer 2011 he was appointed new head coach of Lega Pro Prima Divisione club Piacenza until the end of the season. On 16 October 2012, he was named new coach of Foligno in Lega Pro Seconda Divisione. On 16 June 2014, he was renamed new coach of Piacenza in Serie D. In January 2018, he was hired by ASD Fabriano Cerret. On 30 July 2019, he signed with Lucchese in Serie D. Lucchese was promoted to Serie C after the 2019–20 season. On 23 October 2020, he was dismissed by the club after the team only gained 1 point in the first 6 games of the Serie C season. References 1960 births Living people Sportspeople from the Province of Brindisi Men's association football midfielders Italian men's footballers Serie B players Serie C players UC Sampdoria players Novara FC players SSD Città di Teramo players Lucchese 1905 players SS Virtus Lanciano 1924 players Forlì FC players Italian football managers US Ancona managers Potenza SC managers Piacenza Calcio 1919 managers Serie B managers Serie C managers Serie D managers Footballers from Apulia
i suspected bill 's reverence for the written word had blinded him to harp 's inquisitive and intrusive habits .
`` i do n't remember that , '' he said .
`` in public again ?
that kind of thing .
`` that 's an interesting comment to make to someone you believe was involved in a murder . ''
she knew what seraph fire could do .
her mom asks .
i ca n't help but laugh every time i hear addie call blake a pro-doucher .
you show me yours , and i 'll show you mine .
`` most men , '' the boy said .
when she was safely back in her rooms after the test , celaena watched the snowflakes drift from the hills beyond rifthold .
`` no , dear , '' she replied , kissing him .
Freedom of Speech: Lessons from Lenny Bruce is a work of theatre written by Amanda Faye Martin and devised and directed by Sam Weisman along with the cast. It is a play that focuses on the modern politically charged time, in which a comedy club becomes the last bastion for freedom of speech as six college students navigate the inherent boundaries of inclusivity. The play was influenced by the works of comedian Lenny Bruce and the newly opened Lenny Bruce collection at the Robert D. Farber Archives at Brandeis University. The play premiered at Brandeis University on 10/26/16, and was then featured at a variety of venues around the Greater Boston area. The play was produced by Robert Walsh and the Brandeis Department of Theater Arts, along with funding by Mass Humanities, which receives support from the Massachusetts Humanities Cultural Council and is an affiliate of the National Endowment for the Humanities. Development and Lenny Bruce Freedom of Speech: Lessons from Lenny Bruce draws heavily from the works of Lenny Bruce. Personal photographs, papers, and recordings, were all used while the script and play was in development. The collection was accessed through Brandeis University which acquired the collection from Lenny Bruce's daughter Kitty Bruce in 2014. The collection, and events, were supported by the Hugh M. Hefner Foundation, the Louis D. Brandeis Legacy Fund and the ACLU Foundation of Massachusetts. Productions Premiere - Brandeis University, Waltham 2nd Showing - Cambridge Multicultural Arts Center], Cambridge 3rd Showing - Arsenal Center for the Arts, Watertown 4th Showing - Gloucester Stage Company, Gloucester 5th Showing - The Rockwell, Davis Square/Somerville 6th Showing - The Hershel, Watertown Original cast The Original Cast featured Savannah Edmonds, Kate Farrell, Jacob Kleinberg, Yair Koas, Laura Marasa, Donald Phi Phi, and Gabi Nail, as the lead students. Comedian Corey Rodrigues played the owner of the comedy club. References 2016 plays American plays Plays based on real people Cultural depictions of Lenny Bruce
emma smiled at kinich , and then whispered , `` except in bed , which is just how i like it . ''
`` so how about it , kiev ?
`` whatever .
`` so you need me to waitress , '' i tried .
what a move .
i only have a theory sir .
`` ghosts and spirits and all that bullshit ? ''
any regrets , little prince ?
i could n't imagine him not fucking well and being aggressive about it , taking what he wanted in a way that made a woman wild to give it to him .
`` you 're good at everything else , so why not be good at ice skating ? ''
the screen door banged shut behind him , leaving zach in the carport .
some of them were very tasty , however .
alec could go to hell for all i cared .
join us ? ''
`` i 'd like to know what you think you 're up to , mr. coleman younger ? ''
fingerprints , she realized .
when i 'm done , i dress in my jammies and head into the kitchen .
shake a leg mate !
bride did n't reply .
i had two , actually .
it was so easy with more help .
Mirzapur Cadet College () is a Military high school in Tangail, Bangladesh. Like other cadet colleges it follows the national curriculum prescribed by the National Curriculum and Textbook Board (NCTB) with English version and gives emphasis to extracurricular and co-curricular activities. Location Mirzapur Cadet College is situated at 90°9' east longitude and 24°5.3' north latitude. The Bangshi River runs through the east side of the college and on the south and south-west side the Barinda River flows. The Footjani River joins with Barinda River at the west side. It is on the edge of Tangail District, and the nearby Kaliakair Upazila in Gazipur District HQ is 3 km from the college. The college is 8 km south of Mirzapur town, 37 km south-east from Tangail city and 58 km north-west from the capital city, Dhaka. History After the establishment of Faujderhat Cadet College in Chittagong district and Jhenaidah Cadet College in the Khulna division the foundation of Momenshahi Cadet College (former name of Mirzapur Cadet College) was planned. The objective of the new college was to prepare army officers for the Pakistan Army. East Pakistan period The then president of Pakistan Field Marshal Ayub Khan laid the foundation stone of Momenshahi Cadet College at the Mirzapur Upazila in the then Mymensingh District (now Tangail district) of Bangladesh on 29 November 1963. The foundation stone is still there on the wall of the main academic building of the college. Major General Fazle Mukim Khan formally opened the college on 9 January 1965. The first principal was Mr. Michael William Pitt. Academic activities started from that year with intakes in Classes 7, 8 and 9. Liberation War period After 7 March speech a violent procession by an angry mob entered the college campus on the 8th. Principal Wng Comd Sulaiman Haider Kayani closed the college then and sent all the cadets home. During the liberation war the college was opened in the first week of November 1971 with Mr Wahab as acting Principal. Bangladesh period Each year at thousands of 7th graders compete to earn the 50 seats available. Other cadet colleges were established after liberation war. Today there are 12 cadet colleges, including three for girls only. Academic system Cadets are enrolled in the seventh grade and continue their study for six years. The Higher Secondary Certificate (HSC) is the final examination to pass. Each class generally has fifty students. The Secondary School Certificate (SSC) and the Higher Secondary Certificate (HSC) examinations are administered under direct control of the Board of Education of Dhaka Division. Cadets secure top positions in board examinations each year. In this cadet college student apply for application to study .Written exam date of 2017: 6 January 2017 Departments Physics Chemistry Biology Mathematics Bengali English Economics Civics History Islamic Studies Arts and crafts Geography ICT In accordance with the National Education Policy, Mirzapur offers only the science and humanities educational sections for the cadets from the 9th grade. However, the cadets are encouraged to study science. Photo Gallery Infrastructure Museum The museum is situated just beside the Arts and crafts and Geography department. Some items are: Pictures of the historical events regarding MCC and the cadet colleges in Bangladesh. A map of the college. The curator is Naina Akhter, Head of the Department of Arts and Crafts. Dining hall All cadets take their meals together in the dining hall. There are separate seating facilities for the prefects and the duty master generally known as the " High Table". Five meals are served every day.Dining hall prefect from class 12 nominatated by college authority lead the dining hall. Houses When the academic activities of the college started on 9 January 1965, there were only two houses - Jinnah (now Fazlul Huq House) and Liaqat (now Suhrawardy House) for students' accommodation. Later Ayub House (now Nazrul House) was constructed to accommodate more students. Points are awarded to houses on the basis of different house competitions. At the end of the year house championship is determined depending on total house points. Fazlul Haque House: is the first house and initially named "Jinnah House". After the independence of Bangladesh the current name was chosen. The motto of the house is Search, Struggle, Victory. The house color is blue and the symbol is a tiger. It is also called Tiger's' Den. Suhrawardy House: is the middle house, named after the leader of Bangladesh Hussein Shahid Suhrawardy. The house color is red. The motto of this house is "Vini Vidi Vici". Initially, the house was named "Liaqat House". Nazrul House: is the green house, named after the national poet of Bangladesh, Kazi Nazrul Islam. The house logo is lion and so the house is also called Lion Castle. The motto of this house is 'Ever Erect is my Head', a line of a poem of Kazi Nazrul Islam. Initially, the house was named "Ayub House". Mosque There is a central air conditioned mosque where all the cadets say their evening prayers. The cadets also says their Jumma prayer there. Hospital Mirzapur Cadet College has a hospital for cadets and for employees. A full-time doctor from the Army Medical Corps is appointed along with assistants. All the medicines are free of cost. The hospital is open 24 hours to accommodate any special needs. Critical cases are directly referred to the Combined Military Hospital (CMH) in Saver Cantonment. Designer The MCC Campus was designed by the architect Mr. Thariani. Library The college library is named Shahid Khurshid Smriti Granthagar, after the martyr of the Liberation War of Bangladesh who was a cadet of the college. There is a portrait of Khurshid Ali on the wall of the library. The library has 18000 books, and daily newspapers and weekly magazines are available. Clubs and societies Quranic Society : Members practice recitation of the Quran and are taught principles and significance of the verses revealed to Muhammad. They also study the lifestyle of Muhammad. Bangla Literary and Cultural Society : Members explore Bengali literature. They practice acting by playing characters portrayed by Bengali dramatists. Also poetry recitation, debate and extempore speeches are practiced. English Society : The society generates enthusiasm for English language and literature and further the cadet's ability to use English. Members practice recitation, elocution, public speaking and debate. Geography Society Hiking Club Photography Club Biology Club Natural Study Club Physics Club Chemistry Club Computer Club First Aid Club Wood Work Club Music Club : The members of this club practice and play instruments under the guidance of a music teacher. It includes practice on Tagore song, Nazrul song, Rural (Bangla-পল্লী) song, modern song, classical song and band song as well. General Knowledge and Current Affairs Club Arts and Crafts Club Robotics and Programming Club ROAR- Enlighten, Entertain, Encourage : ROAR is an independent public speaking platform organized on a monthly basis, by cadets First administration Principal: Mr. Michael William Pitt Adjutant: Captain Sayed Ali Ansar Doctor: Dr. Hafizul Hasan Vice Principal: Professor A Wahab House Masters: Jinnah (now Fazlul Huq) House: Mr. Abdul Gafur Liaquat (now Suhrawardy) House: Mr. Saifuddin Ahmed Ayub (now Nazrul) House: Mr. Masud Hasan OIC, Dining Hall: Mr. R M M Yakub Senior Cadet: Jahangir Haque (also called College Captain, now entitled as College Prefect) College Cultural Prefect: Ziaur Rahman College Dining Hall Prefect: M M Matin House Leaders: Fazlul Huq House: Zia Uddin Ahmed Suhrawardy House: Zia Uddin Ahmed Nazrul House: Yousuf Habibur Rahman Official activities began from: 7 January 1965 Current administration Principal: Colonel Reaz Ahmed Chowdhury, PBGM, psc Vice Principal: Mr. Md. Kamruzzaman Adjutant: Major Abu Saleh Md. Yahya, BIR Medical Officer: Capt. Md Alauddin Saddam, AMC OIC, Dining Hall: Md Samsuzzaman College Prefect: Cadet Tasfin House Leaders: Fazlul Huq House: Cadet Munna Suhrawardy House: Cadet Shefaur Nazrul House: Cadet Fahad Notable alumni Lieutenant General Sina Ibn Jamali,(retd), last served as Commandant of the National Defense College, Major General(Retd.) Md Saiful Abedin Atiur Rahman, economist, former governor of Bangladesh Bank, General Md Abdul Mubeen, Chief of Army Staff of the Bangladesh Army. Ahmed Ataul Hakeem, 10th Comptroller and Auditor General of Bangladesh. Alamgir, pop singer Shahaduz Zaman (Notable writer of Bangladesh and a medical anthropologist working at the university of Glasgow) References External links Mirzapur Cadet College, website maintained by Bangladesh Army Military high schools 1963 establishments in East Pakistan Educational institutions established in 1963 Cadet colleges in Bangladesh Schools in Tangail District Educational Institutions affiliated with Bangladesh Army
parallel with the equator and along the regions of the ever blowing trade winds , were vast belts of clouds , gorgeous with crimson and purple as the sunlight fell upon them .
`` the vet ?
moni stops struggling .
dana 's breath was knocked out of her , not because of anything he 'd done but by the fact that he was much faster than she 'd anticipated .
`` no , '' reynolds said , sounding amused .
i 'll tell argent that i pissed myself .
i met my dad 's dark eyes and spoke something i 'd never said before .
she looked up at me .
there was no point of reference for the darkness that threatened to consume me .
could 've done some kind of chop to good ol ' sam .
looking around at some of the famous people and diplomats in the room , all cowering on the floor and being terrorized by the bandits , she knew this was already an international incident .
but flat feels good now .
i turned my body toward the passenger door and refused to look at him .
another body lay across him-that of his killer , dorian sloane .
we must also assume that they assume the anthrax store is still aboard the misha 124 and they are intent on capturing it . ''
by the time he 'd rubbed vaseline on his skin and had changed into his long johns , black turtleneck sweater , and long musk-ox coat and insulated winter boots , he could feel the helicopter descending toward land .
the sounds creased the night for mckie , bent it into new dimensions .
tell my attorney what you mean by wanting a chance , because i obviously do n't understand . ''
she was sitting on the sofa , one leg curled under her , poring over the list of numbers she had copied off valerie shipley 's cell phone when the disturbing energy frazzled all her senses .
although the muslims were up in arms over the attack , all over america the citizens were once again protesting the suspected training camps and not just the one in new york .
before i sat in the front row , i saw sam 's and julianne 's hands poking up from the sea of heads , waving to me .
have we achieved any progress ? ''
even ava , who had n't wanted to do noelle 's laundry to be with him .
i climb right up to the top of the stairs and all my cares just drift right into space .
Köln was a Bremen-class frigate of the German Navy. She was the fifth ship of the class, and the fifth ship to serve with one of the navies of Germany to be named after the city of Cologne, in North Rhine-Westphalia. Her predecessor was the frigate Köln of the Bundesmarine, lead ship of the Köln class. Construction and commissioning Köln was laid down in June 1980 at the yards of Blohm+Voss, Hamburg and launched on 29 May 1981. After undergoing trials Köln was commissioned on 19 October 1984. During her later career she was based at Wilhelmshaven as part of 4. Fregattengeschwader, forming a component of Einsatzflottille 2. Service After commissioning Köln participated in several international deployments. In early July 1988 Köln deployed with a NATO squadron to search for survivors from the Piper Alpha oil platform in the North Sea, which had been destroyed in a fire. From January to March 1991, Köln was the flagship of the German naval forces deployed in the Mediterranean during the Gulf War. From January to April 1994 she deployed as part of , the maritime element of , the German component of United Nations Operation in Somalia II. Köln was the flagship of Task Group 500.02 during this period, operating off the Somali coast. On 7 September 2000 she joined STANAVFORMED in the Mediterranean, alongside , , Luigi Durand de la Penne, , Spetsai, TCG Trakya and Numancia. The squadron made port visits in Tunisia and several NATO member states. Plans had been made to visit Haifa, transit the Suez Canal and enter the Red Sea, but violence in the region caused these plans to be cancelled. Köln returned to Wilhelmshaven on 17 December 2000, having sailed 18,734.5 nautical miles. Köln sailed from Wilhelmshaven on 2 January 2002 to join the force supporting Operation Enduring Freedom. She spent 6½ months on deployment, before returning to Wilhelmshaven in mid-July. She was again deployed in support of Operation Enduring Freedom, operating off the Horn of Africa and the Arabian Peninsula from April to October 2007, succeeding her sister ship Bremen as part of Combined Task Force 150. On 30 August 2010 Köln joined Operation Atalanta, the EU's anti-piracy mission off the Horn of Africa, replacing the frigate Schleswig-Holstein, and returning to Wilhelmshaven on 10 December 2010. Köln embarked on her final deployment on 29 August 2011, joining Operation Atalanta, and returning to Wilhelmshaven on 9 December 2011. Köln was removed from active service on 1 February 2012 and in early May that year was towed to the Wilhelmshaven naval base to prepare for decommissioning. She was decommissioned on 31 July 2012. After some time spent laid up, she was put up for sale for scrapping on 24 August 2015. On 10 October 2016 Köln was towed to Kampen, Overijssel, in the Netherlands, to be scrapped. References External links Bremen-class frigates 1981 ships Ships built in Hamburg
i could n't help it .
he smiled when he saw her and kissed her lightly on the lips , then bent to stroke an ecstatic higgins .
Zbyněk Sekal (12 July 1923 – 24 February 1998) was a Czech sculptor, painter and translator. During World War II he was imprisoned for three years in the Mauthausen concentration camp. After the Warsaw Pact invasion of Czechoslovakia in August 1968, he emigrated to Austria. Already in the mid-1960s, he was considered one of the most important and distinctive Czech sculptors. Life 1923–1968 In 1934–1941 he graduated from the Real Gymnasium and the Business Academy and then worked briefly as an intern at the Topič publishing house. Before the war, he was already involved in the activities of the Comité de la democratie de España and later worked in the left-wing anti-Nazi National Movement of Working Youth. At the beginning of the war, he tragically lost his father. In 1941, at the age of eighteen, he was arrested for distributing leaflets, imprisoned in Pankrác Prison in Prague, in the Small Fortress in Terezín, and for the next three years until the end of the war in Mauthausen concentration camp, where he worked for a year in a stone quarry. In the concentration camp, he became close to the Polish painter Marian Bogusz, and later, as a scribe in an office, he perfected his German, from which he later translated very difficult philosophical texts. In 1945, he was accepted to study at the Academy of Arts, Architecture and Design in Prague in the studio of prof. František Tichý and made friends with his classmates Mikuláš Medek, Stanislav Podhrázský, Josef Lehoučka and Zdeněk Palcr. He rejoined the Spořilov Surrealist group, which had been formed by his friends of the same generation at the beginning of the war. On a trip to Paris organized for students in 1947 by prof. Václav Nebeský, he visited the International Surrealism Exhibition at the Galerie Maeght several times. He was strongly impressed by the rawness of the installations with reminiscences of war and camps and the primitivizing paintings (in the Foyer de l'Art Brut ) by Jean Dubuffet. He also made the acquaintance of Toyen, who was preparing paintings for an exhibition in Prague at Topič Salon. Shortly before his trip to Paris, at the age of 24, he married the painter Ludmila Purkyňová, with whom he had a son, Jan. He continued his studies at the Academy of Arts, Architecture and Design in Prague under prof. František Muzika and in the studio of prof. Emil Filla, but in 1950 he left the school without a diploma to avoid politicized state exams. After leaving school, he belonged to the so-called Libeň circle of Bohumil Hrabal and was the author of the generational statement " Postscript or Abdication" (1951), which was first published in samizdat as part of Hrabal's book The Tender Barbarian (Petlice edition). In 1951–1953 he was employed as a publicity officer at the General Directorate of Meat Industry and as a literary editor at the Political Literature Publishing House (later Svoboda publishing house). In the winter of 1952/1953 he completed his military service. In a futile attempt to save his broken marriage, he moved to Bratislava to join his wife, and in the following years until 1958 lived there alone, working as a translator from German and an art editor. However, he maintained written and personal contact with Prague friends (Mikuláš Medek, Egon Bondy) and sent them manuscripts of his translations. At that time, he was interested in Russian pre-revolutionary thinkers (Berdyaev, Shestov) and especially in existentialism and phenomenology (Nietzsche, Husserl, Schopenhauer, Freud, Jaspers, Heidegger), Franz Kafka, Hermann Hesse and Ludwig Feuerbach. He was invited as a guest to the first exhibition of Group Máj in 1957, participated in the second exhibition in 1958 as a member and returned to Prague. Sekal joined Group Máj because of his friends, but he did not identify with the group's program. In the 1950s, under the influence of reading, he felt an "inner emigration", remained a solitaire in his work, and long before the August 1968 occupation, he was already thinking of leaving for Austria. The following year he travels to Moscow and Leningrad (1959) and in 1961, with sculptors Zdeněk Palcr and Miloslav Hájek, to Warsaw and Gdańsk. A classmate of Zdeněk Palcr from prof. Wagner's studio at VŠUP Alina Szapocznikow introduced him to the sculptor Barbara Pniewska, whose material work was the inspiration for the first of his assemblages, which he called Assembled Pictures. In the early 1960s he was close to Informel and was one of the initiators of the Imaginative and Structural Abstraction movement, but he differed in his strictly intellectual approach to his work. In 1961 he married for the second time to Helena Waldvogel, with whom he had a son, Ondrej. From 1961 he had his own studio on Bělohorská Street in Břevnov and in 1965 he had his first solo exhibitions in Václav Špála Gallery in Prague and House of the Lords of Kunštát in Brno. In 1966 he visited East Berlin and Dresden. In Germany, he made friendly contacts that enabled him, after emigrating, to take advantage of a DAAD scholarship offered by the Akademie der Künste and to acquire a small studio in Berlin. In the 1960s he participated in sculpture symposia in Gmunden (1964, 1965), St. Margarethen (1966) and Vyšné Ružbachy (1967). Even when chiselling the stone, he did not abandon the basic principle of connection with memory, and arrived at an organic shape that was reminiscent of the sandstone rocks in the Děčín region that he knew from his childhood. 1968–1998 After the Warsaw Pact invasion of Czechoslovakia, he emigrated first to Berlin, then to Düsseldorf and in 1970 finally settled permanently in Vienna. He had to leave behind several dozen sculptures in Prague, only some of which could be brought to Vienna by his son, who was forced to emigrate by the StB in 1983. From 1972 to 1974 he taught at the Staatliche Akademie der Bildenden Künste in Stuttgart. After his emigration he experienced a creative crisis, he missed his partner, who remained in Czechoslovakia, and the role of teacher was alien to his introvert nature. In Vienna he married Christine Pulitzer. From 1974 to the early 1980s he was a member of the Wiener Secession. During the winter of 1980–1981, he spent a study stay in Amsterdam at the invitation of the Stedelijk Museum. In 1984 he received the City of Vienna Prize for Sculpture. In 1995 the National Gallery returned to Zbyněk Sekal the works held in Prague after his emigration throughout the period of normalisation until the fall of communism. After 1989, his works were exhibited successively in Brno, Opava, Bratislava (1992–1993) and in a large retrospective exhibition at the Prague City Gallery in 1997. The National Gallery in Prague in the Trade Fair Palace reconstructed Sekal's Vienna studio in 2014 and is exhibiting it in a permanent exhibition together with a large body of Sekal's sculptures. The architectural design was created by the MCA studio of architects Miroslav Cikán and Pavla Melková. The exhibition was curated by Marie Klimešová. Sekal found a deep resonance with his work in Japan, which he visited twice in the last decade of his life (1989 and 1997). In July 1996, during the preparations for the Prague exhibition, he fell seriously ill and had to undergo lung surgery. He died in Vienna on 24 February 1998. Awards 1984 City of Vienna Prize for Sculpture Work Sekal's first drawings influenced by Cubism and Expressionism were made in 1940–1941 and during his imprisonment during the war. His contact with Lubomír Vašátko, who later perished in the Mauthausen concentration camp, was important. During his studies in 1945–1950 he was interested in figuration, but his experiments with the non-traditional techniques of surrealists, especially collages and frottage, foreshadowed his later interest in material creation. His sculptural work ranges between modelling and object and is based on the transformed principles of cubist sculpture. Fritz Wotruba was close to him artistically. Sekal maintained a close friendship with Mikuláš Medek, and in cycles of drawings, often self-portraits questioning his own personality (The Man Who Smokes), he tried different variations from the veristic to the expressive and imaginative. His photographs of his wife's Face with Surrealist Installations (1947) and his photographic montages anticipated the later similar work of Emila Medková in 1949. At this time, he also assembled surrealist objects and made several book cover designs for titles by Breton, Kafka, and Meyrink. One of the earliest motifs of his postwar drawings is The Lamentation of the Hanged Man, followed by still lifes, drawings of birds, caricatured drawings of soldiers in uniform, and finally a cold, detached reminiscence of war (The Unknown General, 1959). Sekal's first sculptural works are studies of heads and busts in patinated plaster (Head of a Girl, 1957, Bust, 1957), on which he tests simplified modelling. In the context of Czech sculpture of the 1950s, his Head with Closed Eyes (1955) is exceptional; it is a stylized self-portrait and does not depict sleep but an inward-looking gaze. It coincides with the break-up with his first wife Ludmila. Autobiographical tendencies in Sekal's work are also manifested in self-reflection through diary entries. He was conceptually close to Paul Klee and his "Portrait of a Man Experiencing the Inner World" and understanding art not as a "representation of the visible" but as "making visible in a more esoteric sense." In the late 1950s, Sekal created several intimate sculptures in which he deals with post-Cubist (Centaur and Lady, 1956) and imaginative inspirations (Bearing Figure, 1957). The sculpture Boy Blue Flower (1957) refers to Novalis's novel and in the context of Czech sculpture of the 1950s it represents an extraordinary act in its radicality and independence from any models. The existential symbols are drawings and sculptures of birds (Bird, 1957), but especially two suggestive sculptures evoking the suffering of war (Screaming Head, Dead Head, both from 1957). The radical transformation of the figure resulted in a series of sculptures with a new content message (Dwelling, 1958, 1959), which Sekal then reworked in a different form in the 1980s. The term Dwelling comes from Kafka's short story Der Bau (1923–1924) (The Burrow, 1931) and is related to Sekal's need to find a shelter where he could escape from everyday traffic and work in a focused manner. Dwelling II takes the loosely anthropomorphic form of a war invalid and represents a transition to a transparent system of lines without an inner core (Dwelling, 1958) and sculptures that take on the form of a building (Dwelling, 1964). In the 1960s, his large-scale sculptures named Unsteady Structures are a means of self-identification and a representation of the feeling of fragility and the impossibility of finding a way out of this condition. He constructed the sculptures as living organisms by cutting through matter and adding elements that represented labyrinths and secret caves. At the same time, his first composed (folded) reliefs were created, conceived as wire tangles (Tangle, 1967). Since the early 1960s, Sekal's figurative work has evolved towards a gradual deformation and simplification of form, sometimes with an emphasis on plastic volume (Dog, 1963), sometimes on the surface structures of sculpture (Signal, Tortured Torture, 1963). In the abstract themes, figuration is suppressed and empty volume plays an important role alongside mass (Signal, 1957, Letter, 1968) or the sculptures approach relief in rendering of surface (Dissection, 1963, Untitled, 1966). In the composed wire-mesh pieces (assembled pictures), which Sekal has been creating since 1962 in parallel with material collages on paper, and which he considers to be a different means of painting, the primary inspiration of surrealist assemblage is evident, which puts discarded and damaged objects into new contexts. For his assemblages, Sekal mostly used objects already used, marked by human activity. In 1962–1963, he created the first series of wooden assemblages in the series Off the Beaten Track, (Holzwege) which he followed up with a series of works during his stay in Düsseldorf (wall relief, 1970) and further works in 1991–1995, conceived as precise inlaid miniatures made of natural wood. From 1964 onwards, he created intricate tangles of wire, fixed on wooden panels, which he called A Scheme for Purposeful Activity. By referring to Heidegger's notion of traffic (Betrieb), he expresses the existential significance of these labyrinths and his inner alienation from society. The surface structuring shared by artists of the Confrontation group, who worked with Informel in the mid-1960s, is gradually replaced by a new quality, consisting in the creation of an apparent or real geometric order (Palindrome I, Royal Walk, 1968) and a more organized form of labyrinth. Sekal worked with a variety of found metal fragments, and in composing the relief he emphasized the memory of the material and sought a new metaphorical meaning for it (Truce, 1966). Unlike some of his generation contemporaries, even in the second half of the 1960s he managed to avoid formal exaltation and aestheticization, and his works increasingly tended towards expressive and formal austerity. After his emigration, his assembled pictures became more characterized by a central symmetry, for which he found points of contact in the structural anthropology of Lévi Strauss. The stone labyrinth Little Stone (Mauthausen) from the 1966 symposium in Sankt Marghareten and Sekal's Self-Portrait (1973) as a tangle of brass wires, made during his time in Stuttgart, are unique works. Already in the mid-1960s, and then after his emigration in the 1970s, the need to find order in the chaos of wires manifested itself in the depiction of the cross as a traditional Christian symbol. These artworks also resulted from two years of work on a set of furnishings for the church in Lustenau (1977–1979). In 1964 Sekal created a plaster statue of the Crucified Christ imitating early medieval works for Vláčil's film Markéta Lazarová. In the 1960s, he participated in the newly established ceramic symposium in Gmunden, where he created block abstract sculptures and, during his second participation, a statue of the Crucified (1965) assembled from ceramic blocks. From the symposium in Sankt Margarethen in 1966, he traveled to the Venice Biennale, which became a strong artistic and spiritual experience and contributed to the purification of the form of his sculptures and composed pictures in the following years. In the chamber sculptures from the 1960s, there is still a rare hint of figuration (Please, No More, 1966); more often the titles symbolically denote the process of creation, as in Mikuláš Medek's paintings (Left - a Slightly Different Possibility, Truce, 1966), or refer to the process of rebirth of discarded things (What Remains of Forest, 1966). Although the starting points of Sekal's sculptures, reliefs and boxes refer to surrealism, he never considered himself a surrealist. Ultimately, the intellectual component, the exploration of spatial relationships and the desire to create order are always the defining process in his work. Shortly before his emigration, Sekal was invited by architect Karel Filsak to design a ceramic tile facade for Prague's Intercontinental Hotel, which became one of the most outstanding brutalist architecture. Shortly after his departure from Czechoslovakia, he was commissioned by the director of Deutsche Bank to create a monumental wall made of stacked wood in David Hansemann's house in Düsseldorf. The wall, measuring about 6 x 12 m, has not survived and only designs on a scale of 1:10 are known. After emigrating to Vienna, he initially had no studio and in his drawings he tried to thematically build on the works he had to leave behind in Prague. In the wooden reliefs there were traces of objects and events or a missing centre. In the composed pictures, this hole refers to the open mouths of the sculptures Screaming Mouth and Dead Head, but also to the original existential feeling at their creation (Hole, 1977). During a painting symposium in Eisenstadt in 1973, he created assembled pictures from pieces of leather (Third Attempt to Simulate a Magical Object, 1973) and continued to collect and preserve material for further works until the 1990s. He also created a series of assembled pictures with Christian motifs, in which the symbol of suffering, apart from the cross, is the spikes themselves (The Cross, 1972, 1977). The obsession with nails haunted Sekal throughout his life. From the 1960s onwards, he worked with a limited register of subjects and preserved their materiality, but he carried his formal sobriety to extreme consequences, especially in his later works with stigmatic objects. A completely personal and intimate part of his work is the assembling of objects in pictures into numerical series. He copes with the trauma of his imprisonment in a concentration camp by converting his prisoner's number into mere banal numerical operations (17 × 13 = 221, From Number Count, 1991, 58 × 58 = 3248, 1993). In the late 1980s and early 1990s, Sekal returned to modeling and resumed miniature formats created in the early 1970s, which were prompted by a sense of confinement in the small space of the studio. The chamber sculptures created in Vienna refer to post-Cubist figuration (Bust, 1988, Figure, 1989), or are studies of the relationship between the organic world and abstract spatial forms, and deliberately do not refer to the real object (Untitled, 1988, 1990). Between 1985 and 1991, he used traces of plant juices, which he completed in watercolour by means of free form associations. In addition to drawings, he made collages using waste materials such as banana peels and salami skins. The artist sometimes revisited the assembled pictures and reworked some of them. To avoid this, he came to the decision in 1983 to give them a third dimension in the form of boxes made of wooden slats, which he initially referred to as scaffolding. These protect the original core around which they were assembled as something precious, but the core is also the pretext for the whole construction. As can be seen from the artist's diaries, the idea of building the sculpture from the inside, from its core towards the space, had been on his mind since 1966 and then again when he created the tabernacle for the church in Lustenau in 1979. As an echo of the surrealist background of the sculptor's work, a common object, most often a board marked by traces of use, is usually at the centre of the boxes, while the box sometimes represents a valuable (Mahogany Box, 1985), often complex, strictly geometric and rational construction (Box with an indicated cross, 1992, Labyrinth, 1993). The need to prevent others from touching the work and to enclose it in a box arose while he was working on a tabernacle. It is also related to his interest in shamanism and black magic, which dates back to a visit to the Musée de l'Homme in Paris in 1947 and deepened during a stay in Amsterdam, where he visited the ethnographic collections at the Tropenmuseum and studied ethnological literature and books on magic and shamanism. A series of Copper Cases (wire metal boxes) from the early 1990s contain no core and are rather a kind of outline of a sculpture, constructed into complex spatial forms (Copper Box, 1991). They are based on visual multiplicity and assembled from structural elements densely wrapped with thin copper wire with accentuated joints. Sekal's sculptures from the late 1980s and early 1990s have a small scale and abstract geometric shapes, sometimes referring to figuration (Bust, 1988). After returning from Japan, he felt the need to create sculptures with a rounded organic shape and realized several variations based on a plaster cast of a found stone (Variations on the Kritzendorf Stone, 1992). At the same time, he designed a memorial to the writer H. P. Lovecraft (1990), a sculpture for the grave of Alfred Schmeller and the Memorial to the Jews of Vienna who were killed during the war (1992). Between 1995 and 1997, he redesigned the plaster sculptures that returned from Prague National Gallery. In particular, he cut up and reassembled the Unsteady Buildings, which he had intended for his retrospective exhibition at the Prague City Gallery. Sekal concluded his creative activity with an extraordinary accomplishment, transforming his last studio into a total work of art six months before his death. The studio was reinstalled in this form as part of the National Gallery exhibition of modern art at the Trade Fair Palace in Prague. Sekal's entire oeuvre is deeply introvert, as the following quote from his text Abdication attests: We want to go our own way, which we hardly know at all yet. We don't want to resemble other people, their faces are becoming more and more like the faces of idiots. It doesn't matter much about this observation, they consider us idiots too, it has always been like that. We don't want to be happy their way. Translations Private translations of works by Franz Kafka, some published in Nový život journal 1952 Walter Bartel, Karl Liebknecht gegen Krupp, Rovnost, Prague 1954 Ludwig Feuerbach, Das Wesen des Christenthums, State Publishing House of Political Literature, Living Links; series II, vol. 15, Prague 1957 Franz Kafka, In the Penal Colony, part of a collection of ten novels, Čs. Spisovatel, Prague 1958 Christian Dietrich Grabbe, Don Juan und Faust, anthology, SNKLHU, World Reading; Vol. 195, Prague 1959 Ludwig Feuerbach, Principles of Future Philosophy and Other Philosophical Works, anthology (Sämtliche Werke, Band 1, 2, ), Philosophical Library, Works of the Czechoslovak Academy of Sciences. Section of Economics, Law and Philosophy, Prague 1960 Georg Büchner, Dantons Tod, Orbis, Edition. 1963 Franz Kafka, Die Verwandlung, SNKLU 1st ed., Prague, 1990 Primus, Prague, 1968 Günter Grass, Katz und Maus, Odeon, Edition: Contemporary World Prose. Small Series, Prague, 3rd ed. 2009, Atlantis Prague, 1992 Günter Grass, The Tin Drum (Die Blechtrommel), Odeon, Edition. Prestigious Club, Prague, 1996 Carl von Clausewitz, Vom Kriege, 2nd ed. Bonus A, Brno, , 2008 Academia, Prague, Texts Abdication (1951), used as the final chapter of Bohumil Hrabal´s The Tender Barbarian Ralentir travaux LXV (1965), Výtvarné umění 1, 1966 Nautilus (1986), manuscript, the estate of Z. Sekal, Vienna Diaries - Sekal kept a detailed diary from his early youth, practically daily, rarely with longer breaks. For him as an introvert, the diary was a partner in dialogue and a place for self-reflection and permanent intellectual revision of his work. Older entries were often rewritten in the pursuit of perfection and took the form of literature intended for publication. In the last years of his life, this need intensified and it became a ritual stereotype - a kind of continuous litany structured by an identical entry formula in which he gives the exact time and his position in space. The diaries make clear his obsession with work, which also became his struggle for life. Illustrations 1947 Viktor Dyk: The Pied Piper Film posters The Wind Calms Down Before Dawn (1960), Test Drive (1962), Festive Ride (1964) Book designs Breton A: Magnetic Fields, Meyrink G: Golem, Kafka F: Transformation, Lorca F. G: Poet in New York, Kesten H: Happy People, Kisch E. E: American Paradise Covers and typography 1962/1964 State Publishing House of Fine Literature and Art, n.p., Prague 1967/1970 Odeon, publishing house of fine literature and art, n.p., Prague 1969 revue Světová literatura Exhibition catalogues own – 1965, 1969, 1988, 1997, other artists (Eva Kmentová, Adolf Hoffmeister, Mikuláš Medek, Jan Svoboda, Ladislav Novák (artist), Zdeněk Palcr, Stanislav Podhrázský, Etapa, Graphics 65, Contemporary Art from Austria Realizations 1968 Fairmont Golden Prague Hotel, Prague - vertical strips made of ceramic tiles 1970 Wood Relief 6 x 12 m, David Hansen House, Düsseldorf 1977/1979 Altar, ambo, tabernacle, Lustenau Church, Vorarlberg Representation in collections National Gallery in Prague Moravian Gallery in Brno Generali Foundation, Vienna Museum Bochum, Bochum Museum des 20. Jahrhunderts (20er Haus) / Museum Moderner Kunst, Vienna Rupertinum, Salzburg Museum of Art Olomouc Aleš South Bohemian Gallery in Hluboká nad Vltavou Central Bohemian Region Gallery in Kutná Hora Gallery Klatovy, Klenová Regional Gallery in Liberec Benedikt Rejt Gallery, Louny Gallery of the Capital City of Prague Art Gallery Karlovy Vary North Bohemia Art Gallery in Litoměřice Gallery of Modern Art in Roudnice nad Labem Gallery of Modern Art in Hradec Králové Gallery of Fine Arts in Cheb West Bohemian Gallery in Plzeň Private collections at home and abroad Exhibitions Solo 1961 Sochy, galerie na Karlově náměstí 1965 Sochy – reliéfy: 1948–1965, Galerie Václava Špály, Praha 1965 Sochy – reliéfy: 1948–1965, Dům pánů z Kunštátu, Brno 1965 Zbyněk Sekal: assemblages, Miloslav Chlupáč: sculptures, Galerie im Greichenberisl, Vienna 1969 Skládané obrazy a sochy, Galerie Václava Špály, Praha 1971 Bilder und Skulpturen, Galerie im Griechenbeisl, Vienna 1977 Zusammengesetzte Bilder, Zeichnungen, Neue Galerie des Landesmuseum Joanneum in Graz, Museum Bochum, Museum des 20. Jahrhunderts, Vídeň 1982, 1985, 1987 Geflechte Anwendungen eines Verfahrens, Neue Galerie, Vienna 1988 Bronzek, Zeichnungen, Neue Galerie, Vienna 1990 Galerie Stubenbastei, Vienna 1991 Scultore, Studio oni de Rossi, Verona 1991 Rupertinum, Salcburk 1992 Skulpturen, Materialbilder, Zeichnungen, Gerüste 1967–1991, Künstlerhaus Klagenfurt 1992/93 Některé práce z let 1940–1992, Dům umění města Brna, Dům umění v Opavě, Galéria Médium, Bratislava 1997 Works for the last fifty-five years / Arbeiten aus den letzten fünfundfünfzig Jahren, Prague City Gallery 2003 Plastiky a reliéfy 1959–1994, Galerie Ztichlá klika, Praha, Galerie Caesar, Olomouc 2010 Skládané obrazy, sochy a schránky, Brno Gallery CZ, Brno 2012 Skládané obrazy a schránky, Topičův salon, Praha 2014 Sekal and Japan. Greetings to a distant land, Greetings from a distant land, West Bohemian Gallery in Plzeň 2015 A věci se zvolna berou před se, Muzeum umění Olomouc 2016 Young Sekal - Drawings from the camp and other..., Terezín Memorial 2020 Zbyněk Sekal, Belvedere Museum Wien 2022 Drawings and intimate sculptures, Becher Villa, Karlovy Vary 2023 Zbyněk Sekal: Sekal 100, Museum Kampa 2023 Zbyněk Sekal: Paměť / Memory, Moravian Regional Museum Brno Collective (selection) 1964 Sculpture 1964, Liberec 1965 Tschechoslowakische Kunst heute: Profile V, Städtische Kunstgalerie, Bochum 1965 Małarstwo a rzeźba z Pragi, Cracow 1965 Keramik aus 12 ländern, Internationaler Künstlerclub IKC (Palais Pálffy), Vienna 1965 La transfiguration de l'art tcfhéque: Peinture - sculpture - verre - collages, Palais de Congres, Liege 1966 Tschechoslowakische Kunst der Gegenwart, Akademie der Künste, Berlín 1966 Tokyo International Exhibition of Art, Tokyo 1966 Tschechoslowakische Plastik von 1900 bis zur Gegenwart, Museum Folkwang, Essen 1967 Moderne Kunst aus Prag, Celle, Soest, Kunsthalle zu Kiel 1967 Mostra d'arte contemporanea cecoslovacca, Castello del Valentino, Torino 1967 17 tsjechische kunstenaars (17 Czech Artists), Galerie Orez, Den Haag 1968 Sculpture tchècoslovaque de Myslbek à nos jours, Musée Rodin, Paris 1969 L'art tcheque actuel, Renault Champs - Élysées, Paris 1969 Arte contemporanea in Cecoslovacchia, Galleria Nazionale d'Arte Moderna e Contemporanea (GNAM), Rome 1970 Tschechische Skulptur des 20. Jahrhunderts: Von Myslbek bis zur Gegenwart, Schloß Charlottenburg - Orangerie, Berlin 1971 Imago, Galerie im Greichenbeisl, Schloss Lengenfeld 1974 Wiener Secession, Krems 1974 Neue Mitglieder der Wiener Secession, Wien 1974 Tschechische Künstler, Galerie Wendtorf + Swetec, Düsseldorf 1976 Parallelaktion, Neue Kunst aus Österreich, Von der Heydt Museum, Wuppertal 1980 Die Kunst Osteuropas im 20. Jahrhundert, Garmisch-Partenkirchen 1982 Künstler, Die kamen und blieben, Secession, Wien 1983/84 Das Prinzip Hoffnung. Aspekte der Utopie in der Kunst und Kultur des 20. Jahrhunderts, Museum Bochum 1989 Wo bleibst du, Revolution?, Museum Bochum, Bochum 1990 Polymorphie: Kunst als subversives Element Tschechoslowakei 1939–1990, Martin-Gropius-Bau, Berlin 1990 Galerie Stubenbastei, Wien 1991 Rupertinum, Salcburk 1991 Studio Toni de Rossi, Verona 1991 Czech Informel. Pioneers of Abstraction 1957–1964, Prague City Gallery 1992 Czech Fine Art 1960–1990, Central Bohemian Gallery, Prague 1993 Czech Fine Art 1930–1960, Czech Museum of Fine Arts, Prague 1993/94 Record of the Most Diverse Factors... Czech Painting of the Second Half of the 20th Century from the Collections of State Galleries, Prague Castle Riding Hall 1994 Grey Brick 66/1994 Exile, U Bílého jednorožce Gallery, Klatovy 1994 Focal Points of Rebirth, Prague City Gallery 1997 Aspekte imaginativer Kunst im 20. Jahrhundert: Profil und Perspektiven einer Sammlung, Museum Bochum 1997 Czech Imaginative Art, Rudolfinum Gallery, Prague 1999 The Art of Accelerated Time. Czech Art Scene 1958–1968, Prague, Cheb 2002/2004 The World of Stars and Illusions. Czech Film Posters of the 20th Century, Moravian Gallery in Brno, Mánes, Prague, Czech Centre New York, Czech Centre London, Consulate General of the Czech Republic, Los Angeles, Czech Cultural Centre, Bratislava, Czech Centre Dresden, Consulate General of the Czech Republic, Hong Kong, Art Gallery Karlovy Vary, Macao Museum of Art 2003 Art is Abstraction. Czech Visual Culture of the 1960s, Prague Castle Riding Hall, Museum of Decorative Arts, Brno, Salon, Kabinet, Olomouc 2004/06 Šedesátá / The sixties, From the collection of the Zlatá husa Gallery in Prague, Brno House of Arts, Karlovy Vary Art Gallery 2007 Máj 57 Group, Prague Castle, Imperial Stables, Prague 2007/8 Soustředěný pohled / Focused View. Graphics of the 1960s from the collections of the member galleries of the Council of Galleries of the Czech Republic, Regional Gallery in Liberec, Liberec, Regional Gallery of the Highlands in Jihlava 2008 Nechci v kleci! / No cage for me!, Museum of Art Olomouc 2010 New Sensitivity, National Art Museum of China, Beijing 2010 Years in days. Czech Art 1945–1957, Prague City Gallery 2010 Czech Art in Exile / Tschechische Kunst im Exil, Vienan, Galerie G, Olomouc 2012 Czech Modern Art, Gallery of Fine Arts in Cheb 2014 Best of artmark collection I, Galerie Artmark, Vienna 2015 Die achtziger Jahre in der Sammlung des MUSA, MUSA Museum Start Gallery Artothek, Wien 2019 Nezlomní: Od Franze Kafky po sametovou revoluci / The Steadfast: From Franz Kafka to the Velvet Revolution, Municipal house, Prague 2022/2023 Das Tier in Dir: Kreaturen in (und außerhalb) der mumok Sammlung / The Animal Within: Creatures in (and outside) the mumok Collection, MUMOK - Museum Moderner Kunst Stiftung Ludwig Wien Notes References Sources Monographs Marie Klimešová: Zbyněk Sekal (cz, en), 543 p., Řevnice: Arbor vitae, 2015, ISBN 978-80-7467-088-6. Marie Klimešová: Zbyněk Sekal and Japan, Arbor vitae 2014, ISBN 978-80-7467-064-0 Author catalogues Zbyněk Sekal: Sculptures - reliefs 1948–1965, Kříž J., cat. 30 p., no., fr., SČVU, Prague 1965 Zbyněk Sekal: Folded paintings and sculptures, Chalupecký J., cat. 12 p., SČVU, Prague 1969 Zbyněk Sekal: Bilder und Skulpturen, Travaux R, cat. 12 p., de., Vienna 1971 Zbyněk Sekal: Zusammengesetzte Bilder (Zeichnungen), Cage J et al., cat. 68 p., Graz 1977 Zbyněk Sekal: Geflechte Anwendungen eines Verfahrens, cat. 24 p., Neue Galerie, Wien 1982 Zbyněk Sekal: Bronzen, Zeichnungen, Sotriffer K., cat. 44 p., Neue Galerie, Wien 1988 Sekal: scultore, Martini S, Sekal Z, cat. 40 p., Studio oni de Rossi, Verona 1991 Zbyněk Sekal: Some works from 1940 to 1992, Hofmann W, Sekal Z, Valoch J, cat. 47 p., no., no., Brno House of Arts 1992, ISBN 80-7009-052-9 Zbyněk Sekal: Skulpturen, Materialbilder, Zeichnungen, Gerüste (1967–1991), Hofmann W, Sekal Z, cat. 36 p., no., Künstlerhaus Klagenfurt 1992 Zbyněk Sekal: Works of the last fifty-five years, Baumann H, Hofmann W, Klimešová M, Sekal Z, cat. 184 p., no., no., GHMP, Prague 1997, ISBN 80-7010-043-5 Zbyněk Sekal, And things are slowly taking over, Alšova jihočeská galerie, Arbor vitae, 2015, ISBN 978-80-87799-40-6 Collective catalogues (selection) Tschechoslowakische Kunst Heute – Profile V, Kotalík J., Leo P., Míčko M., 166 p., (de), Städtische Kunstgalerie, Bochum 1965 Aktuální tendence českého umění / Tendances actuelles de l'art tchéque, Míčko M., 162 p., (cz, fr), AICA, Prague 1966 Wo bleibst du, Revolution?, Astier P et al., 156 p., (de), Museum Bochum 1989 Czech Informel, Pioneers of Abstraction 1957–1964, Dufek A., Nešlehová M., Valoch J., 266 p., Prague City Gallery 1991 Foci of Rebirth, Czech Art 1956–1963, Bregant M. et al., 447 p., (cz, en), Prague City Gallery 1994, ISBN 80-7010-029-X Šedesátá / The sixties, Juříková M., Železný V., 414 p., (cz, en), Galerie Zlatá husa, Prague 2004, ISBN 80-239-3406-6 New Sensitivity / Nová citlivost, Czech Sculpture of the 1960s - 1980s / České sochařství 60.-80. let 20. století, Knížák M et al., 189 p., (cz, en, chin), National Gallery Prague 2010 Books and encyclopedias (selection) Geneviève Bénamou (ed.), Sensibilités contemporaines / Contemporary artistic sensibilities, 70 artistes d'origine tchégue et slovaque hors tchécoslovaquie / 70 artists of Czech and Slovak origin living outside Czechoslovakia 1970–1984, 297 p., ang., fr., Paris 1985, ISBN 2-9500702-1-3 Chalupecký J., Nešlehová M., New Art in Bohemia, 173 p., H&H, s. r. o., Jinočany 1994, ISBN 80-85787-81-4 Nešlehová M., Poselství jiného výrazu, Pojetí informelu v českém umění 50. a první poloviny 60. let / The Message of Another Expression, The Concept of Informel in Czech Art of the 1950s and the First Half of the 1960s, (cz, en), 286 p., Artefact Prague 1997, ISBN 80-902160-0-5 BASE Publishing ISBN 80-902481-0-1 Hůla J., Interviews, 122 p., Dauphin Publishing House, Prague 2001, ISBN 80-86019-74-8 Morganová P. et al., České umění 1938-1989 / Czech Art 1938–1989, Programs, critical texts, documents, 520 s., Academia Praha 2001, ISBN 80-200-0930-2 Erhart G., Colourful Trajectories of Dreams, publisher. H+H, Prague 2008, ISBN 9788073190736 Klimešová M., Roky ve dnech / Years in Days, Czech Art 1945–957, 424 p., Prague City Gallery 2010, ISBN 978-80-87164-35-8 Klimešová M, Greetings to a distant land, greetings from a distant land: Zbyněk Sekal and Japan, 128 p., Arbor vitae, Řevnice 2014, ISBN 978-80-86415-97-0 External links Information system abART: Zbyněk Sekal Zbyněk Sekal - ein Materialpoet und kritischer Zeitgeist, Belvedere 21 Artlist: Zbyněk Sekal Prostor: Zbyněk Sekal (1923–1998) Czech TV: Zbyněk Sekal (2012) Czech Radio: Zbyněk Sekal: Composed pictures and boxes (2012) Zbyněk Sekal: Film posters, book covers, illustrations Czech literary translator´s guild: Zbyněk Sekal 1923 births 1998 deaths Artists from Prague Czech sculptors Czech male painters Czech translators 20th-century Czech male artists Academy of Arts, Architecture and Design in Prague alumni
he got in to steal the kings body .
a young man was entering the gate of a town house-a servant returning from an assignation ?
`` i 'm asking you . ''
myrnin had helped save her .
`` i 'm not interested in a marriage of convenience with you any longer , jamie , '' he said evenly .
i shrugged .
on those rare occasions when i 'd gone up against betas in the past , i 'd learned my visual cues could intimidate them .
how do you fight back against such a ruthless enemy ?
The Church of St Thomas the Apostle, Killinghall, is an Anglican parish church in Killinghall, North Yorkshire, England. It was designed in 1879 by William Swinden Barber when the parish of Ripley was split to create the additional parish of Killinghall, and a new building was required to accommodate a growing congregation. It was opened in 1880. Among the early vicars posted in this benefice were two canons, Sydney Robert Elliston and Lindsay Shorland-Ball, and the Venerable Robert Collier, an Irish missionary who served in India and Africa. Context, funding and founding Before St Thomas' was built, the Anglicans of Killinghall were obliged to walk to Ripley church every Sunday, making attendance difficult for the elderly and infirm. In latter years the schoolroom at Killinghall was licensed for public worship, but as the Bishop of Ripon said, "There were not those influences about it which belonged to a consecrated building." In the 1870s the village of Killinghall, in the parish of Ripley, was increasing in size, and by 1879 had a population of 6,200 who needed a church closer than the one at Ripley. Killinghall consequently became a separate parish. The endowment for this parish came from the sale of a glebe farm at Ripley. More than an acre of land for the church and its approaches was donated by Dr and Mrs Beaumont of Knaresborough, and donations were given by local landowners and friends of the project. This allowed the church committee to plan a vicarage also. Beaumont later agreed to sell the adjoining two acres of land to the committee for £200, and this was earmarked for the burial ground. The committee received a grant of £1,500 from the Ecclesiastical Commissioners, and expected to have to raise £3,000 for a church building to accommodate 400–500 persons, and £1,500 for the vicarage. However, in return for the vicarage grant, the new vicar Reverend R.K. Smith had to pay the Commissioners £214 per annum. This sum equalled the whole of his stipend, apart from the use of the vicarage which was not yet built. On Thursday, Friday and Saturday 28–30 August 1879, a bazaar was held under the auspices of Miss Ingilby of Ripley Castle, to raise over £300 towards the cost of the church. This event was designed to attract the gentry of Harrogate, who arrived in large numbers by carriage. By July 1880, the cost of the church building had risen to over £4,000, raised by subscription and fundraising. By 1930, the value of the building was estimated at £14,000, and by 1980 the value was £400,000. Building The foundation stone was laid on Saturday 26 April 1879 by Sir Henry Day Ingilby of Ripley Castle, witnessed by an audience of 300. The church was designed in the style of the second or Curvinilear Period of Decorated Gothic of 1290 to 1350. Due to cost, the decoration of capitals and vaulting are minimal or non-existent, but there is some tracery in the windows, and varied carved finials under some arches. The church is built of dressed ashlar blocks of Killinghall stone, while the boundary wall, also built in 1880, has contrasting rough coping to blend with the contemporary local style. The west wall faces the highway, and has two aisle-end, two-light windows, whose tracery is in the form of a Canterbury cross. The North Porch is surmounted by a St Thomas Cross. The remaining windows of the church have trefoil lights or are plain lancets, except for the east window which has four lights. The north porch is square, and faced what was then the most populous part of the village. However the porch was converted into a lavatory around 2015. The mason was James Simpson of Harrogate, who constructed several local buildings of stone from Killinghall quarry, including the adjacent Methodist Chapel (1869). According to Killinghall historian Colin Waite, "It could well be that James used the same stone to build St Thomas's," and the Pateley Bridge and Nidderdale Herald'''s 1880 article about the consecration said that it was local stone. James Simpson was the father of David Simpson, who was mayor of Harrogate four times, who built Harrogate's Grand Hotel (1903), and who developed Harrogate's Duchy Estate for the Duchy of Lancaster. The carpenter and joiner was William Bellerby of York. Mr Baynes of Ripon was the slater, and Mr Fortune of Harrogate was the plasterer. John Naylor of Halifax was the plumber and glazier. The painters were Hirst and Barraclough of Brighouse. Mr Rawe of Ripley was clerk of the works. The value of work and materials as of 1880 was around £3,000. Bells and clock The bellcote contains two bells. The larger one, original to the church and measuring , was founded in 1879 by Mears and Stainbank. It is hung for use with a bellrope, being in its original position within the bellcote, with a full metal wheel. The smaller one is connected to the clock, which as of 2016 was awaiting repair. This bell measures and was founded by John Taylor of Loughborough, possibly in the 1930s when the turret clock mechanism was installed. It has been added at a lower level on the east side of the bellcote, and is struck by a clock hammer. Both bells are inscribed with the maker's name, and the larger one has the date 1879. The clock bell, clock face and turret mechanism by Potts of Leeds was donated by the daughters of George Lewis, who died aged 91 in 1932, having served as churchwarden for 41 years. Interior Between the nave and the north and south aisles are two arcades each of four doubly-chamfered arches, supported by circular columns with octagonal capitals. The chancel floor is three steps above that of the nave. It contains choir stalls designed by the architect William Swinden Barber on either side, and in a 1905–1908 chancel reordering these were augmented by two clergy seats and two prayer desks for the choir. The original choir stalls were described in 1880 as being "plain but very solid construction", like the nave pews which were also designed by the architect. On the south side of the chancel is the organ chamber, and on the north side is the vestry which has access through the north wall and into the chancel. The chancel arch was built "as lofty as possible", being the "chief internal feature of the structure". All the woodwork is made of pitch pine, and was originally treated or varnished to appear as close as possible to its natural colour, although the roof timbers looked warmer than the pews when new. The nave is by , and the north and south aisles are by . The chancel is by . The organ chamber contained no organ at first, when it measured internally by . At the consecration, a harmonium was used in default of the absent organ, and the church still contains a harmonium which may date back to 1880. The font and pulpit, designed by the architect and sculpted by Charles Mawer of Leeds, are made of Caen stone, and were paid for by Lady Ingilby. The nave and chancel originally had plain brass gas lamp standards made by Hardman's Works, and there was hot-air heating apparatus supplied by Grundy. The books were given by Mrs and the Misses Lloyd of Hazelcroft. Plate used for communion service was given by Mrs W. Strother, and the chairs in the chancel were given by Mr H. Cautley. The surplices and linen were given by the vicar of Killinghall Reverend R.K. Smith and his wife. Thomas Strother presented the altar in memory of his mother who died in 1863. Dinah Cautley (d.1910) paid for the oak chancel screen in 1905. Organ The pipe organ, built by William Andrews of Bradford, was installed in 1908. It has a carved oak case, copperplate script on ivory drawstops and a radiating and concave pedalboard. It was renovated in 1992 by J.M. Spinks of Leeds. Dinah Cautley (d.1910) donated the two-manual organ, which in its time was one of the largest in Nidderdale. Memorial plaques There is a brass plaque presented by Lady Ingilby in memory of churchwarden George Lewis (d.1932). There are three memorial tablets commemorating the Strother family, including John Marmaduke Strother MC, Second Lieutenant, killed in action aged 24 in 1917. He is also remembered on the Arras Memorial and the Killinghall War Memorial. His tablet was engraved by Jesper of Harrogate. Dinah Cautley, a major benefactor to the church, has a tablet in the nave to her memory, recording her death in 1910 at age 79. She was the aunt of Henry Cautley MP. There is a tablet dedicated to a judge, Frederick McCulloch Jowitt CBE (d.1921). There is a tablet in honour of Arthur Keightley Smith (1886–1942), son of the church's first vicar, who was lost at sea near Sumatra in World War II. Canon Elliston (d.1943), the church's second vicar, and the organist George Thomas Woods, are also remembered with a tablet. William Watson Mitchell (d.1933) also has a tablet in his memory. 1905–1908 re-ordering In 1905, Canon Elliston and churchwardens Andus Hirst and George Lewis petitioned the Bishop of Ripon William Boyd Carpenter for a faculty to take down and remove the altar and rails, the clergy choir stalls and the prayer desks from the chancel. The wanted to remove the communion rail steps under the chancel arch, and all of the floor east of them. They wanted to raise the chancel floor by four inches, and to replace the chancel steps with Pateley Bridge stone. They planned a new chancel floor of the same stone, laid in squares and diamonds. There would be a new chancel screen, and an asphalt concrete floor overlaid with pitch pine under the choir stalls. They wanted a new altar of Austrian wainscot oak, and rails around it. Above the altar, they planned a retable with brass cross, flower vases and candlesticks. They wanted a wooden dado around the three chancel walls. They wanted to re-fix Barber's original pitch-pine choir stalls, but planned additional pitch pine seats for clergy, and new desks for the choir boys. They wanted a new carved oak chancel screen with a cross on top. They also wanted wrought iron gates in the chancel screen "to prevent the entrance of strangers into the chancel, who visit the church during the summer months, when it is left open for private prayer." The cost was estimated at £265, to be raised by voluntary contribution (in the event the cost of the chancel screen was donated by Dinah Cautley). They stated that the congregation had approved these plans. Elliston was given permission on 10 November 1905. to complete the project within the following three years. William Swinden Barber, who had originally designed the building, had retired and moved to Hampshire, so C. Hodgson Fowler designed the reordering and drew up the plans.1898 Electoral Register for Brighouse Stained glass South aisle In the most westerly window on the south aisle, the right-hand light shows Elizabeth, and her son John the Baptist. Her book shows a line from the Song of Zechariah. It translates as "You, my son, shall be called the prophet of the most high." (Luke 1:68–79). The child John is looking at baby Jesus in the other window light, and he holds the words "agnus dei" or Lamb of God. The left-hand light shows the Madonna and Child, and everybody is looking at John. This window was given by parishioners in memory of Amelia Tanner, the wife of Reverend Elliston. The three-light window on the south aisle illustrates Matthew 4.24: "And they brought unto him all sick people that were taken with divers diseases and torments." This window was given by Dinah Cautley in 1887 in memory of her husband William, a doctor of obstetrics. The Cautleys lived in the Manor House where the Cautley estate (built 1960s) now stands in Killinghall. The two-light window at the east end of the south aisle was given in 1887 in memory of Mary Ann Wray by her Daughter Dinah Cautley." This window shows the Annunciation on the left, and the Resurrection on the right. It is possible that the bottom right figure is Thomas the Apostle. Chancel In the two-light window on the north side of the chancel, the left light features the Raising of Lazarus story (John 11:1–44). The text says "Lazarus come forth" (John 11.43) and "Jesus wept" (John 11.35). The second light illustrates the story of the Raising of the son of the widow of Nain (Luke 7:11–17) This window was dedicated to William Strother by his mother. The Strothers were major landowners in the village area, living locally at Low Hall, Kennel Hall Farm and Westfield. The east window was made by Cox & Son. The design of the central two lights is based on John 20:24–29, the story of Doubting Thomas. In this image, Thomas (shown kneeling at bottom of second light from left) has finally seen the Resurrection and checked the wounds, and he now believes in it. The top part of the window consists of three small rose lights, containing symbols. The left symbol is the Paschal Lamb, a heraldic symbol in which the Lamb of God carries the cross of St. George. The right-hand rose shows a pelican vulning, a heraldic symbol (a crest in this case) of a self-sacrificing pelican feeding her young with the blood from her breast, symbolising the Passion. This medieval symbol was superseded by the Lamb and Flag. The image in the uppermost rose shows the intertwined Alpha and Omega. Thomas Strother, who paid for this window, dedicated it to his wife or mother, and died while the church was in process of construction. The two-light window on the north side of the chancel is dedicated to Thomas Strother (1806–1879) by his widow. The left-hand light represents St Peter, carrying the Keys of Heaven, with his book at his feet, symbolising the Scriptures. The angel below him carries the words, "Rejoice in the lord alway" (Paul's Epistle to the Philippians 4:4). The right hand light shows Paul the Apostle carrying a sword symbolising his martyrdom, with the Scriptures in the form of a book at his feet. The angel below him has the words "The just shall live by faith" (Paul's Epistle to the Romans 1:17). North aisle The two-light window at the east end of the north aisle represents Mary and Martha of Bethany, mentioned in Luke 38–42. In that story, Mary is interested in spiritual matters, whereas Martha prefers to do practical work. Thus Martha has a housekeeper's attributes of a spinning wheel and a purse at her waist, while Mary is praying and reading the Scriptures. This window is dedicated to Ann Mitchell, the village postmistress, by her husband. The three-light window on the north aisle carries the theme of evangelism and music. It shows King David in the centre light, playing music. The left-hand light carries the words, "Their sound is gone out unto all lands," and the right-hand light says "and their words into the ends of the world." This is a translation of the 4th and 5th lines of Psalm 19, as it appears in the Book of Common Prayer: day 4, morning prayer. The men on either side of David are both saints with halos, and churchmen, wearing mitres. The dedication for this window is missing, but it was said by a local newspaper to have been given by William Clapham Cautley, and that it is dedicated to George Thomas Woods of the Order of Saint John. Woods was church organist for 24 years. West wall The western aisle-end windows are alike. The stonework of the apex of each window on the outside is in the form of a Canterbury cross. The coloured glass around the cross is painted with a stylised sunburst. The two large lights forming the main part of the windows have no coloured glass, allowing full light, especially on the font in the south aisle. The west window consists of two sets of two lights. The small rose light in the right-hand window has the Star of David, and the rose in the left-hand window has the IHS symbol, derived originally from the first three letters of Jesus' name in ancient Greek, but usually translated as "Christ the Redeemer". This window was made by Cox and Son,Stained glass in Wales: Cox & Son, who supplied the east and west windows in 1880 and paid for by the rector of Ripley, Reverend T.C. Thompson. Architect William Swinden Barber FRIBA (1832–1908) was an architect who specialised in Gothic Revival Anglican churches, working mainly in Brighouse and Halifax. He is credited with at least 16 Grade II listed buildings. Several of his designs for churches with bell-gables were completed in 1880, the same year as St Thomas the Apostle. As with the pews, the Caen stone pulpit and the font in this building, Barber often designed the fittings himself, commissioning them from local Arts and Crafts woodcarvers and sculptors. Consecration The building was consecrated by Robert Bickersteth, Bishop of Ripon (1816–1884), on Thursday 29 July 1880.Pateley Bridge and Nidderdale Herald, Friday 15 August 1980: "Notes from Nidderdale" by Chad. On microfilm at North Yorkshire County Record Office, Northallerton, microfilm 3253, frame no.02296.Yorkshire Gazette North Yorkshire, England 31 July 1880 p7: "Consecration of Killinghall Church" The Pateley Bridge and Nidderdale Herald described the scene thus: "The weather remained comparatively fine during the whole of the day, and the little village presented quite an animated appearance, the constant stream of brilliant equipages, the uneasing flow of pedestrians proceeding from all directions towards the new church, and bunting copiously displayed from the houses denoting the importance with which the event was regarded in the surrounding district. The church was crowded to excess with a very brilliant assemblage." The "brilliant assemblage" was listed in order of importance, led by Sir Henry Day and Lady Ingilby and their party from Ripley Castle, Lady Amootta Ingilby, Lady Bickersteth the wife of the Bishop of Ripon, various moneyed persons who had donated to the church building fund, and Professor Salmon of Dublin. These were followed by the local priests in their vestments, and the doctor: Reverend T.C. Thompson of Ripley, Reverend J.H. Huddleston, Reverend F. Houseman, and Dr Veale. The bishop was welcomed at the north porch by wardens Thomas Smith and William Strother, and Sir H.D. Ingilby presented the petition for consecration. The procession of wardens, Mr Wise the diocesan registrar, the bishop and 23 clergymen then proceeded to the chancel. Among the clergymen were Reverend Canon Gibbon of Harrogate, Canon Crosthwaite of Knaresborough, Rev. R.K. Smith of Killinghall, Rev. G.O. Brownrigg of Harrogate, Rev. F.L. Harrison of Pannal, Rev. H. Deck of Hampsthwaite, Rev. Cope of Bramley, J.G.B. Knight of Birstwith, Rev. Faulkner of Bishop Monkton, Rev. Lucas of Hartwith, Rev. J.J. Pulleine of Kirby Wiske (chaplain to the bishop), Rev. Patchett of Sawley, Rev. Horsfall of Dacre, and Rev. B.K. Wood of Bilton. Smith, Pulleine, Brownrigg and Gibbon assisted the bishop in the service. The Killinghall choir was augmented by the Ripley choristers, and Fred Mitchell played the harmonium. The text for the bishop's sermon was the 8th verse of Psalm 26: "Lord I have loved the habitation of thy house, and the place where thine honour dwelleth." He commented that "no excuse could now be made" that the congregation "had no church immediately at hand." He said it was "his earnest hope that those for whom the church had been erected would show their thankfulness by availing themselves constantly of those privileges which would be there accorded them." He ended by saying that donations on that day would be applied first to the remaining debt for the cost of building the church, and the balance would be kept towards the future building of a vicarage. The collection raised £40. In the afternoon after the service there was a sale of work in the schoolroom, raising a sum between £20 and £25 in aid of the building fund. 200 local people were entertained to a tea to which the journalist of the Pateley Bridge and Nidderdale Herald was presumably invited, since he described it as a "great success". This was followed by an evening service held by the Dean of Ripon, the Reverend R.K. Smith vicar of Killinghall, Reverend J.J. Pulleine and Reverend H. Deck. The collection on this occasion raised more than £7 towards the building fund. Accident Since the bells and organ had not yet been installed, it is probable that the mason James Simpson was still working on the same building on 9 August 1880. On that day his employee Anthony Carrow at Killinghall slipped from scaffolding, fell "a considerable distance" and sustained "a somewhat serious fracture of the thigh." He was taken to the Cottage Hospital at Harrogate, and by the following Wednesday he was "progressing favourably." Bicentenary and centenary celebrations The bicentenary of the parish and church building was celebrated in 1930, the service being held by Reverend Canon Sydney Robert Ellison, the second vicar of the parish. On Tuesday 29 July 1980, a celebratory centenary service was held at the church by Reverend David Young, Bishop of Ripon. Afterwards, Sir Thomas C.W. Ingilby cut the cake. At the centenary it was noted by local historian and churchwarden Mrs K.J. Russell that the Church of St Thomas the Apostle had recorded 1,437 baptisms, 491 marriages and 1,077 interments. Graveyard The burial ground was consecrated directly after the consecration service for the church building, on 29 July 1880. The first burials took place in 1880, and these continued at least until 1993. Dinah Cautley and her husband, major benefactors of the church, have a prominent grave here. Vicarage The old vicarage was built on Otley Road between 1880 and 1882, possibly designed by William Swinden Barber. Fetes and garden parties used to take place in its grounds. It was sold in 1976 when the parish was combined with Hampsthwaite, where the incumbent would now be living. Services, events and facilities Services take place on most Sundays at 9.30 am at St Thomas the Apostle, except for the fourth Sunday of the month. This is a joint benefice service at 11 am rotating around Killinghall, Birstwith, Hampsthwaite and Felliscliffe churches. The Book of Common Prayer is used at the services. There is a Sunday school in the village hall every first Sunday of the month. There is Holy Communion every first and second Sunday of the month, and all age worship on the third Sunday of the month at the same time. During school term time, there is tea and toast early on Tuesday mornings, followed by prayers. Every second Tuesday of the month, except during February, there is a mums and tots session in the church, with a coffee and cake session for all in the afternoon. The church has a regular choir, and hosts live music concerts. The church is available for hire for concerts and other events. The church building has wheelchair-accessible toilets, baby-changing facilities, an Audio induction loop, large-print hymn books, and guide dogs are welcome. A crèche is offered at certain times. Clergy Parish of Killinghall Reverend Reginald Keightley Smith 1880–1903. The first vicar of the parish was Reverend Reginald Keightley Smith (1838–1904). He was baptised at St Brides Liverpool on 15 April 1838, son of John and Mary Smith. His father was an American and West India merchant. He attended St John's College, Cambridge, gaining his BA in 1869 and his MA in 1873. He was ordained deacon in 1869, and priest in 1870 by the Bishop of Oxford. He was curate of West Hendred near Wantage 1869–1871, of Bridekirk, Cumbria 1877–1878, and of St Lawrence's Church, Appleby 1878–1880. He married Anna Maria A. Collin at Cockermouth in 1879. He was installed as vicar of Killinghall at the consecration of St Thomas the Apostle on 29 July 1880 and served until his death in 1904. He performed the church's first baptism on 15 August 1880. On 14 June 1882, his infant son Reginald Augustus Keightley died at the vicarage. Deaths Jun 1882 Smith Reginald Augustus K. 0 Knaresbro' 9a 88 He had three surviving children: Charlotte Coney Keightley (b.1881), Richard Keightley (b.1884) and Arthur Keightley (1886–1943) who was lost at sea in World War II. It was Keightley Smith who donated the lectern to the church. The patron of his living was Sir Henry Day Ingilby. His net income was £214 plus use of the vicarage. The parish population was 670 in 1880. By 1890 his income had risen to £325 and the population to 678. The size of his parish by then was 3514 acres. He died on 9 January 1904 at age 65 years at his brother's house in Chester after a long illness. He was buried on 13 January in the family vault at Birkenhead Priory. At the time of the burial, a funeral service was held for him at St Thomas, Killinghall, held by Rev. W.T. Travis of Ripley, Rev. S.T. Dawson of St Luke, Harrogate, and Rev. W. Morris, locum of Killinghall.Genes Reunited Yorkshire Post and Leeds Intelligencer West Yorkshire, England 16 January 1904 Canon Sydney Robert Elliston 1904–1935. Rev. R. K. Smith was followed between 1904 and 1935 by Canon Sydney Robert Elliston (1870–1943), who covered the hard years of the Great War and the Great Depression. He was on the staff of the Morning Leader 1892–1894. He was ordained deacon in 1894, and priest in 1895 by the Suffragan Bishop of Southwark. He was curate of Blyth 1894–1898; West Retford 1898–1901, and St Mark's Lakenham 1901–1904. He was installed as vicar of Killinghall in 1904. In 1935 he resigned due to ill health.Genes ReunitedYorkshire Post and Leeds Intelligencer West Yorkshire, England 30 September 1935 For many years he had been secretary of Ripon Diocesan Board of Finance, so his funeral was attended by a large number of officers of the financial departments of Ripon Cathedral, local clergy, and others who had travelled some distance when private travel was difficult during World War II. Between March and April 1935, the priest in charge was J.R. Lee. Reverend Alfred William Price 1936–1940. Reverend Alfred William Price (1896–1972) was the first of two incumbents who served during World War II. He was born on 31 August 1896 in Gloucester. His father was William John Price, a Naval seaman, and his mother was Edith Emily Etheridge. He had an Associateship of King's College, London, 1928. He was ordained deacon in 1928, and priest in 1929 at Blackburn at the age of 58 years. He was curate of Poulton-le-Fylde 1928–1930, St Mark, Bury 1930–1933, St Peter's Church, Harrogate September 1933 – 1936, and vicar of Killinghall from February 1936 to June 1940. In 1935 at the age of 64 years Price was offered the living of Killinghall by Sir William Ingilby of Ripley Castle, to be taken up in 1936. In 1936 a woman parishioner at Killinghall "severely criticised the untidy hair of the vicar and some of the choirboys." Price responded in the parish magazine, acknowledging the fault and the receipt of three brushes and combs, and saying with some humour that, "You may be sure that the choirboys and myself will stand before the looking glass in future, brush and comb in hand." His benefice included 1.5 acres of glebe land worth £4, His ecclesiastical commission was £400 per annum, and his fees £4, so his gross and net income was £408 plus vicarage. The parish population was 1098 in 1937. By 1940 Price had more income from other sources, amounting to an additional £54 per anuum. He was vicar of Holy Trinity Wibsey 1940–1942, and Rural Dean of Bowling, Bradford, 1948–1952. He was rector of All Saints Thurlestone 1952–1963. He died in Plymouth aged 86 years in 1972. Canon Lindsay Shorland-Ball 1940–1947. The second vicar of Killinghall during World War II was Reverend Lindsay Shorland-Ball (1912–1978) who served between November 1940 and November 1947. He was born on 17 October 1912 in Stockport. He was an alumnus of Selwyn College, Cambridge, gaining a 3rd class history tripos in 1933, his BA in 1935 and his MA in 1939. He graduated from Ridley Hall, Cambridge in 1935. He was ordained deacon in 1937, and priest in 1938 by the Bishop of Ripon. In 1937 he married Kathleen M. Potter in Halstead, Essex. He was curate of Richmond, North Yorkshire 1937–1940. When he left Richmond, the parishioners presented him and his wife with a clock and two chairs.Newcastle Evening Chronicle Tyne and Wear, England 4 November 1940 p5: "Richmond presentation" He was vicar of Killinghall 1940–1947. When on leave from his duties as naval chaplain in 1946, he wrote in the parish magazine that the church congregation had dwindled. Later the parishes were to be combined due to low church attendance since World War II and shortage of funds. At Killinghall his patron was Sir William Ingilby. His benefice comprised a glebe of 1.5 acres, ecclesiastical commission of £400, and fees of £4, giving a gross income of £458, net £367 plus vicarage. The parish population was 1098. He was chaplain to the RNVR 1944–1946. He was vicar of North Collingham 1947–1953, and of St Edmund's, Mansfield Woodhouse 1953–1960. He was surrogate from 1958. He was vicar and Rural Dean of St Swithun's Church, East Retford from 1960, and honorary canon of Southwark Cathedral from 1968. He died in 1978 in Chipping Norton, aged 66 years. Venerable Robert Collier 1948–1952. From March 1948 to May 1952 the vicar was Reverend Robert Collier. He was born on 21 September 1909, educated at Shaftesbury House Tutorial College, Belfast, and gained his BA (Resp.) from Trinity College, Dublin in 1931. He was ordained deacon in 1932, and priest in 1933 by the Bishop of Down, Connor and Dromore. He was curate of St Mary, Belfast 1932–1935. In 1935–1936 he was appointed to be registrar for the Native Christian Marriage and Divorce Ordinance, in Kenya.Kenya Gazette 18 February 1936: Govt notice 235 His first work with the Church Missionary Society was as missionary 1935–1938 at Nakuru where there was a theological college and school, where he may have taught. He completed his missionary work in Kitale 1938–1939. He resigned from the Missionary Society on 15 November 1939. He was chaplain of the ecclesiastical establishment of St. George's Cathedral, Chennai 1939–1940 and 1943–1946, Secunderabad 1940–1943, and Ooty 1946–1947. He was hon chaplain to the forces from 1947. He then took a paid, post-service furlough 1947–1948, although he would have been working as chaplain during some of that time. He was, however, registered retrospectively as vicar of Killinghall from 1948 to 1952, although Crockford's Clerical Directory registers no incumbent from 1948 to 1950. At Killinghall his patron was Sir J.W.B. Ingilby of Ripley Castle. His gross income was £417 plus vicarage. The parish population was 1098. He was possibly at St Mary's Church, Arnold 1952–1957. He was secretary to the Irish auxiliary office of the Commonwealth and Continental Church Society 1957–1961, and at the same time he had permission to officiate in the Diocese of Dublin. He was incumbent of Clonmel Union diocese at Lismore, County Waterford from 1961. He was prebend of Kilrossanty and treasurer of Lismore Cathedral, Ireland 1963–1969, and was concurrently prebend of St Patrick and treasurer of Christ Church Cathedral, Waterford 1963–1969. He was archdeacon of Waterford and Lismore from 1969. In 1969 he was living at the rectory at Clonmel, Tipperary, Eire.Further research: Collier may be listed in Dr Henry Cotton and Reverend James B. Leslie, ed. Iain Knox, Clergy of Waterford, Lismore and Ferns (2008), Ulster Historical Foundation, He was examining chaplain to the Bishop of Cashel and prebend of Waterford Cathedral from 1969. He died, probably in Eire, between 1977 and 1982. Reverend Andrew Hodgson 1952–1958. Robert Collins was followed by Reverend Andrew Hodgson (1913–1991) between November 1952 and 1958. He was born on 20 December 1913 in Ludlow. He gained his BA at Merton College, Oxford in 1936, his Diploma in Education 1937, and his MA in 1945. He graduated from Westcott House, Cambridge in 1945. He was ordained deacon in 1947, and priest in 1948 by the Bishop of Ripon. He was curate of Bedale 1947–1949, Harewood with East Keswick 1949–1952, Chaplain to the Forces (Territorial Army) from 1950, and vicar of Killinghall 1952–1958. His net endowment was £326, and his net benefice £554. By 1958 his net endowment was £331, his net benefice was £753, and the parish population had risen to 2425. His patron was J.W. Ingilby. He was vicar, of St Andrew, Honingham with East Tuddenham, Norwich 1958–1981. He retired with permission to officiate from 1981 until his death in Derby in 1991.BMD Index entry: Deaths 1991 Hodgson Andrew Derby Vol6 p4 Reverend Robert V. Morris 1958–1976. The next incumbent was Reverend Robert Morris (1907–1986) between September 1958 and 1976 when he died.Register of Baptisms for St Thomas the Apostle, Killinghall. On microfilm at North Yorkshire County Record Office, Northallerton. He was born on 18 April 1907. He attended Knutsford Ordination Test School, Hawarden, until 1929, then Lichfield Theological College, graduating in 1932. He was ordained deacon in 1934, and priest in 1936 by the Bishop of Lichfield. He was chaplain of St Mary Kingswinford 1934–1935, All Saints West Bromwich 1935–1937, Wensley, North Yorkshire1937–1939, Chaplain to the Forces (Royal Army Educational Corps 1939–1945, vicar of St Simon's Leeds (now demolished) 1946–1955, All Hallows (now demolished) with St Simon's Leeds 1955–1958. He was vicar of Killinghall 1958–1976. His net endowment was £285, and net benefice £927. In 1964 the parish population was 2723. His patron was Sir J.W. Ingilby. In 1959 during Morris's incumbency, the church had a "fine choir which has gained a reputation for music of a high standard, and on a number of occasions its members have been invited to sing evensong at Ripon Cathedral." He officially retired in 1975, and died in 1986, aged 78 years, in Claro, Yorkshire."The Revd Robert MORRIS." Crockford's Clerical Directory. Church House Publishing accessed 23 September 2016 Parish of Hampsthwaite and Killinghall The parishes of Hampsthwaite and Killinghall were unofficially combined from 1976 onwards, allowing one priest to administer both. In 1993 the two benefices were officially combined. Reverend John Frederick Walker 1976–1986. Between 1976 and 1986 there was no official incumbent. Reverend John Frederick Walker (1921–2007), vicar of Hampsthwaite with Felliscliffe, was priest in charge. He gained his BA at St John's College, Durham in 1947, his Diploma in Theology in 1949 and his MA in 1951. He was ordained deacon in 1949, and priest in 1950 by the Bishop of Wakefield. He was curate of Normanton, West Yorkshire 1949–1951, Northowram 1951–1953, vicar of Gawthorpe, Kirklees with Chickenley Heath 1953–1959, All Souls' Church, Halifax 1959–1973, Hampsthwaite from 1974 and curate in charge of Killinghall 1976–1986. As priest in charge of Killinghall he was living at Hampsthwaite vicarage because Killinghall vicarage had been sold.Crockfords Clerical Directory (1985–86) Oxford In 1980 he produced a centenary pamphlet for the church. He retired to Skipton in 1986 with permission to officiate, and died in 2007.Crockford's Clerical Directory, Church House Publishing: "The Revd John Frederick WALKER." accessed 26 September 2016 Reverend Anthony George Hudson 1987–1999. From Monday 30 March 1987 until 1999, Reverend Anthony George "Tony" Hudson (born 1939), priest in charge of Hampsthwaite and Killinghall, took the services. He took a Northern Ordination Course. He was ordained deacon in 1984, and priest in 1985. He was curate of St Mark's Church, Harrogate, 1984–1987, priest in charge of Hampsthwaite from 1987, and at the same time priest in charge of Killinghall from 1987. He was director of Ripon and Leeds Diocesan Board of Finance 1991–1999, a successor in that post to Canon Elliston. His patron was Sir Thomas Ingilby in 1992, but by the end of the century the patrons for this living were Sir James Aykroyd, Sir Thomas Ingilby and the Bishop of Ripon.Crockford's Clerical Directory (2000–01) Oxford At Hudson's installation, Reverend David Young, Bishop of Ripon, officiated, alongside the Venerable Norman McDermid, archdeacon of Richmond, North Yorkshire and Canon Howard Garside, rural dean. Sir Thomas Ingilby of Ripley Castle, patron of the living of St Thomas, was also present.Pateley Bridge and Nidderdale Herald, Friday 3 April 1987: article on installation of Reverend Tony Hudson. On microfilm at North Yorkshire County Record Office, Northallerton He retired as vicar in 1999, with permission to officiate which was renewed in 2014. Reverend Garry Anthony Frank Hinchcliffe 2000–2013. Reverend Garry Anthony Frank Hinchcliffe BD (Hons) was born in 1968. He obtained his bachelor's degree in 1994, and graduated from Edinburgh Theological College in 1990. He specialised in ecclesiastical history and the gospels. He married Ann and had five children. He was ordained deacon in 1994, and priest in 1995. He was curate of Dumfries 1994–1997, priest in charge of Motherwell and Wishaw 1997–2000. He was vicar of Hampsthwaite and Killinghall 2000–2004, and of Hampsthwaite, Killinghall and Birstwith 2004–2013. His patrons were Mrs S.J. Finn, Sir James Aykroyd and Sir Thomas Ingilby. At Killinghall he worked alongside Hon Curate R. Maclean-Reid. In October 2013 he transferred to Knaresborough.Crockford's Clerical Directory (2012–13) Oxford Reverend Christella Helen Wilson Between 2014 and 2015 the living was vacant according to Crockford's Clerical Directory''. However, by 2014 the priest in charge of Hampsthwaite and Killinghall was Reverend Christella Helen Wilson, and by 2016 she was vicar. She was ordained deacon at Ripon Cathedral in July 2011, and ordained priest at St Robert's, Harrogate, on 1 July 2012. She graduated from the Yorkshire Ministry Course in 2008. She was curate of St Robert's, Pannal (with Beckwithshaw) 2011–2014. She was vicar of St Thomas, Hampsthwaite (with Killinghall and Birstwith) from 2014. References Bibliography Arts and Crafts architecture in England Gothic Revival church buildings in England Killinghall Churches completed in 1880 William Swinden Barber buildings
i nodded .
and she did n't mean from the water .
off we go son .
aidan did n't argue with her .
she said .
`` no , regin . ''
he should never have left her side .
ethan sighed and ran a hand through his black hair , which was still messy from rolling around in bed with me .
fight it , andrea .
he had a point there .

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