Stewart, Col Sir Frederick (Charles), (died 10 March 1950), Chairman of Thermotank Ltd, Thermotank Engineering Co., Ltd, Glasgow, London, Liverpool and Newcastle, of Thermotank (SA) (Pty) Ltd Johannesburg, and of Thermotank (India) Ltd, also President of Thermotank (Canada) Ltd; Chairman: North British Locomotive Co., Ltd, Glasgow and London; North British Locomotive Co. (Africa) Ltd; Kelvin, Bottomley & Baird, Ltd, Glasgow, London and Basingstoke; Kelvin & Hughes, Ltd; Clyde Confections Ltd; Deputy Chairman; Brown Bros & Co., Ltd; Henry Hughes & Son, Ltd; Director: William Baird & Co., Ltd; The Clydesdale & North of Scotland Bank, Ltd; Eagle Star Insurance Co., Ltd; Scottish Industrial Estates Ltd; Hillington Industrial Estates Ltd; Bruas-Perak Rubber Estates Ltd; Caledonian Trust Co., Ltd, Second Caledonian Trust Co., Ltd, Third Caledonian Trust Co., Ltd; S. Smith & Sons (England) Ltd; Midland Bank Ltd; Midland Bank Executors & Trustee Co. Ltd; Western Reversion Trust Ltd; Consulting Ventilating Engineer to Ministry of Sea Transport; Past President, Institution of Engineers and Shipbuilders in Scotland, 1941–43 (now Hon. Member); Assessor to the Rector of Glasgow University; Hon. Vice-President: Glasgow County Scout Council; Royal Glasgow Institute of the Fine Arts; Glasgow Art Gallery and Museums Associations; Zoological Society of Glasgow; Vice-President Institute of Industrial Administration; Member of Council, Institution of Naval Architects; Governor, Royal Scottish Academy of Music; Member: Clyde Navigation Trust; Lloyds Register of Shipping (Glasgow Committee); Hon. Company of Master Mariners, London; Wardens’ Court, The Worshipful Company of Shipwrights, London; Institute of British Engineers; Admiralty Aeronautical Research Advisory Panel; Railway Staff Tribunal; Executive Council (and of Scottish Committee) of Festival of Britain, 1951; etc

Author(s):  
Kelvin Chuah

Yong Mun Sen was a prominent watercolorist born in Sarawak, Malaysia, and is acknowledged as one of the country’s pioneer artists. His watercolor landscapes and depictions of life present visual histories of British Malaya, and his subject matter ranges from tropical scenes to farming imagery to local architecture. A self-taught painter, Mun Sen’s residence in Singapore and subsequent permanent relocation to Penang created his fruitful artistic relationships with artists based in both locations. Notably, Mun Sen went for plein air trips with his peers in Singapore and Penang, which was an art activity not previously practiced by local artists in the area but most suitable for watercolor productions. Artists active in Penang before World War II also held gatherings at Mun Sen’s photographic studio. This group of artists formed the Penang Chinese Art Club (1935) with Mun Sen serving as vice-president. Mun Sen also contributed to the formation of the Nanyang Academy of Fine Arts, Singapore (1938). As Tan Chong Guan has written, local and foreign patrons collected Mun Sen’s watercolors, including Malcolm MacDonald, the governor-general of British Malaya. Mun Sen was nationally recognized with exhibitions at The National Art Gallery of Malaysia and also the State Museum of Penang, both in 1972.



2011 ◽  
Vol 3 (2) ◽  
pp. 27-30
Author(s):  
Melissa Jakubowitz

This Letter to the Editor on the topic of speech-language pathology license portability for telepractice, was authored by Melissa Jakubowitz M.A. CCC-SLP, Vice President of SLP Services at PresenceLearning. A speech-language pathologist with over 20 years of clinical and managerial experience, Ms. Jakubowitz is a Board Recognized Specialist in Child Language. Ms. Jakubowitz began her career working in the public schools and has also operated a successful, multi-office private practice.  She is a past Director of the Scottish Rite Institute for Childhood Language Disorders in Stockton, CA. Jakubowitz is also a past-president of the California Speech-Language-Hearing Association, which, with over 5,000 SLP members, is one of the largest speech-language pathologist state associations in the country. Active in the American Speech-Language-Hearing Association (ASHA), Ms. Jakubowitz served as a Legislative Counselor for 12 years.


2010 ◽  
Vol 35 (4) ◽  
pp. 24-28 ◽  
Author(s):  
David Pulford

The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.


1999 ◽  
Vol 24 (3) ◽  
pp. 5-7
Author(s):  
Melva J. Dwyer

Fine arts and culture have existed in British Columbia from the time that the First Peoples came to the North Pacific coast of Canada. Vancouver’s first fine arts library was established in 1930 at the Vancouver Public Library; significant collections have subsequently been developed at the Vancouver Art Gallery, Emily Carr Institute of Art & Design and the University of British Columbia. They serve a diverse clientele: students, artists and researchers. Outlook, a province-wide network, provides access via the Internet to library catalogues of public, college and institution libraries throughout the Province.


2019 ◽  
Vol 66 ◽  
pp. 25-51
Author(s):  
Kevin N. Laland ◽  
Steven Rose

Patrick Bateson made outstanding contributions to the study of animal behaviour over a 50-year period, a field in which he was regarded as a world leader. His research involved analyses of the development, causal mechanisms, function and evolution of behaviour, and combined work in the experimental laboratory with observations of the natural behaviour of animals and theoretical analyses. With particular expertise on behavioural development, Bateson made seminal contributions to several topics, including filial imprinting, mate choice, developmental plasticity, the roles of behaviour and development in evolution, animal welfare and animal play. His research on imprinting in birds pioneered new methods, set new standards for behavioural research and shed new light on the interplay of internal and external factors during behavioural development. Recognizing that a complete understanding of behaviour requires investigation at a number of levels, Bateson's interactionist perspective led him to be highly critical of reductionism and of simple-minded use of terms such as ‘instinct’ and ‘innate’. Bateson published several influential books and well over 300 scientific articles, including a substantial number in flagship journals such asNatureandScience. His contribution to science was recognized with many honours, including a knighthood, the Frink Medal of the Zoological Society of London and the Distinguished Animal Behaviorist Career Award of the Animal Behavior Society. Bateson was also provost of Kings College Cambridge, president of the Zoological Society of London and biological secretary and vice-president of the Royal Society. A leading public intellectual in the early part of the twenty-first century, Bateson brought leadership and balanced judgement to many difficult issues, including the use of animals in medical research, dog breeding and hunting.


Ramus ◽  
2010 ◽  
Vol 39 (1) ◽  
pp. 53-72
Author(s):  
Paula James

In this article I suggest ways in which a gorgeously crafted, colourful, compelling 20th century painting of an abandoned Ariadne highlights both her tragic and comic presence in classical literary representations. Joseph South-all's 1925-6 work Ariadne in Naxos (tempera on linen, 83.5 × 101.6 cm), reproduced below, can be viewed in all its glory in the Birmingham City Art Gallery (bequeathed by the artist's widow, Anne Elizabeth, in 1948) but it was featured to fine effect in the 2007 exhibition The Parrot in Art: From Dürer to Elizabeth Butterworth, Barber Institute of Fine Arts, University of Birmingham. It was in this psittacine (psittaceous?) context that I first encountered Ariadne's parrot so the bird perhaps loomed larger in the painting than it might as a stand-alone Southall on its home ground in the Gallery.


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