Saturday, September 30, 2017

North American Stinging Nettle Gardens As Ornamental Barriers


Summary: North American stinging nettle gardens give five decades of ornamental barriers in barren, disturbed, high-nutrient and nutrient-deficient soils.


fawn hiding in stinging nettle (Urtica dioica); Winschoten, Groningen, northeastern Netherlands; Feb. 9, 2006: Jos (ynksjen), CC BY 2.0, via Wikimedia Commons

North American stinging nettle gardens accept annual and perennial, native and non-native members of the Urticaceae family whose herbaceous growth acts as a barrier with, and as an ornamental without, stinging nettles.
Plants bear federal, provincial, state or territorial weed designations when their life cycles betray ecosystem well-being and human health, block crop yields and bully species diversity. Fast establishment, high soil tolerances, multiple propagation means and prolific seed production communicate considerations for calling stinging nettles, scientifically named Urtica dioica (burning two houses), weeds. Mexico and the United States do not designate stinging nettles weeds even though provincial legislation in Manitoba and in Quebec describes them as such in Canada.
Stinging nettles enchant and exasperate master gardeners and master naturalists for enduring barren soils, disturbed soils, nutrient deficiencies and nutrient excesses as native North American vegetation.

Oblong, 0.08- to 0.16-inch- (2- to 4-millimeter-) long, 0.04-inch- (1-millimeter-) wide cotyledons, each with distinct midribs, function as embryonic leaves in nettles' shade-loving, sun-intolerant seedling stage.
Stinging nettles, also commonly known as big-sting, California, slender or tall nettles, grow into 19.69- to 118.11-inch- (50- to 300-centimeter-) tall perennials with 50-year life expectancies. They have creeping, elongated, spreading underground stems, called rhizomes, that hustle 8.2-foot (2.5-meter) increases in diameter every year and four-angled stems that harbor irritating, stinging hairs. Dainty pink buds introduce the growing season's fresh shoots on the stems of stinging nettles, described by Swedish botanist Carl Linnaeus (May 23, 1707-Jan. 10, 1778).
The foliar stalks 0.39 to 0.59 inches (10 to 15 millimeters) long in North American stinging nettle gardens join into opposite-positioned arrangements around stinging nettle stems.

The 1.97- to 7.87-inch- (5- to 20-centimeter-) long, 0.79- to 5.12-inch- (2- to 13-centimeter-) wide leaves keep hairy surfaces, heart- to lance-like shapes and toothed margins.
The two 0.19- to 0.48-inch- (5- to 12-millimeter-) long membranous structures, called stipules, at the base of every three- to seven-nerved leaf look brown and papery. Green foliage merges with female-blooming green and male-blooming green-yellow clusters on central, separate, wind-pollinated stalks, with same-sized stalklets, called racemes on branching, pyramid-shaped inflorescences called panicles. Female flowers nestle the ovary-bearing pistil around two 0.06- to 0.07-inch- (1.4- to 1.8-millimeter-) long inner and two 0.03- to 0.05-inch- (0.8- to 1.2-millimeter-) outer sepals.
Male flowers offer four 0.04- to 0.08-inch- (1- to 2-millimeter-) long sepals and four stamens in May to September blooms in North American stinging nettle gardens.

The flowering stage of blooms less than 0.08 inches (2 millimeters) across paves the way for the fruiting of achenes within the inner female-flowering papery sepals.
The shedding of dry, one-seeded achenes quickens seed germination to within five to 10 days of dispersal and viability in soil for the ensuing 10 years. Narrow wings reach around each dull orange to pale brown, oval, 0.04- to 0.06-inch- (1- to 1.5-millimeter-) long, 0.03- to 0.04-inch- (0.7- to 1-millimeter-) wide seed. Stinging nettles each scatter as many as 20,000 seeds even when the related native pellitory and wood nettle and non-native dog or small nettle share space.
Dog nettle and pellitory without, and stinging and wood nettles with, stinging hairs temper North American stinging nettle gardens with 50 years of natural ornamental barriers.

stinging nettle (Urtica dioica); Isenberg, Hattingen, northwestern Germany: Simplicius, CC BY SA 3.0, via Wikimedia Commons

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
fawn hiding in stinging nettle (Urtica dioica); Winschoten, Groningen, northeastern Netherlands; Feb. 9, 2006: Jos (ynksjen), CC BY 2.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Fawn_in_Winschoten_(ynskjen).jpg
stinging nettle (Urtica dioica); Isenberg, Hattingen, northwestern Germany: Simplicius, CC BY SA 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Brennnessel.jpg

For further information:
Dickinson, Richard; and Royer, France. 2014. Weeds of North America. Chicago IL; London, England: The University of Chicago Press.
Linnaeus, Carl. 1753. "4. Urtica dioica." Species Plantarum, vol. II: 984. Holmiae [Stockholm, Sweden]: Laurentii Salvi [Laurentius Salvius].
Available via Biodiversity Heritage Library @ http://biodiversitylibrary.org/page/359005
"Urtica dioica L." Tropicos® > Name Search.
Available @ http://www.tropicos.org/Name/33400020
Weakley, Alan S.; Ludwig, J. Christopher; and Townsend, John F. 2012. Flora of Virginia. Edited by Bland Crowder. Fort Worth TX: BRIT Press, Botanical Research Institute of Texas.



Friday, September 29, 2017

Baltimore Museum Renoir Art Theft Casualty in Bag, Box, Home or Shed?


Summary: A sister reports buying the Baltimore Museum Renoir art theft casualty at a West Virginia flea market, but her brother recalls it being with their mother.


France's Seine River flowing west of Paris, between Bougival and Chatou, inspired Renoir's diminutive On the Shore of the Seine, stolen from the Baltimore Museum of Art in 1951 and returned to the museum in 2014: Jean-Marie Hullot (Jmhullot), CC BY 3.0, via Wikimedia Commons

Acquisition of the six-decade absent Baltimore Museum Renoir art theft casualty Jan. 31, 2014, adds closure without answers to the perpetrator's identity, means, motives and opportunities and to the Seine riverscape's hideaways.
The geometric, moisture-tolerant weave of the linen damask that On the Shore of the Seine (Paysage Bords de Seine) beautifies betokened minimal breakdown and minor restoration. Its cleanliness, despite a disturbed corner and some dustiness, convoked optimal conservation away from sunlight at 50 percent humidity and 70 degrees Fahrenheit (21.11 degrees Celsius). It derived from one scenario divulged by a self-described eyewitness to the artwork's hideaway in plain sight and another by a self-proclaimed good-faith buyer and possessor.
A box, a garbage bag, a shed and the walls of a house emerged as whereabouts after the Baltimore Museum Renoir art theft Nov. 16-17, 1951.

Initially thought to be a lost Renoir, the diminutive painting scheduled for The Potomack Company's Sept. 29, 2012, auction turned out to be a stolen Renoir: The Potomack Company via The Potomack Company press release of Sept. 5, 2012

The riverscape from 1879 fell onto The Potomack Company auction block in Alexandria, Virginia, following authenticity by Bernheim-Jeune art gallery in Paris, France, second known title-holder.
The internet guards the press release generated Sept. 15, 2012, about the auction Sept. 29, 2012, and the bidding price of $75,000 to $100,000 for bidders. It has newspaper coverage hyping the self-named Renoir Girl's happening in 2009 upon a box holding a Paul Bunyan doll, a plastic cow and the riverscape. It indicates the riverscape's isolation within a white bag in one Harpers Ferry flea market-destined box on a table in an unheated shed with cracked windowpanes.
Washington Post reporter Ira Shapira's investigations jumpstarted the auction's cancellation, the possessor's exposure and the painting's seizure 61 years after the Baltimore Museum Renoir art theft.

The brush strokes, colors, light and Seine subject of an oil on linen damask riverscape that The Potomack Company almost auctioned in 2012 reminded the auction gallery's fine arts specialist, Anne Norton Craner, of another 1879 oil painting by Pierre-Auguste Renoir, Landscape at Wargemont; Toledo Museum of Art, Lucas County, northwestern Ohio: Art Gallery ErgsArt - by ErgSap (Art Gallery ErgsArt), Public Domain, via Flickr

Knowledge of Saidie Adler May (Feb. 18, 1879-May 27, 1951), as Baltimore Museum of Art benefactress and wife of a legal riverscape title-holder, kindled Shapira's investigations.
Shapira's investigations Sept. 25, 2012, in the museum library led to the painting's seizure, as stolen artwork, by the Federal Bureau of Investigation Sept. 28, 2012. The FBI moves motivated Renoir Girl to materialize as Marcia Martha Fuqua, Marcia Mae Fuqua's (June 12, 1928-Sept. 9, 2013) daughter and Owen Maddox Fuqua's sister. It necessitated a United States Eastern District Court ruling on legal ownership and nourished incompatible memories by Fuqua, her brother and her brother's girlfriend Jamie Romantic.
Martha Fuqua's statements offered her mother first observing the riverscape between 2009 and 2012, almost 58 to 61 years after the Baltimore Museum Renoir art theft.

U.S. District Court Judge Leonie M. Brinkema issued her decision concerning ownership of Renoir's On the Shore of the Seine from the Albert V. Bryan Courthouse in Alexandria, northern Virginia: Tim Evanson, CC BY SA 2.0, via Flickr

Fuqua's brother placed the 8.75- by 12- by 2.25-inch (22.22- by 30.48- by 5.72-centimeter) Renoir (Feb. 25, 1841-Dec. 3, 1919) "in my mother's house for years." His veracity qualified Fuqua's mother, Goucher College art studio graduate in 1952 and Maryland Institute College of Arts fine arts graduate in 1957, as good-faith possessor.
Good-faith possession reappears in the kitchen wall-hanging casualty of the Norman Rockwell Lazybones art theft June 30, 1976, until relocation March 29-31, 2017, to legal title-holders. The closed Renoir case and the Rockwell case's closure three years later share absence of post-recovery punishment, minimum of post-retrieval restoration and notification through public ceremony.
The closed Baltimore Museum Renoir art theft case tells the open Houston Renoir art theft case to throw a big party whenever the prodigal turns up.

Will Renoir's portrait of Madeleine (right) stolen from a private residence in Houston in 2011 resurface via a good faith possessor, such as Norman Rockwell's "Lazybones" (left), recovered after 41 missing years, or such as Renoir's On the Shore of the Seine, returned to the Baltimore Museum of Art after over 62 missing years?: Federal Bureau of Investigation (FBI), Public Domain, via FBI

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
France's Seine River flowing west of Paris, between Bougival and Chatou, inspired Renoir's diminutive On the Shore of the Seine, stolen from the Baltimore Museum of Art in 1951 and returned to the museum in 2014: Jean-Marie Hullot (Jmhullot), CC BY 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Ile_de_la_Loge,_Bougival,_aerial_view.jpg?uselang=fr
Initially thought to be a lost Renoir, the diminutive painting scheduled for The Potomack Company's Sept. 29, 2012, auction turned out to be a stolen Renoir: The Potomack Company via The Potomack Company press release of Sept. 5, 2012, @ http://www.potomackcompany.com/press/current/020)%20Lost%20Renoir%20Painting%20at%20Potomack%20Company%20September%2029%20Auction.pdf
The brush strokes, colors, light and Seine subject of an oil on linen damask riverscape that The Potomack Company almost auctioned in 2012 reminded the auction gallery's fine arts specialist, Anne Norton Craner, of another 1879 oil painting by Pierre-Auguste Renoir, Landscape at Wargemont; Toledo Museum of Art, Lucas County, northwestern Ohio: Art Gallery ErgsArt - by ErgSap (Art Gallery ErgsArt), Public Domain, via Flickr @ https://www.flickr.com/photos/ergsart/22178491528/
U.S. District Court Judge Leonie M. Brinkema issued her decision concerning ownership of Renoir's On the Shore of the Seine from the Albert V. Bryan Courthouse in Alexandria, northern Virginia: Tim Evanson, CC BY SA 2.0, via Flickr @ https://www.flickr.com/photos/timevanson/6974619803/
Will Renoir's portrait of Madeleine (right) stolen from a private residence in Houston in 2011 resurface via a good faith possessor, such as Norman Rockwell's "Lazybones" (left), recovered after 41 missing years, or such as Renoir's On the Shore of the Seine, returned to the Baltimore Museum of Art after over 62 missing years?: Federal Bureau of Investigation (FBI), Public Domain, via FBI
"Lazybones" via FBI @ https://www.fbi.gov/contact-us/field-offices/philadelphia/news/press-releases/fbi-seeks-missing-norman-rockwell-painting-stolen-40-years-ago-today
Federal Bureau of Investigation (FBI), Public Domain, via FBI
"Madeleine" via FBI @ https://www.fbi.gov/news/stories/new-top-ten-art-crime

For further information:
Marriner, Derdriu. 30 June 2017. "Norman Rockwell Painting Lazybones Art Theft Anniversary: Lost No More." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/06/norman-rockwell-painting-lazybones-art.html
Marriner, Derdriu. 8 September 2017. "Renoir Oil Painting Theft in Houston, Texas Unsolved From Sept. 8, 2011." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/09/renoir-oil-painting-theft-in-houston.html
Paul C. Kopp @marketshakers. 21 January 2014. "Renoir bought for $7 at W. Virginia flea market ordered returned to museum." Twitter.
Available @ https://twitter.com/marketshakers/status/425761068401451009


Wednesday, September 27, 2017

Four Star Keystone Asterism Contains Hercules Globular Cluster


Summary: The four star Keystone asterism in constellation Hercules contains the celestial northern hemisphere’s famed Hercules Globular Cluster.


crowded heart of Hercules Globular Cluster (Messier 13; NGC 6205), imaged by Wide Field Channel of Hubble Space Telescope’s Advanced Camera for Surveys, July 5, 2010; blue-filtered (F435W) data are colored blue; red-filtered (F625W) data are colored green; near-infrared data (via F814W filter) are colored red: ESA/Hubble and NASA, CC BY 4.0, via Hubble Space Telescope

The four star Keystone asterism in Hercules the Kneeling Hero constellation contains the celestial northern hemisphere’s famed Hercules Globular Cluster, a dense, tightly gravitationally bound starry collection orbiting in the Milky Way’s halo, beyond the galaxy’s main body.
At mid-northern latitudes in September and October, Hercules the Kneeling Hero constellation appears in the northwest. Classed as fifth largest of the 88 modern constellations established in 1930 by the International Astronomical Union (IAU), the heroic constellation is herculean in size.
Yet, the constellation’s lack of first and second magnitude stars confuses easy visibility. Moonless rural skies ease identification.
The heroic constellation’s Keystone asterism especially helps with identification. A starry quartet marks the asterism’s four corners. Third magnitude stars Pi Herculis (π Her; π Herculis) and Zeta Herculis (ζ Her; ζ Herculis) anchor Keystone’s northeastern and southwestern corners, respectively. Fourth magnitude stars Eta Herculis (η Her; η Herculis) and Epsilon Herculis (ε Her; ε Herculis) represent Keystone’s northwestern and southeastern corners, respectively.
At mid-northern latitudes in September and October, the Keystone is easy to locate, with its distinctive shape, below bright Vega. The bluish star dominates Northern Hemisphere skies with a trio of honors. Vega rates as the brightest star in Lyra the Lyre constellation, the second brightest star in the Northern Hemisphere’s night skies and the fifth brightest star in the night skies of both the Northern Hemisphere and the Southern Hemisphere.
Locating the outstandingly bright star in neighboring Lyra the Lyre constellation and then finding the four star Keystone asterism in Hercules the Kneeling Hero constellation quickly lead to viewing the Hercules Globular Cluster. The Keystone asterism’s western side serves as gateway to the Hercules Globular Cluster.
The starry collection lies about one-third of the distance between Eta Hercules, anchor of the asterism’s northwestern corner, and Zeta Hercules, signal of the asterism’s southwestern corner. The globular cluster is found about 2.5 degrees south of Eta Hercules.
The Hercules Globular Cluster measures a distance of about 25,000 light years and a diameter of about 145 light years. Naked eye astronomy perceives the globular cluster as fuzzily shaped in darkened skies. Binocular and telescopic astronomy increase appreciation of this globular cluster.
English astronomer Edmond Halley (Nov. 8, 1656-Jan. 25, 1742) is credited with discovering the Hercules Globular Cluster in 1714. The cluster’s discoverer acknowledged the importance of a “serene” sky and an “absent” moon in naked eye visibility of the “little Patch.” Edmond Halley is the namesake of Halley’s Comet (1P/Halley), the icy solar system body whose short orbital period of approximately 76 years he determined.
On June 1, 1764, French astronomer and comet hunter Charles Messier (June 26, 1730-April 12, 1817) catalogued the Hercules Globular Cluster. He designated the cluster as M13 (Messier 13) in his influential deep sky catalog, Catalogue des Nébuleuses et des Amas d’Étoiles (“Catalog of Nebulae and Star Clusters”), first published in 1774. Compiled with the assistance of French astronomer Pierre François André Méchain (Aug. 16, 1744-Sept. 20, 1804), the catalog ultimately listed a total of 103 non-cometary astronomical objects.
The New General Catalogue of Nebulae and Clusters of Stars (NGC) designates the Hercules Globular Cluster as NGC 6205. Danish-Irish astronomer John Louis Emil Dreyer (Feb. 13, 1852-Sept. 14, 1926) published the catalogue in 1888 as a revision, correction and enlargement of General Catalogue of Nebulae and Clusters of Stars, published in 1864 by English astronomer Sir John Frederick William Herschel, 1st Baronet (March 7, 1792-May 11, 1871).
The takeaway for the four star Keystone asterism as gateway to the Hercules Globular Cluster is that naked eye astronomy rewards observers of Hercules the Kneeling Hero constellation with a distinctive asterism of third and fourth magnitude stars as well as with a fuzzy globular cluster sending light from a distance of over 25,000 light years.

M13, known popularly as Hercules Globular Cluster, in western end of Keystone asterism of Hercules the Kneeling Hero constellation: International Astronomical Union and Sky & Telescope magazine, CC BY 3.0, via International Astronomical Union (IAU)

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
crowded heart of Hercules Globular Cluster (Messier 13; NGC 6205), imaged by Wide Field Channel of Hubble Space Telescope’s Advanced Camera for Surveys, July 5, 2010; blue-filtered (F435W) data are colored blue; red-filtered (F625W) data are colored green; near-infrared data (via F814W filter) are colored red: ESA/Hubble and NASA, CC BY 4.0, via Hubble Space Telescope @ http://www.spacetelescope.org/images/potw1011a/
M13, known popularly as Hercules Globular Cluster, in western end of Keystone asterism of Hercules the Kneeling Hero constellation: International Astronomical Union and Sky & Telescope magazine, CC BY 3.0, via International Astronomical Union (IAU) @ https://www.iau.org/public/images/detail/her/

For further information:
Byrd, Deborah. “Find Hercules Between 2 Bright Stars.” EarthSky > Tonight. April 30, 2017.
Available @ http://earthsky.org/tonight/two-stars-lead-to-constellation-hercules
Fisher, Mark. “Epsilon Herculis.” Glyph Web eSky (Electronic Sky) > Stars.
Available @ http://www.glyphweb.com/esky/stars/epsilonherculis.html
Howell, Elizabeth. “Globular Clusters: Dense Groups of Stars.” Space.com > Science & Astronomy. July 22, 2015.
Available @ http://www.space.com/29717-globular-clusters.html
Kaler, James B. (Jim). “Eastern Hercules.” University of Illinois Astronomy Department > Star of the Week.
Available @ http://stars.astro.illinois.edu/sow/her1-p.html
Kaler, James B. (Jim). “Eps Her (Epsilon Herculis).” University of Illinois Astronomy Department > Star of the Week.
Available @ http://stars.astro.illinois.edu/sow/epsher.html
Kaler, James B. (Jim). “Eta Her (Eta Hercules).” University of Illinois Astronomy Department > Star of the Week.
Available @ http://stars.astro.illinois.edu/sow/etaher.html
Kaler, James B. (Jim). “Pi Her (Pi Herculis).” University of Illinois Astronomy Department > Star of the Week.
Available @ http://stars.astro.illinois.edu/sow/piher.html
Kaler, James B. (Jim). “Zeta Her (Zeta Herculis).” University of Illinois Astronomy Department > Star of the Week.
Available @ http://stars.astro.illinois.edu/sow/zetaher.html
Marriner, Derdriu. "Curious George Co-Creator Hans Rey Drew Keystone as Head of Hercules." Earth and Space News. Wednesday, July 9, 2014.
Available @ https://earth-and-space-news.blogspot.com/2014/07/curious-george-co-creator-hans-rey-drew.html
Marriner, Derdriu. "Keystone Asterism Identifies Hercules the Kneeling Hero Constellation." Earth and Space News. Wednesday, Sept. 6, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/09/keystone-asterism-identifies-hercules.html
McClure, Bruce. “Find the Keystone in Hercules.” EarthSky > Tonight. May 25, 2016.
Available @ http://earthsky.org/tonight/vega-guide-star-to-the-keystone-and-hercules-star-cluster
McClure, Bruce. “M13: Great Cluster in Hercules.” EarthSky > Clusters Nebulae Galaxies. April 22, 2014.
Available @ http://earthsky.org/clusters-nebulae-galaxies/m13-finest-globular-cluster-in-northern-skies
Plotner, Tammy. “Messier 13 (M13) - The Great Hercules Cluster.” Universe Today. Aug. 27, 2016.
Available @ http://www.universetoday.com/31430/messier-13/
Rao, Joe. “Look for the Great Hercules Kneeling in the Sky This Week.” Space.com > Skywatching. June 27, 2017.
Available @ http://www.space.com/29780-hercules-constellation-skywatching-guide.html
Ridpath, Ian. “Hercules.” Ian Ridpath > Star Tales.
Available @ http://www.ianridpath.com/startales/hercules.htm
Ridpath, Ian. “Hercules Continued.” Ian Ridpath > Star Tales.
Available @ http://www.ianridpath.com/startales/hercules2.htm
Schaaf, Fred. A Year of the Stars: A Month-by-Month Journey of Skywatching. Amherst NY: Prometheus Books, 2003.


Monday, September 25, 2017

2017-2018 Met Opera Season Premiere of La Bohème Is Monday, Oct. 2


Summary: The 2017-2018 Met Opera season premiere of La Bohème is Monday, Oct. 2. October’s first week also offers Bellini, Mozart and Offenbach operas.


Angel Blue makes her Metropolitan Opera debut in the opera house's 1,306th performance of Puccini's La Bohème: The Metropolitan Opera @MetOpera via Facebook Sept. 21, 2017

The 2017-2018 Met Opera season premiere of La Bohème is Monday, Oct. 2. October’s first week, which is the 2017-2018 season’s second week, features two performances of La Bohème, Bellini’s Norma and Offenbach’s Les Contes d’Hoffmann, as well as one staging of Mozart’s Die Zauberflöte.
The 2017-2018 Met Opera season premiere of La Bohème by Italian opera composer Giacomo Puccini (Dec. 22, 1858-Nov. 29, 1924) takes place at 7:30 p.m. EDT (Eastern Daylight Time). The week’s second performance of the most performed opera in the Metropolitan Opera’s repertoire is scheduled for Friday, Oct. 6, at 8 p.m.
Met Opera’s La Bohème showcases the classic production designed and directed by Franco Zeffirelli. The Italian film, opera and television director’s staging is the week’s oldest production.
Zeffirelli’s production debuted Monday, Dec. 14, 1981, for the 1981-1982 Met Opera season. The Christian Science Monitor’s music critic, Thor Eckert Jr., described the audience’s reaction to the new production’s atmospheric recreation of circa 1840 Montmartre as “. . . a roar of acclaim, amazement, and even disbelief -- a roar that went on for nearly a minute.”
J. Knighten Smit is La Bohème’s revival stage director. The production team comprises Peter J. Hall, costume designer, and Gil Wechsler, lighting director.
The 2017-2018 Met Opera season offers 15 performances of La Bohème. In addition to the season premiere and second performance, five more performances are given in October, two in November, three in February and three in March.
October’s other performances take place Monday, Oct. 9, at 7:30 p.m.; Saturday, Oct. 14, at 8 p.m.; Thursday, Oct. 19, at 8 p.m.; Monday, Oct. 23, at 7:30 p.m.; Friday, Oct. 27, at 8 p.m.
November’s performances are scheduled for Wednesday, Nov. 1, at 7:30 p.m. and Saturday, Nov. 4, at 8 p.m.
February’s performances take place Friday, Feb. 16, at 8 p.m. EST (Eastern Standard Time); Wednesday, Feb. 21, at 7:30 p.m.; Saturday matinee broadcast, Feb. 24, at 12:30 p.m.
March’s performances happen Friday, March 2, at 8 p.m.; Wednesday, March 7, at 7:30 p.m.; Saturday, March 10, at 8:30 p.m.
Three more operas performed during the 2017-2018 Met Opera season’s second week had their season premieres during the season’s opening week at the end of September. One of the operas introduces a new production. The other two also debuted in the 21st century.
Norma by Italian opera composer Vincenzo Bellini (Nov. 3, 1801-Sept. 23, 1835) is performed Tuesday, Oct. 3, at 7:30 p.m. and Saturday, Oct. 7, at 1 p.m. The Druid-themed opera debuts a new production directed by Scottish opera and theatre director Sir David McVicar.
Les Contes d’Hoffmann by German-born French composer Jacques Offenbach (June 20, 1819-Oct. 5, 1880) is staged Wednesday, Oct. 4, at 7:30 p.m. and Saturday, Oct. 7, at 8 p.m. The 2017-2018 Met Opera season’s performances of Offenbach’s opéra fantastique (“fantasy opera”) revive American theater director Bartlett Sher’s production, which debuted Thursday, Dec. 3, 2009.
Die Zauberflöte by Salzburg’s most famous composer, Wolfgang Mozart (Jan. 27, 1756-Dec. 5, 1791), is presented Thursday, Oct. 5, at 7:30 p.m. The staging features American film, opera and theater director Julie Taymor’s production. As the week’s second oldest production after Zeffirelli’s La Bohème, Taymor’s production debut dates back to Friday, Oct. 8, 2004, at the Metropolitan Opera.
The takeaways for the 2017-2018 Met Opera season are that the season premiere of the Met’s most performed opera, La Bohème, is Monday, Oct. 2, and that performances of opening week’s season premieres complete the 2017-2018 Met Opera season’s second week.

On Oct. 2, 2017, Angel Blue makes her Metropolitan Opera debut and Dmytro Popov reprises his Sept. 28, 2016, debut role as Rodolfo: The Metropolitan Opera @MetOpera via Facebook Sept. 20, 2017

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
Angel Blue makes her Metropolitan Opera debut in the opera house's 1,306th performance of Puccini's La Bohème: The Metropolitan Opera @MetOpera via Facebook Sept. 21, 2017, @ https://www.facebook.com/MetOpera/photos/a.134969600532.229232.20807115532/10159472885365533/
On Oct. 2, 2017, Angel Blue makes her Metropolitan Opera debut and Dmytro Popov reprises his Sept. 28, 2016, debut role as Rodolfo: The Metropolitan Opera @MetOpera via Facebook Sept. 20, 2017, @ https://www.facebook.com/MetOpera/photos/a.134969600532.229232.20807115532/10159471982860533/

For further information:
Eckert, Thor, Jr. “The Met’s ‘Boheme’ --  a la Zeffirelli.” The Christian Science Monitor > Archive > 1981. Dec. 24, 1981.
Available @ https://www.csmonitor.com/1981/1224/122401.html
Marriner, Derdriu. "2017-2018 Met Opera Season Opens Sept. 25 With Bellini’s Norma." Earth and Space News. Monday, Sept. 18, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/09/2017-2018-met-opera-season-opens-sept.html
Metropolitan Opera. “La Bohème: Set Change Timelapse.” YouTube. Dec. 15, 2016.
Available @ https://www.youtube.com/watch?v=rmybiI-M-IE
The Metropolitan Opera @MetOpera. "Angel Blue makes her Met debut as Mimì in Puccini's La Bohème, Monday, October 2. Tickets: bit.ly/2pGw4yGn." Facebook. Sept. 21, 2017.
Available @ https://www.facebook.com/MetOpera/photos/a.134969600532.229232.20807115532/10159472885365533/
The Metropolitan Opera @MetOpera. "Between arias, the La Bohème cast managed to sneak in a group selfie at today's rehearsal. Angel Blue makes her highly anticipated Met debut on October 2 as Mimì. Dmytro Popov returns as Rodolfo. bit.ly/2pGw4yG Photos by Jonathan Tichler/Metropolitan Opera." Facebook. Sept. 20, 2017.
Available @ https://www.facebook.com/MetOpera/photos/a.134969600532.229232.20807115532/10159471982860533/
“New Production: La Bohème.” MetOpera Database > [Met Performance] CID: 266920 La Bohème {823} Metropolitan Opera House: 12/14/1981.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=266920
“New Production: Les Contes d’Hoffmann." MetOpera Database > [Met Performance] CID: 353209 Les Contes d'Hoffmann {241} Metropolitan Opera House: 12/03/2009.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=353209
“New Production: Die Zauberflöte." MetOpera Database > [Met Performance] CID: 351036 Die Zauberflöte {343} Metropolitan Opera House: 10/08/2004.
Available @ http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=351036
“Performances Statistics Through October 31, 2016.” MetOpera Database: The Metropolitan Opera Archives > Repertory Report.
Available @ http://archives.metoperafamily.org/archives/Database%20Opera%20Statistics.xml
UniversityofRedlands @UofRedlands. “We are so proud of @UofRedlands alumna Angel Blue ’05 who will be making her debut @MetOpera in the role of Mimí in La Bohème.” Twitter. Feb. 22, 2017.
Available @ https://twitter.com/UofRedlands/status/834462390674550784


Sunday, September 24, 2017

Americanized Common Mullein Gardens: Ground Cover and Herbal Medicine


Summary: Black, common, moth and orange mulleins give Americanized common mullein gardens ground cover and herbal medicine away from farms, orchards and pastures.


Puu Mali Restoration Area, Mauna Kea's northern slope, north central Hawaii; July 23, 2004: Forest and Kim Starr, CC BY 2.0, via Flickr

Americanized common mullein gardens add Greek plants and ground cover that antagonize farmers, indigenists and ranchers but appeal to herbalists and landscapes of Greek-styled buildings in Canada, Mexico and the United States.
Common mullein brings farms and pastures 100-year soil viability, prolific seed production, Prunus B & G, tobacco mosaic and tobacco streak viruses and unpalatable woolly foliage. Considerations of the biennial native to Greece as a disease-carrying, land-invading pest cancel the herb's contributions to fish and ground reflection loss controls and to medicine. Provincial legislation in Alberta, Canada, and state legislation in Colorado and in Hawaii designate common mullein unwelcome weeds despite Atlantic to Pacific coast naturalization since 1876.
Colorado likewise excludes eastern European and Russian moth mullein, common mullein relative and fellow member in the Scrophulariaceae family of figwort and snapdragon herbs and sub-shrubs.

Seedlings feature egg-shaped, 0.04- to 0.24-inch- (1- to 6-millimeter-) long, 0.04- to 0.14-inch- (1- to 3.5-millimeter-) wide embryonic leaves called cotyledons with semi-hairy, soft green surfaces.
Common mullein gets a deep taproot and short-branched, woolly-haired, 19.69- to 98.43-inch- (50- to 250-centimeter-) tall stems by growing wherever North America gives 140-day growing seasons. Elliptical to oblong foliage hits higher ranges in foliar sizes as basal leaves and lower ranges as upper leaves and holds alternate places on their stems. Basal, 5.91- to 17.72-inch- (15- to 45-centimeter-) long, 0.79- to 3.94-inch- (2- to 10-centimeter-) wide leaves include branched, dense, woolly hairs on lower and upper surfaces.
Similarly branched, dense, woolly hairs jostle the undersides and the upper-sides of 3.94- to 15.75-inch- (10- to 40-centimeter-) long upper leaves in Americanized common mullein gardens.

Dense, 7.87- to 19.69-inch- (20- to 50-centimeter-) long, unbranched inflorescences called spikes, 1.18 inches (3 centimeters) across, keep stalkless yellow flowers directly attached to main stems.
One pistil, two long and three short stamens, five united petals and five united sepals load perfect common mullein flowers, each 0.98 inches (2.5 centimeters) across. White or yellow hairs on common mullein's stamens make differentiation possible from the otherwise similar black mullein, also called black torch, whose stamens manage purple hairs. Flowering nourishes fruiting of 180 to 250 oval, 0.12- to 0.39-inch- (3- to 10-millimeter-) long capsules, each with 600 seeds and with woolly-haired surfaces, per stem.
Americanized common mullein gardens offer 180,000 oblong, ridged, wrinkled, 0.03- to 0.04- (0.7- to 0.9-millimeter-) long, 0.016- to 0.019-inch- (0.4- to 0.5-millimeter-) wide seeds per plant.

Common mullein, called Verbascum thapsus (bearded plant [of] Thapsus [Tunisia]) and described by Swedish botanist Carl Linnaeus (May 23, 1707-Jan. 10, 1778), produces 100-plus-year viable seeds.
Sunlight and temperatures above 50 degrees Fahrenheit (10 degrees Celsius) in bare, disturbed or gravelly soils quicken germination of common mullein's dark gray to brown seeds. Seeds and seedlings reveal slower rates of germination and growth in vegetated areas even though common mullein life cycles resuscitate abandoned lots and revive overgrazed pastures. Their ambiguity shows in the common names Aaron's rod, big taper, blanket-leaf, candle-wick, devil's-tobacco, flannel plant, flannel-leaf, hedge-taper, ice-leaf, Jacob's staff, torches, velvet dock and velvet-leaf.
Americanized common mullein gardens with black, moth and orange mullein turn down ground reflection loss, turn out herbal medicines and turn up June to September blooms.

common mullein; Calaveras County, Northern California; Aug. 14, 2011; Franco Folini, CC BY SA 2.0, via Flickr

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
common mullein's flowers; Puu Mali Restoration Area, Mauna Kea's northern slope, north central Hawaii; July 23, 2004: Forest and Kim Starr, CC BY 2.0, via Flickr @ https://www.flickr.com/photos/starr-environmental/24688393546/
common mullein; Calaveras County, Northern California; Aug. 14, 2011; Franco Folini, CC BY SA 2.0, via Flickr @ https://www.flickr.com/photos/livenature/6048097075/

For further information:
Dickinson, Richard; and Royer, France. 2014. Weeds of North America. Chicago IL; London, England: The University of Chicago Press.
Linnaeus, Carl. 1753. "1. Verbascum thapsus." Species Plantarum, vol. I: 177. Holmiae [Stockholm, Sweden]: Laurentii Salvii [Laurentius Salvius].
Available via Biodiversity Heritage Library @ http://biodiversitylibrary.org/page/358196
"Verbascum thapsus L." Tropicos® > Name Search.
Available @ http://www.tropicos.org/Name/29200424



Saturday, September 23, 2017

North American Carpetweed Gardens: Ground Cover, Scientific Research


Summary: North American carpetweed gardens pull down ground reflection losses by putting carpetweed, chickweed and lotus sweetjuice out on barren soils.


carpetweed's flowers and leaves; Broadmoor neighborhood, University District, central Little Rock, Pulaski County, central Arkansas; Eric in SF, CC BY SA 3.0, via Wikimedia Commons

North American carpetweed gardens adjust ground reflection loss rates downward on barren, compacted, disturbed, polluted, unbalanced ground even though they allow cucumber mosaic, tobacco etch and tobacco mosaic viruses into cultivated soils.
Carpetweed, also commonly called devil's grip, green carpetweed, Indian chickweed and whorled chickweed, batters cultivated and uncultivated soils with chickweed-like looks, stubborn seeds and viral diseases. Federal, provincial, state and territorial legislation in Canada, Mexico and the United States charges native and non-native vegetation with weediness for behavior unbecoming North American flora. No federal, provincial, state or territorial government in North America disparages the native North and South American tropical annual or related African and Eurasian lotus sweetjuice.
Carpetweed, scientifically named Mollugo verticillata (soft whorl), encourages its intolerance in gardens and row croplands and tolerance on railways, roadsides and wastelands with other weedy ornamentals.

Carpetweed seedlings foster atop brown stems hairless, oblong, thick, 0.06- to 0.14-inch- (1.5- to 3.5-millimeter-) long embryonic leaves, called cotyledons, under 0.05 inches (1.3 millimeters) thick.
First leaf stages give dull green upper-sides, pale undersides and spatula shapes but grow into whorled arrangements of three to eight elliptical, linear or spatula-shaped leaves. Mature, 0.19- to 1.58-inch- (5- to 40-millimeter-) long, 0.02- to 0.59-inch- (0.5- to 15-millimeter-) wide carpetweed leaves have 0.04- to 0.16-inch- (1- to 4-millimeter-) long stalks. Carpetweed, described by Swedish physician Carl Linnaeus (May 23, 1707-Jan. 10, 1778), includes dull upper-sides, pale undersides, sparse-haired lower margins and no chickweed-like, opposite-arranged, oval-shaped leaves.
Two to six flowers join, menorah-like, into single points on inflorescences called umbels in the axil angles of leaves and stems in North American carpetweed gardens.

The perfect, regular, white flowers keep together one pistil, three to four stamens and five 0.06- to 0.09-inch- (1.5- to 2.5-millimeter-) long sepals without any petals.
The sepals always look green on the outside and white on the inside while the 1.12- to 0.79-inch- (3- to 20-millimeter-) long flowers always look dainty. Hairless, mature, multi-branched, prostrate, 1.18-to 17.72-inch- (3- to 45-centimeter-) long carpetweed manages flowers June through September, foliage and, as dry, explosive, multi-seeded, oval, thin-walled capsules, fruits. Three teeth nose 15 to 35 0.019- to 0.024-inch- (0.5- to 0.6-millimeter-) long and wide seeds from each 0.09- to 0.13-inch- (2.5- to 3.3-millimeter-) long capsule.
The dark orange to brown, kidney-shaped, ridged, shiny seeds offer the sole reproduction mode even though carpetweed organizes into horizontal mats across North American carpetweed gardens.

Carpetweed seeds procrastinate their germination until the late spring and early summer months even though germinated seeds push their seedlings quickly through one growing-season life cycles.
Agriculturists, botanists and horticulturists question the in-soil viability of carpetweed seeds in the absence of any anecdotal or science-based information and qualify the topic as research-worthy. Similar-looking common chickweed repels farmers and gardeners with its 10-year in-soil viabilities but regains respect by reducing ground reflection loss rates, like carpetweed, and releasing nitrogen. Weedy ornamentals in the 14-genera Molluginaceae family of herbaceous and shrubby carpetweeds and in the 80-genera Caryophyllaceae family of herbaceous carnations survive deplorable and optimal soils.
Carpetweed, common chickweed and lotus sweetjuice transform North American carpetweed gardens into sites worthy of chickweed's fashionable relatives: baby's breath, bouncing bet, carnations and Maltese cross.

closeup of carpetweed plant's flower and leaves: Robert H. Mohlenbrock/Midwest National Technical Center, Public Domain, via USDA NRCS PLANTS Database

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
carpetweed's flowers and leaves; Broadmoor neighborhood, University District, central Little Rock, Pulaski County, central Arkansas; Eric in SF, CC BY SA 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Mollugo_verticillata.jpg
closeup of carpetweed plant's flower and leaves: Robert H. Mohlenbrock/Midwest National Technical Center, Public Domain, via USDA NRCS PLANTS Database @ https://plants.usda.gov/core/profile?symbol=MOVE#

For further information:
Dickinson, Richard; and Royer, France. 2014. Weeds of North America. Chicago IL; London, England: The University of Chicago Press.
Linnaeus, Carl. 1753. "4. Mollugo verticillata." Species Plantarum, vol. I: 89. Holmiae [Stockholm, Sweden]: Laurentii Salvii [Laurentius Salvius].
Available via Biodiversity Heritage Library @ http://biodiversitylibrary.org/page/358108
Mohlenbrock, Robert H. 1989. Midwestern Wetland Flora: Field Office Guide to Plant Species. Lincoln NE: USDA Soil Conservation Service (SCS) Midwest National Technical Center.
Available via Biodiversity Heritage Library @ http://biodiversitylibrary.org/page/47568522
"Mollugo verticillata L." Tropicos® > Name Search.
Available @ http://www.tropicos.org/Name/700039
Weakley, Alan S.; Ludwig, J. Christopher; and Townsend, John F. 2012. Flora of Virginia. Edited by Bland Crowder. Fort Worth TX: BRIT Press, Botanical Research Institute of Texas.



Friday, September 22, 2017

Baltimore Museum Renoir Art Theft November 1951: A Riverscape Returns


Summary: Nobody expected a 61-year-old Baltimore Museum Renoir art theft casualty's emergence shortly after the first anniversary of the Houston Renoir art theft.


Homecoming display of Renoir's On the Shore of the Seine during "The Renoir Returns" exhibit, running from March 30 to July 20, 2014: Fireman's Fund Insurance Company, via Allianz press release of April 3, 2014

Astuteness averted personal tragedy in the Houston Renoir art theft Sept. 8, 2011, and professional tragedy 12 months later, almost 61 years after the Baltimore Museum Renoir art theft Nov. 16-17, 1951.
The first incident brought charges of armed robbery, with the homeowner blocking access to her 10-year-old son sleeping upstairs but not to her Renoir painting downstairs. The second considered the skill set of journalists, such as Washington Post reporter Ian Shapira, who compete with auctioneers in checking provenance of lesser known artworks.
Destruction describes the feared fate of stolen art that disappears from rumors even though the Norman Rockwell Lazybones art theft recovery March 29-31, 2017, demonstrated otherwise. Theft exiled Lazybones from one home's foyer to another's kitchen for 40 years and On the Shore of the Seine from a museum to a residence.

Baltimore police department records furnish the original report with the finding that "There was no evidence of forced entrance" anywhere in the Baltimore Museum of Art. The report gives executive assistant James M. Porter Jr.'s statement that "some one [sic] stole" Pierre-Auguste Renoir's (Feb. 25, 1841-Dec. 3, 1919) Paysage Bords de Seine. It has an incident occurrence sometime between 6:00 p.m. Eastern Standard Time (11:00 p.m. Coordinated Universal Time) Friday and 1:00 p.m. EST (6:00 p.m. UTC) Saturday.
Museum records indicate that, like the Art Gallery of New South Wales art theft in Sydney, Australia, June 10, 2007, insurance claim payouts invite replacement artwork. Edgar Degas' (July 19, 1834-Sept. 27, 1917) Self-Portrait from about 1856 thereby joined European collections, as object number 1953.205, after the Baltimore Museum Renoir art theft.

Galerie Bernheim-Jeune, located on the Seine's right bank in the 8th arrondissement of Paris (8e arrondissement de Paris), is one of the City of Lights' oldest art galleries and also claims status, according to provenance paper trails, as the first known purchaser of Renoir's On the Shore of the Seine: Erwmat, CC BY SA 3.0, via Wikimedia Commons

Nobody knew the whereabouts of the oil on linen damask until it kindled an auction for Sept. 29, 2012, and that auction's cancellation Sept. 28, 2012. Verification of authenticity from the painting's first known purchaser and seller, Bernheim-Jeune art gallery in Paris, France, led to The Potomack Company's listing in Alexandria, Virginia.
The gallery's mention of the purchasers' names from Nov. 22, 1925, or Jan. 11, 1926, motivated a Washington Post reporter to move quickly through museum documents. Ian Shapira noticed the notification of Herbert Louis May (July 28, 1877-1960), Saidie Adler Lehman's (Feb. 18, 1879-May 27, 1951) second husband, as last known purchaser. On Sept. 25, 2012, almost 61 years after the Baltimore Museum Renoir art theft, he obtained verification of provenance through Saidie A. May Bequest paper trails.

Estate and museum correspondence, documents and inventories prove May's artworks, in the midst of probate at the time of the theft, passing into the permanent collection.
Documents at 10 Art Museum Drive, within Johns Hopkins University's downtown campus, and at Fireman's Fund Insurance Company headquarters at Novato, California, quantify a claim payout. The paid $2,500 claim, the police report-described, replaced "river scene in pink and blue, weeds in green" and the suggested good-faith possession qualify as ownership queries. They resulted in the riverscape's seizure Sept. 28, 2012-Jan. 31, 2014, under Gregg Horner, Federal Bureau of Investigation Special Agent in Charge of the Renoir case. The ruling Jan. 10, 2014, by Leonie Brinkema, U.S. District Court Judge for the Eastern District of Virginia since Oct. 20, 1993, solved legal title-holding ownership.
Nothing thus far tells for sure the correct answers to the means, motives, opportunities and whereabouts of the perpetrator of the Baltimore Museum Renoir art theft.

Will "Madeleine Leaning on Her Elbow With Flowers in Her Hair," painted in 1919 by Pierre-Auguste Renoir and stolen Sept. 8, 2011, from West Houston, Texas, during an armed robbery, resurface?: Federal Bureau of Investigation (FBI), Public Domain, via FBI

Acknowledgment
My special thanks to talented artists and photographers/concerned organizations who make their fine images available on the internet.

Image credits:
Homecoming display of Renoir's On the Shore of the Seine during "The Renoir Returns" exhibit, running from March 30 to July 20, 2014: Fireman's Fund Insurance Company, via Allianz press release of April 3, 2014, @ https://www.allianz.com/en/press/news/business/insurance/news_2014-04-03.html/
Galerie Bernheim-Jeune, located on the Seine's right bank in the 8th arrondissement of Paris (8e arrondissement de Paris), is one of the City of Lights' oldest art galleries and also claims status, according to provenance paper trails, as the first known purchaser of Renoir's On the Shore of the Seine: Erwmat, CC BY SA 3.0, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Gallerie_Bernheim-Jeune_avenue_Matignon_%C3%A0_Paris.JPG
Will "Madeleine Leaning on Her Elbow With Flowers in Her Hair," painted in 1919 by Pierre-Auguste Renoir and stolen Sept. 8, 2011, from West Houston, Texas, during an armed robbery, resurface?: Federal Bureau of Investigation (FBI), Public Domain, via FBI @ https://www.fbi.gov/news/stories/new-top-ten-art-crime

For further information:
Ancestry.com. "Saidie Adler May in the U.S., Find A Grave Index, 1600s-Current." U.S., Find A Grave Index, 1600s-Current [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2012.
Available @ http://search.ancestrylibrary.com/cgi-bin/sse.dll?_phsrc=iwv77&_phstart=successSource&usePUBJs=true&gss=angs-c&new=1&rank=1&msT=1&gsfn=saidie%20adler&gsfn_x=0&gsln=may&gsln_x=0&msypn__ftp=maryland&msbdy=1879&msddy=1951&catbucket=rstp&MSAV=1&MSV=0&uidh=ft7&pcat=34&h=114344709&dbid=60525&indiv=1&ml_rpos=1
Brown, Anne Mannix; Novak, Jessica; and Gisel, Hanna. 27 March 2014. "Renoir's On the Shore of the Seine Returns to the BMA in Special Exhibition Celebrating Collector Saidie May." Baltimore MD: Baltimore Museum of Art.
Available @ https://artbma.org/documents/press/RELEASE_RenoirExhibitionUpdate_.pdf
Holland, Lucie. 5 September 2012. "'Lost' Renoir Painting at Potomack Company's Sept. 29 Auction." Alexandria VA: The Potomack Company.
Available @ http://www.potomackcompany.com/press/current/020)%20Lost%20Renoir%20Painting%20at%20Potomack%20Company%20September%2029%20Auction.pdf
JewishGen, comp. "Sadie Adler May in the JewishGen Online Worldwide Burial Registry (JOWBR)." JewishGen Online Worldwide Burial Registry (JOWBR) [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2008.
Available @ http://search.ancestrylibrary.com/cgi-bin/sse.dll?indiv=1&db=JG_BurialRegistry&h=2089042&tid=&pid=&usePUB=true&_phsrc=iwv77&_phstart=successSource&usePUBJs=true&rhSource=60525
Marriner, Derdriu. 9 June 2017. "New South Wales Art Gallery van Mieris Art Theft June 10, 2007." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/06/new-south-wales-art-gallery-van-mieris.html
Marriner, Derdriu. 30 June 2017. "Norman Rockwell Painting Lazybones Art Theft Anniversary: Lost No More." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/06/norman-rockwell-painting-lazybones-art.html
Marriner, Derdriu. 15 September 2017. "Baltimore Museum Renoir Art Theft Solved, Not Houston Renoir Art Theft." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/09/baltimore-museum-renoir-art-theft.html
McCauley, Mary Carole. 15 February 2014. "A First Look at Stolen Renoir Reveals, Retains Some Secrets." The Baltimore Sun > Collections > Baltimore Museum.
Available @ http://articles.baltimoresun.com/2014-02-15/entertainment/bs-ae-renoir-returns-20140215_1_wayne-biggs-stolen-renoir-marcia-martha-fuqua/2
Shapira, Ian. 27 March 2014. "'Flea Market' Renoir Returns to the Baltimore Museum of Art Six Decades After Its Theft." The Washington Post > Local.
Available @ https://www.washingtonpost.com/local/flea-market-renoir-returns-to-the-baltimore-museum-of-art-six-decades-after-its-theft/2014/03/26/a79df14e-b517-11e3-b899-20667de76985_story.html?utm_term=.1a2b5e6463d1