From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #16345 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Thursday, July 10 2025 Volume 14 : Number 16345 Today's Subjects: ----------------- Tractor Supply Has Your YETI Gear Covered - Limited Time! ["Your Tractor ] Ozempic in a glass? (natural superfood drink) ["Rootz Superfoods Team" Subject: Tractor Supply Has Your YETI Gear Covered - Limited Time! Tractor Supply Has Your YETI Gear Covered - Limited Time! http://preciousmetals.sa.com/S2wqyHjZ15h1wh5ICgrnvJlN0N_1b83TZFSgiS9vxShGAtIe http://preciousmetals.sa.com/IHhcZN-aqp53IElEakdPKXbjlQ9x5-hXH58DDCpypciZ2UBa e of the Centennial Exhibition, the painting was housed in the College Building of Jefferson Medical College, Thomas Jefferson University in Philadelphia until it was moved in the mid-1980s to Jefferson Alumni Hall. Although undocumented, in the late-1970s there was a rumor of a substantial offer by a collector who wished to donate the painting to the National Gallery of Art. On November 11, 2006, the Thomas Jefferson University Board voted to sell the painting for US$68 million to the National Gallery of Art in Washington and the new Crystal Bridges Museum of American Art, then under construction in Bentonville, Arkansas. The sale would represent a record price for an artwork made in the United States prior to World War II. The proposed sale was seen as a secretive act. In late November 2006, efforts began to keep the painting in Philadelphia, including a fund with a December 26 deadline to raise money to purchase it and a plan to invoke a clause regarding "historic objects" in the city's historic preservation code. In a matter of weeks the fund raised $30 million, and on December 21, 2006, Wachovia Bank agreed to lend the difference until the rest of the money had been raised, keeping the painting in town at the Philadelphia Museum of Art and the Pennsylvania Academy of Fine Arts. Pledges alone were not enough to cover the US$68 million purchase price. The Pennsylvania Academy of the Fine Arts was forced to deaccession Eakins's The Cello Player to an unidentified private buyer; and the Philadelphia Museum of Art deaccessioned Eakins's Cowboy Singing, along with two oil sketches for Cowboys in the Badlands, to the Anschutz collection and the Denver Art Museum. The Denver-bas ------------------------------ Date: Tue, 8 Jul 2025 08:52:55 -0500 From: "Rootz Superfoods Team" Subject: Ozempic in a glass? (natural superfood drink) Ozempic in a glass? (natural superfood drink) http://patriotpatril.sa.com/ZvtTc1AbAeRi7OEelspN5tx-g4z25GUU1MkdedWhSoRmChk4 http://patriotpatril.sa.com/iaCCWNIORAiKPGgP7lgCFf8nkztTjjsZmq_hdY8NmJgmPqnW e artist's widow, wrote a letter of complaint regarding the "fancy red light" that had falsified the painting's intended tones. The painting's backing was reinforced with plywood by H. Stevenson in 1915. This was replaced in 1940 by Hannah Mee Horner, who glued the painting to a plywood backing. Within two decades, this backing began to warp and threatened to tear the painting in half. In 1961, at the request of Jefferson Medical College, the Philadelphia Museum of Art (PMA) undertook another restoration, under conservator Theodor Siegl. Mark Tucker, a later PMA conservator, described the work as "a rescue mission... They were saving the painting from tearing itself in half. These were the nail heads that were starting to work forward into the canvas and show as bumps on the front... Yeah. It was just hair-raising." Siegl used a power plane to remove the plywood down to the last, thin ply. The rest of the wood and the tenacious glue were painstakingly removed by hand. Siegl and his colleagues also restored, to some extent, the faces in the upper right of the canvas. In 2009, in response to long term concerns regarding inconsistencies in the painting's disposition of darkness and light, conservators at the Philadelphia Museum of Art undertook restoration of The Gross Clinic from July 2009 to July 2010, during which time the painting was not publicly visible. The restoration sought to revert changes that had been made by the Jefferson Medical College during the 1917 restoration. Definition of parts, including Eakins' self-portrayal, was restored, using as reference an ink wash copy of the painting made by the artist, as well as a photograph taken by the Metropolitan Museum of Art previous to the Medical Colle ------------------------------ End of alt.music.moxy-fruvous digest V14 #16345 ***********************************************