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|The History of a
The letter a is one of the more interesting ones, with a range of variations in form, some of which are regarded as diagnostic in the identification of particular scripts. We are familiar today with the closed a with a short curling loop at the top, most commonly used in printed typefaces, and such as is found right here in what you are reading. For most of us, our cursive writing will contain a simplified a with no loop at the top. Both these forms, and multiple other variants, are found in medieval writing.
While these little histories are essentially about the minuscule letters, the development of capitals being another story, we will start with the early majuscule alphabets in each case, just to see where some things come from.
|In the Old Roman square capitals, A has the very familiar closed triangular form. Most square capital forms are entirely familar to us from our own printed heading typefaces.
|In the rustic capital script, the letter A not only looks less angular and has gained feet, it has lost its crossbar.
|The uncial A, while a majuscule letter, shows a form similar to that of many later minuscule scripts, with the curved diagonal line forming an upper loop and a closed loop attached.
|In New Roman cursive, which formed the basis for the development of many scripts, minuscule a was an open letter. To our eyes this example could be u or r or i, or practically anything.
|In the pre-Carolingian minuscule scripts which are often inaccurately dubbed the National Hands, a was a variable letter, and one which was often used to differentiate script types as certain forms tended to be diagnostic. In cases of scripts which have hybridised and interacted, this may be a modern artifact of classification, but certain scripts had their very characteristic forms.
|This example from what is described as an old Italian book hand of the 8th century preserves the open a. How this script fits into the rigid National Hand classification is unclear, but it is probably from northern Italy. Some might call it Lombardic, others would argue that it is not.
|The open a which looks like cc is considered reasonably typical of Merovingian minuscule or Germanic book hand. This is from an 8th century example that tends toward the newfangled Carolingian style, but maintains this diagnostic letter form.
|An open a of peculiar form is one of the diagnostic letters of that specialised Merovingian script, Corbie ab.
|The other named special Merovingian book hand, Luxeuil minuscule, also has an open a, this time in the form of a very angular cc.
|It appears in highly laterally compressed form in Merovingian chancery script, the formal document hand of the royal Merovingian and Carolingian chancery.
|The Visigothic script from Spain displays a slightly open a, although this example is closer to a familiar form than the others shown here.
|In fact, it is very close in form to this example of the open, but only just, a from an early half uncial example.
|In contrast, the script from England and Ireland known as insular half uncial or, somewhat inaccurately, insular majuscule, has a closed a which extends almost into a sideways figure of eight. Just to add to the confusion, this form of a has also been found in scripts described as Merovingian.
|This exaggerated form is also found in Beneventan minuscule from southern Italy, and is one of the diagnostic letters for this script.
|The old curialis of the papal chancery completed the exaggeration with a double closed loop.
|And just to be different again, insular minuscule produced a simple closed form without any extraneous loops, quite different to that of insular half uncial, although the latter form can be found in scripts of intermediate type.
|The letter a could be changed in form in a ligature, most notably in the æ dipthong found in Old English.
|There seems to be no particularly strong geographical pattern to the variations on the letter a in this period. Perhaps this should be no surprise, as those who could write were an international literate elite who came together in various places as a result of their religious calling, rather than their place of birth. Styles developed in places where writing was carried out.
|The reformed script known as Caroline minuscule, developed in the 9th century and spreading rapidly through western Europe, was designed to produce uniformity and mutual legibility. The closed a became the standard form, although the occasional open a sneaks into some early works in this script style. Most commonly, it had the extended curling loop over the top, although the simple form without a loop was also found, particularly in small neat scripts, rather than the large impressive ones which were done with extra flourish. This seems to hark back to the uncial A more than to the New Roman cursive.
|While Caroline minuscule rapidly became a standard book hand in most areas, the influence on document hands was a little more gradual in places. This example from the papal curialis of the 11th century maintains an open a, even while other letters had been modernised.
|By the 12th century, the papal chancery had adopted the neat closed a. At the same time, both the papal and Imperial German chanceries were adopting very fiddly scripts based on Caroline minuscule but with highly elaborated and exaggerated ascenders. In this so called diplomatic minuscule, small letters like a retained their simple and recognisable form.
|Gothic book hands were developed from Caroline minuscule, and the basic general form of a with a loop at the top was common to all variations, whether the script was rounded or angular, broad or compressed, rapidly or intricately finished. Sometimes the loop on top was absent, and sometimes it was closed over.
|This protogothic a from a 12th century French book hand is hardly distinguishable from the Caroline minuscule form.
|A 14th century copy of Dante in the Italian language provided this Gothic rotunda version of the letter a.
|This shows a Gothic textura a of medium grade from a 13th century song manuscript.
|The most formal grade of Gothic, known as prescissa, is very carefully formed with no feet, but a has the same basic letter form. The upper loop is closed by a fine hairline.
|A relatively informally written late 15th or early 16th century German psalter in a slightly untidy Gothic textura script has provided that letter a without an upper loop.
|This letter a with a closed upper loop comes from a 15th century Dutch language book of hours in a formal Gothic textura.
|While formal book hands seemed to be settling down to some degree of standardisation, the appearance of the formal document hands of chanceries and business hands of a cursive type introduced new variations. When these hands recombined to form new cursive book hands, it seems that various letter forms appeared in new permutations and combinations.
|Histories of Individual Letters
|History of Scripts
|What is Paleography?
If you are looking at this page without frames, there is more information about medieval writing to be found by going to the home page (framed) or the site map (no frames).


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Nanotechnologies for the Energy Market 2009, looks at whether nanotechnology has in fact had a huge impact on the energy sector. If so, in what way, and if not, why hasn't it?
The period of between January 2007 when the first edition was released and today witnessed a great upheaval in the energy sector. We saw oil prices skyrocket above $150/bbl and then plummet back down to $45/bbl. On the trip up and then down, all sorts of economic pronouncements were made such as how the economics of alternative energies had finally become detached from oil pricing, and we saw the valuations of alternative energy companies go through the roof only to come crashing down again.
Now that the dust has settled, what have we learned and what impact will it all have on the dynamics between nanotechnologies and energy?
-How will changes in the current political landscape both in the US and internationally impact nanotechnology's development in energy applications?
-How has the freezing of credit markets affected the development of nanotechnologies for alternative energy sources for the near future
-Where does hydrogen fuel cell technology stand now? And how will nanotechnology play a role?
-What is happening with thin film organic solar cells? Will nanotechnologies ever make this technology price competitive without government subsidies?
-What business model will work for a company trying to commercialize a nanotechnology in the energy sector?
These common sense questions are addressed in this new report as well as providing current market numbers and realistic projections over the next five years.
Price GBP1995 / USD 2995

subset: commoncrawl


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If you intend to get on the overseas property ladder in 2015, then make sure you stick with A Place in the Sun. As well as a new TV series starting in January and three 'live' events to come (get free tickets to Manchester and London), of course we'll be bringing you our regular handpicked property selections, direct to your email inbox.
Twelve superb value homes this week, starting from just £26,500 for a beachfront apartment in Egypt, £59,750 for a cottage in Normandy, and only £62,700 for your own house 300 metres from the beach in Greece. And if you like the idea of relaxing on a roof terrace gazing out over the ocean, then you'll definitely want to check out this fantastic penthouse apartment in Mallorca.


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Beaches in Ibiza city
Beaches in San Antonio
Beaches in Santa Eulalia
Beaches in San Jose
Beaches in San Juan
Ibiza beaches
If we have chosen as a tourist destination, choose your itinerary in advance. Discover how to get to the beaches of Ibiza , that services will be available and whether it will meet your needs. The beaches are more purely tourist services and in season are overcrowded. The beaches that do not have bus will be much quieter. Of course you will need a rental car to get to them. Each beach has its special charm and should not be surprises.
Nature in the beaches of Ibiza
The beaches of Ibiza , or Eivissa, are urban beaches, with all the amenities you could want, and a significant number of people, usually in a family atmosphere. You can find all kinds of tourists, including Spanish. Talamanca you can enjoy all the services and entertainment. Figueretas visitors tourists mix a few meters from the city center. Playa d'en Bossa brings the fun and march to the purely tourist zone.
In Sant Josep find the perfect place for any outdoor activity, with huge beaches of sand and to enjoy the celebrity bowling or go nude in a crystal water. The beaches of Ibiza in Sant Josep are quite far from the main parish of the municipality, so that your audience is very mixed. Share Playa d'en Bossa in Ibiza, to make way for the marine reserve of the beaches of Es Cavallet and Salinas . The best Ibiza bays are also present in the paradise is Codolar of boulders in full salt. Bol Nou beach, Cala Jondal, Es and Es Cubells Xarcu leave the south coast with the island of Es Vedra benchmark. Going up to Sant Antoni, Cala d'Hort , Carbo coves, Vadella, Moll, Tarida and Codolar to finish the west coast beaches with the island Comte des Bosc witness. Cala Bassa and Port des Torrent welcome the beaches of Ibiza in Sant Antoni.
Going into the last town we found the beaches of Ibiza Bay, is Pouet and El Arenal Beach. Es Calo des Moro, Cala Gracio and Gracioneta, small and isolated. Far from the bay, we are surprised Cala Salada , a magical.
The most pristine beaches in Ibiza
If you prefer quiet, the beaches of Sant Joan Ibiza hide the most pristine coves and deserted, dream places where the road is less. The deepest island spirit coexists with the most mystical hippie haven Ibiza beaches. The Port de Sant Miquel, with Moltons small cove and stunning Es Pas de S'Illa. The Benirrás coves, Xarraca and S'Illot des Renclí, Xuclá Portinatx and Cala d'en Serra end the north coast of Ibiza . The San Vicente borders the coast of Santa Eulalia.
The beaches of Ibiza in Santa Eulalia will give you the widest view of the Mediterranean, on a coast where it is hard not to find a place to bathe. The German tourism has made this area their second residence. Following the coast we have the area with more bays of Ibiza : Aigua Blanca, is Figueral, Canal d'en Marti Boix coves, Mastella, LLenya, Nova, Es Canar, most famous for its flea market for its hot. Can Martina beach, S'Argamassa, Niu Blau and Cala Pada allow us to reach the town center. The beach of Santa Eulalia, continued by the mouth of the only river in the Balearic gives way to a rocky coastline that ends with the appearance of Cala Llonga. Limiting again with Ibiza is S'Èstanyol.
Video of Ibiza beaches
Ranking of the best beaches in Ibiza
Basing on your feedback, we present the list of the best beaches of Ibiza. If you disagree, vote yours.


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Its getting wet in Chris Brown new video 'Pills & Automobiles'
The new joint comes off of Breezy new double disk album Heartbreak on a Full Moon, which is set to drop on Halloween.
With the help of Yo Gotti, A Boogie Wit Da Hoodie and Kodak Black, the four turn a water park into their own party. With tons of ladies and water it makes for a good time.
Check out the new video below.


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Routes : North America : United States : North Carolina : Western : Crowders Boulders : Trailside Boulder : Bottlecap
Bottlecap - V3Average Rating : 0.00 out of 5
Route sequence (left to right): 0
Route Summary | Ascent Notes (1)
Premier Sponsor:
Lowball....almost dont really even need pads...but a spotter would help from rolling down the hill.
Description:Short Problem on the backside of the Trailside Boulder. Start on the right corner on ok holds and go strait up then mantle the Top-Out.
Submitted by: mooselama on 2006-02-22
Views: 489
Route ID: 74646
1 Ascent Recorded
Red Point ascent by: mooselama on 2006-02-17 (View Climbing Log)
Ascent Note
This is My First Ascent.
Witnessed by: My Dad
Added: 2006-02-17
Added: 2006-02-17


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Bedford murder accused 'at home at time of attack'
The sister of a man accused of killing a rapper was "confident" one of her brothers was at home when the attack happened, a court heard.
Isaac Stone, 19, was chased, trapped and set upon by four men who stabbed him several times in a Bedford street in January, Luton Crown Court was told.
Mohammed Hussain, 22, Rubel Miah, 19, Javed Miah, 21, and Fahim Khan, 20, all deny murder and attempted murder.
Javed's sister Shiuly Begum said she saw the attack near her family home.
Ms Begum, sister of Rubel and Javed Miah, was seen on CCTV leaving the terraced house, in Costin Street, after hearing the attack on Mr Stone.
'Very distressed'
The court was told she held back another of the four defendants, Mr Khan, and shouted: "Fahim, come on leave it."
In the witness box, Ms Begum said after going outside she returned home in a "very distressed state".
In the hall of the house she saw her mother, her younger sister and her brother Javed, she said.
Asked by Mr Coughlin if she was sure Mr Miah was in the house, she replied: "Confident - 100%."
Prosecutor Vincent Coughlin, QC, said Mr Stone, who performed under the name Dynamikk, was driving his friend Shajidur Rahman and two passengers in Costin Street, at 18:20 GMT on 25 January, when the attack took place.
He said the defendants had bought two meat cleavers from a hardware shop in Bedford.
The court heard Mr Rahman was also injured in the attack, suffering four deep slashes to his head and face, with his nose effectively being cut off.
Mr Hussain, of Maitland Road; Rubel and Javed Miah, of Costin Street; and Mr Khan, of Fenlake Road; all in Bedford; also deny two counts of possessing an offensive weapon.
The trial continues.


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Current Featured Artist
Thomas Kegler
(click to open/close)
Gustav Aboltin
Jan Agati Abbarno
Paul Ambille
East Aurora Art Walk
The Living American Art, Inc., 55 5th Ave., New York
Cornelius A. Bartels
Jean Benner
Julius Bien
Thomas Blinks
M. Henry Bonnefoi
Anatol Bouchet
John Brach & Sean Witucki
McLoughlin Brothers, NY
Catherine Brown
Frances Brundage
Samuel John Carter
Detroit Publishing Co. (AKA Detroit Photographic Co.)
Holmes Company, Inc., Chicago, IL [for Guy B. Holmes]
Jean-Baptiste-Camille Corot
Luigi Corti
Alice Cranston Fenner (of Artyle Studios)
E. Conyne Daly
Leon Emile Fernand Danchin
Tano de Simone
Walt Disney Company
Grace G. Drayton
F. Dürrnberger
Josef Eidenberger
E. Hedley Fitton
Myles 'Birket' Foster
Rachelle Francis
Giuseppe Gambino
Marie-Francois Firmen Girard
Elaine Grisanti
Charles Wesley Haist
William Harring Von Ammon (
AKA William Harring
Karl Herzog
Mindy Hesslink
Curtis & Cameron, Inc., Boston, MA & NYC
Colegrove Bros., Inc., Publishing-Buffalo, NY
Reproducta, Inc.-Publishers
Willy Jäger (AKA Willy Jager)
Dennis Barraclough & James Vullo (1914-1999)
Lawrence Josset
Sarita Kennedy Arden
Joseph Keppler, Jr. (AKA Uto J. Keppler)
Michael Killelea
Alonzo Kimball
Willy Köchler
Karoline Korössy (Korossy)
L. Kreitz
Western New York Land Conservancy
Maria Laurendi
Sir Thomas Lawrence, PRA, FRS
Le Roy
Sir Frederick Leighton, PRA
Bernard Lignon
Ivan Lindhé
Niagara Lithograph Co.
Gray Lithographic Co., NY
Antonio Lonza
Mario Mariani
V. Mariani
G. Mariani
Louis Mettling
Mill Road Scenic Overlook
Roderic Montagu O'Connor
Geoff Mowery
G. Nasi
Byron Glee Newton
Cindi O'Mara
Emanuel Oberhauser (or
Emmanuel Oberhauser
Susan Z. Ott
Hickok & Pate, NY
Henry Greenwood Peabody
Ruth Carolyn Percival
Laura Perillo
Columbia Pictures Corporation
Peter Potter
Taber Prang Art Co.
Sherrill Primo
GG Co. Publishing
Hatcher Publishing Co. (AKA Hatcher-Fagin Pub. Co.)
Aldo Rando
H.W. Ranger
Joanna Ransom
National Remembrance Shop, Washington, DC
Review of Reviews Company, NY
Inge Riches
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F. Schenkel
Kath Schifano
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Tavik Frantisek Simon
Buffalo Society of Artists
Norine Spurling
Frederick A. Stokes Company
Artyle Studios (also Cranston-Fenner Studio)
Thomas Sully
Ivor I.J. Symes (AKA
Ivor Isaac John Symes
M.F. Tobin Litho, NY, U.S.A
Raphael Tuck & Son's Publishing
G.J. Unknown
George Frederic Watts
Kathy Weber
Joseph Quinn Whipple, Sr.
James A. McNeill Whistler
Alfred Wierusz-Kowalski
Judy Winklhofer
Milo Winter
John Witcombe
WNY Members of the National Collage Society
Thomas Waterman Wood
Lee Woodward Zeigler
Owen Cullen Yates
American Artists
Paul Alico
Robert Wesley Amick
Niels Yde Andersen
Monica Angle
Augusto Argandoña
Rita Argen Auerbach
Victor Aures
Florence Julia Bach
Otto Baer
Jozef Bajus
Frank A. Barney
Dennis W. Barraclough
Grace Allison Barron
Sandra C. Bartz
Howard D. Beach
Grace Romney Beals
Raphael Beck
Jeanne Beck
John Fitzhenry Bentz
Edward G. Bisone
Jeanette A. Blair
Robert Noel Blair
Bruce A. Blair
Raymond Bonilla
Nina B. Mason Booth
George Botich
Priscilla Bowen
John Brach
Walter Braczynski
Alfred Henry Briggs
Judson Brown
Buffalo Print Club
Charles Ephraim Burchfield
Donald W. "Don" Burns
Leonard C. Butler
Nancy S. Cerny
Todd Chalk
George Lafayette Clough
Charles Clough
Ethelyn Pratt Cobb
Jeanne Coffin
I. Marie Colburn
Ronald B. Colgrove
Colin C. Coots
Nancy Treherne Craig
Annie I. Crawford
Virginia Cuthbert
Doreen Cutting
Thomas Aquinas Daly
Jonathan Daly
Christine A. Daly
Louise Daoust
Ernest De Nagy
Harriet Elizabeth Denbo
Suzann Phelan Denny
Harold Dodge
Thomas Doughty
Eleanor Douglas
Eugene M. Dyczkowski
John Dyer
Frank C. Eckmair
Joseph R. Eger
Philip Clarkson Elliott
Harold J. "Hal" English
Ruth M. Erb-Hoffman
Kateri Ewing
Bernard Carl Feldman
Jane Foley Ferraro
George H. Flavelle
Robert Lyall Flock
Leslie Fornalik
Alexis Jean Fournier
Peter Fowler
A.J. Fries
Walter Raymond Garver
Jules Maurice Gaspard
Otto John Gaul
George Howell Gay
Theresa Hinchy Grau
Mildred C. Green
Jennie Montague Griswold
Emile A. Gruppé
Betty Guy
John Cuthbert Hare
Judith Hartke
Marie Hassett
Irene Haupt
James Dexter Havens
Karl Heerdt
Pam Henrich
Jean V. MacKay Henrich
Joyce M. Hill
Robert John Holland
Robert K. Hollenbaugh
Joan Horn
Charles Houseman
John S. Hughes
Kathryn M. "Kay" Hull
Carl W. Illig
John J. Inglis
Rixford Upham Jennings
Sydney Owen Jennings
Emma Kaan
Norbert E. Kammer
Kevin Kegler
Richard F. Kersting
Polly King
Howard W. Klippert
Catherine Koenig
James R. Koenig
Arthur Kowalski
Edgar Kowalski
James K.Y. Kuo
Hugh Laidman
Sandor Leopold Landeau
Clara Emma Langenbach
Julius John Lankes
John Lent
Alexander Oscar Levy
Chris Liberti
Arthur Harold Lindberg
James C. Litz
Linda B. Ludwig, M.D.
William P. Luedeke, Jr.
Jean Mannheim
Dorothy Markert
Roydon "Roy" M. Mason
Susan Peterson Maxfield
Robert E. McPherson
Gerald Mead
Eugene J. Melancon
Coni Minneci
John S. Montague
Bruce Morrell
Wayne Beam Morrell, Jr.
Percy F. Murray
Alice B. Muzzey
Burr H. Nicholls
Carlo Antonia Nisita
Fran Noonan
Robert North
Kevin B. O'Callahan
Harold LeRoy Olmsted
Joe Orffeo
Paint and Varnish Club
Thomas Paquette
Catherine Parker
Constance Payne
Ken Payne
Frank Crawford Penfold
Carl William Peters
Joseph Piccillo
Eileen Pleasure
Marcus D. Pratt
David Foster Pratt
Joan Bancroft Pratt
Michael Prezioso
Margaret Evans Price
Walter A. Prochownik
Russell Ram
Ernest J. Rawleigh
George A. Renouard
Volney Allan Richardson
Dr. Julius Richter
Martha Burchfield Richter
Agnes Robertson
Ellen Bell Robertson-Miller
Sarah Roelofs
Paul Hermann Rohland
Charles J. Rohrbach
Charles E. Roth
William B. "Bill" Rowe
John Rummell
Walter Thomas Sacks
Attb. Robert Salmon
Amos W. Sangster
Willard J. Sauter
Earle N. Scherm
William J. Schwanekamp
John Schweikhard
Calogero Scibetta
John Albert Seaford
James Sedwick
Lars Gustaf Sellstedt
James T. Shaffer
Joan Langley Shaw
Claire Shuttleworth
Richard G. Sigafoos
Allen F. Sipprell
Clara Estelle Sipprell
Anthony J. Sisti
Raleigh Joseph Spinks
Marion Louise Stewart
Frank A. Stockwell
Eric Stry
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Francis Barker Valentine
Louis Vastola
Martha Visser't Hooft
David Vitrano
James J. Vullo
Jessie F. Walburg
David Walsh
Janet "Wendy" Warner
Paul Wescott
Joseph A. Whalen
Guy C. Wiggins
David Urquhart Wilcox
William Wild
Sean M. Witucki
John Yerger
Tanya Zabinski
Foreign Artists
Carl Henry Ahrens
Gordon Douglas
Hans Figura
Horace Murray Hammond (AKA H. Murray, A.D. Bell, J. Barclay)
Ingfried Paul Henze (
Henze Morro or P. Morro
Manuel Prieto Hurtado
Claude Jousset
Luigi Kasimir
Tanna Hoernes Kasimir
Thomas "Kemp" Kieffer
Henryk Krych
David "Davy/Davie" Lockhart, RSW
Wadie El Mahdy
Giuseppe "Bepi" Marino
Nicolas Markovitch (pseudonyms: A. Marc & J. Philippe)
Bruno Martini
John Mitchell, RSW, SSA
Guido Odierna
Stanislaw Okulicz
Sam Paonessa
Felix Riedl (
AKA Felix Riedel
Robert Ernest Roe
F. Venti (Verti?)
Robert Watson
William J. Schwanekamp
William J. Schwanekamp
(American, 1893-1970) artist, etcher, printmaker, painter, designer and lecturer best known for his 'Buffalo Alley' series of etchings done in the early 1920's-early 1930's, and of aging buildings, market scenes and landscapes. He was a prominent member of the
Buffalo Print Club
and served as president in 1953. Of all the Buffalo Print Club members, there were only three artists who truly stood out above the rest in the field of printmaking, Kevin O'Callahan (American, 1902-1977) who was perhaps the finest printmaker, along with master draughtsman, Niels Yde Andersen (Danish-American, 1888-1952) and William J. Schwanekamp. A few of Schwanekamp's etchings were even offered through the Buffalo Print Club's subscription of prints; "Pickard Alley, Coon Town, Buffalo, 1933" (1936), and "Booth Alley, No. 2, Buffalo, NY, 1936" (1943).
In a letter to Schwanekamp from the artist Charles Ephraim Burchfield (American, 1893-1967) in regards to his Buffalo Alley series of etchings he wrote,
"Now I have a particular 'excuse' to write and that is your alley etchings. I like them very much. If you were here I would slap you on the back & say 'attaboy'. Seriously, I am enthusiastic about not only the way you handled them but the very fact that you do them. They are Buffalo to the core—not just vaguely American but expressive of the one particular city. As you say what need to run abroad for hackneyed subjects? A man's material is at his doorstep or should be, and you are proving it."
As a young man, Schwanekamp worked as a sign painter and earned enough money to study at the Buffalo Fine Arts Academy under Ernest George Fosbery (Canadian, 1874-1960). Schwanekamp later studied at the Boston Museum of Fine Arts under Philip Leslie Hale (American, 1865-1931), William McGregor Paxton (American, 1969-1941) and W. James (Unknown, -), and earned his tuition by lettering boats in the Boston harbor. After schooling he retuned to Buffalo, NY in 1915.
Beginning in 1910 he was also an active member in the Saturday Sketch Club out of Spring Brook, NY. Other notable Buffalo artists in the Saturday Sketch Club were life-long friends J.J. Lankes (American, 1884-1960) who founded the Club in 1910, Edgar Kowalski (American, 1891-1968), and the well known instructor of the Buffalo Arts Guild School Ernest George Fosbery (Canadian, 1874-1960) who taught there twice a week, among several others. In addition, Schwanekamp was also a member of the Buffalo Society of Artists and served as President from 1939-41, the Artists Guild of Buffalo, the Patteran Society, the Arts Club of Buffalo and served as Secretary in 1916, the American Artists Professional League, and the Northwest Printmakers.
For many years beginning circa 1919, Schwanekamp worked for the well known international advertising agency Batten, Barton, Durstine & Osborn (BBDO, previously Barton, Durstine and Osborn) out of their Buffalo, NY, office and later became their production manager and art director. His office was located in downtown Buffalo and the city inspired many of the subjects for his prints. He also maintained a summer home in Cowlesville, NY. Schwanekamp retired in 1958 and lived in Eggertsville, NY until his death in 1970.
"Today, Schwanekamp's prints are looked upon as historical documents as much as they are appreciated for their aesthetic value. Many of the alleys no longer exist. By current standards the prints exhibit American Realist qualities that call up strains of social criticism; however, Schwanekamp found a picturesque beauty in his subjects that he wanted to share in elegantly drawn etchings."
Artist Statement:
"Art must bear a message and the message must be convened in a manner simple and direct. There is beauty in volume and solid form but the final results are not achieved by exaggeration but by simplification."
[3] -William J. Schwanekamp
Schwanekamp's Alley Series Included:
1. "Graham Alley" (1922)
2. "Bean Alley" (1924)
3. "Keep Alley" (1925)
4. "Centre Alley" (1926, AKA "Center Alley")
5. "Kremlin Alley" (1926)
6. "Booth Alley" (1927)
7. "Codlin Alley" (1930)
8. "Jackson Alley" (1930)
9. "Burton Alley" (c1930)
10. "Utley Alley" (1931)
11. "Pickard Alley" (1933)
1893- Born, August 27, Buffalo, NY.
1910- Became a member of the Saturday Sketch Club, Spring Brook, NY.
1911- 1911- February18-26, exhibited, group show, "1st Exhibition of Outdoor Paintings", 130 sketches shown including landscapes, cloudscapes, marine scenes, winterscapes, cityviews and figurative work, Buffalo Camera Club (Elmwood Ave. & West Utica St.), Buffalo, NY. After receiving numerous desirable applications for membership in the early part of 1911, the Saturday Sketch Club considered updating their constitution to allow the change in the clause limiting membership. December 9-18, exhibited, group show, "2nd Exhibition of Outdoor Paintings", 125 paintings shown including landscapes, cloudscapes, marine scenes, winterscapes, cityviews and figurative work, Buffalo Camera Club (Elmwood Ave. & West Utica St.), Buffalo, NY.
Circa 1911-1915- Studied at the Buffalo Fine Arts Academy under Ernest George Fosbery (Canadian, 1874-1960) who also taught twice a week at the Saturday Sketch Club, Spring Brook, NY. Schwanekamp continued his studies at the Boston Museum of Fine Arts under Philip Leslie Hale (American, 1865-1931), William McGregor Paxton (American, 1969-1941) and W. James (Unknown, -), and earned his tuition by lettering boats in the Boston harbor.
1913- October 12-21, exhibited, group show, "3rd Exhibition of Outdoor Paintings", in the rooms of the Buffalo Camera Club, Buffalo, NY.
1915- Returned to Buffalo, NY.
1916- Served as Secretary of the Arts Club of Buffalo, Buffalo, NY, and was residing at 60 Brooklyn Avenue, Buffalo, NY. Exhibited, summer, group show, "First Exhibit", 59 pieces of paintings and sculpture by the Arts Club were shown, Broderick Galleries, Buffalo Arts Club, Buffalo, NY.
Circa 1919- Began working for the well known international advertising firm Barton, Durstine and Osborn (BDO, later known in 1928 as Batten, Barton, Durstine, and Osborn [BBDO]), at their offices in Buffalo, NY, working for them for many years and later became their production manager and art director. Exhibited, spring, group show, "21st Annual Exhibition by the Buffalo Society of Artists", seven pictures by Schwanekamp were shown, Buffalo, NY. Exhibited, December, group show, (Prize, Honorable Mention), Iroquois Hotel, Buffalo, NY.
1922- Exhibited, group show, "The Seventh Annual Exhibition of Contemporary Bookplates", which comprised of 222 designs for bookplates by 75 different artists with all entries limited to designs done in 1921, National Arts Club, NYC.
1924- Exhibited, February-March, group show, "An Exhibition of Etchings: Under the Management of the Chicago Society of Etchers", one etching shown "November", The Art Institute of Chicago, IL. By this time Schwanekamp was residing at 76 Springville Road in Eggerstville, NY. Exhibited, April, group show, "The Second Annual Exhibition of the Buffalo Salon of Independent Artists", the Browning King & Company building, 570 Main Street, Buffalo, NY.
1925- Exhibited, January-March, group show, "An Exhibition of Etchings: Under the Management of the Chicago Society of Etchers", one Schwanekamp etching shown "Pleasant Valley Saloon", The Art Institute of Chicago, IL.
1930- Nov.-Dec., exhibited, group show, "Commemorating the Twenty-fifth Anniversary of the Opening of the Albright Art Gallery", The Buffalo Fine Arts Academy, twenty-five etchings by Schwanekamp were shown to include many of his famous 'Alley Series' of etchings, Albright Knox Art Gallery, Buffalo, NY.
1933- Exhibited, Albright Art Gallery (now the Albright-Knox Art Gallery), Buffalo, NY.
1934- June 1-Nov. 1, exhibited, group international show, "International Exhibition of Contemporary Prints For A Century of Progress", one of Schwanekamp's alley series of etchings was shown "Negro Shacks, [Pickard Alley] Buffalo, New York" (No. 373 in show), The Art Institute of Chicago, Chicago, IL.
1938- Exhibited, spring, group show, "The Second National Print Show of the Buffalo Print Club", Buffalo Print Club, 259 prints shown from 118 different artists in 3 galleries, with 30 contributions by 10 Club members, Albright Art Gallery, Buffalo, NY. Exhibited, Albright Art Gallery (Prize), Buffalo, NY. Exhibited, group show, "The Great Lakes Art Exhibition", a watercolor by Schwanekamp was shown titled "After Rain (Eggerstville, NY)", Memorial Art Gallery, Rochester, NY.
1939-41- Was President of the Buffalo Society of Artists, Buffalo, NY.
1940- January, gave a lecture titled "Art at Work", while working as the Art Director for Batten, Barton, Durstine & Osborn, sponsored by the Advertising Club of Syracuse, held at the Syracuse Museum of Fine Arts, Syracuse, NY.
1945- November-December, exhibited, group show, The Patteran Society at Denton Cottier & Daniels Pianos & Organs store, "Booth Alley #1 (Buffalo)" etching shown, 32 Court Street, Buffalo, NY.
1953- Became President of the Buffalo Print Club, Buffalo, NY.
1958- Retired, Eggertsville, NY.
1960- Exhibited, summer, etchings shown, (unknown location), Buffalo, NY. Sept.-Nov, exhibited, solo show, "Buffalo Alleys", from his famous 'Buffalo Alley Series' of etchings executed in the 1920's-30's were shown (11 in all were shown), presented by Jane D. Van Arsdale (1905-1980) at the Grosvenor Library, Lobby Foyer, Buffalo, NY.
1970- Died, January 25, at the age of 76 years old, Eggerstville, NY. March, exhibited, posthumous solo show, 12 etchings from his famous 'Buffalo Alley Series' executed in the 1920's-30's were shown (12 in all were shown), presented by Jane D. Van Arsdale (1905-1980) in the main exhibit area of the Buffalo and Erie County Public Library, Buffalo, NY.
1988- Fall, exhibited, group show, "Kevin B. O'Callahan and The Buffalo Print Club", Burchfield Art Center, ten Schwanekamp etchings were shown, "Along the Towpath" (#4, 1930), "Autumn" (1923), "Booth Alley" (#12, 1922), "Booth Alley" (#2, 1927), "Centre Alley" (#1, 1926), "Chippewa Market" (#7, 1923), "Jackson Alley, Buffalo" (AKA "Snow and Shacks", 1930), "Keep Alley" (undated), "Kremlin Alley" (#1, 1926), and "Pickard Alley" (#1, 1933), Buffalo, NY.
2001- Exhibited, retrospective show, "William J. Schwanekamp Lanes and Alleys", etchings and graphite on paper pieces shown, Daemon College, Fanette Goldman/Carolyn Greenfield Gallery, Duns Scotus Hall, 4380 Main Street, Buffalo, NY.
2003- Spring, Retrospective group exhibition, "The Buffalo Print Club", 72 prints by 7 former Buffalo Print Club members (William J. Schwanekamp, Kevin B. O'Callahan, Niels Yde Andersen, Carlo Nisita, Rixford U. Jennings, Dr. Julius Richter, and Jack Stewart), with four etchings shown by Schwanekamp "Keep Alley" (1925), "Cowlesville, N.Y. Xmas 1927", untitled-'Winter Road' (Xmas 1937), and an untitled-'Buffalo Alley' (1922), from the print collection of the Estate of Rodger Sweetland, Meibohm Fine Arts, Inc., East Aurora, NY. Exhibited, fall, group show, "On The Barwalls: Invisible Archives Vol. 4: 120 Years of Landscape, Selections from the Collection of Gerald Mead, Part 2", Hallwalls Contemporary Art Center, Buffalo, NY.
2004-2005- December 14-July 6, exhibited, group show, "The Art of Printmaking", at The M&T Center in Downtown Buffalo, curated by the Burchfield-Penney Art Center, some of Schwanekamp's alley series etchings were shown, Buffalo, NY.
2006- Exhibited, spring/summer, group show, "Think Ink: Prints from the Burchfield-Penney's Collection", curator Peter Sowiski, Burchfield-Penney Art Center, Buffalo State College, Buffalo, NY.
Buffalo Society of Artists (President, 1939-41), Buffalo, NY; Artists Guild, Buffalo, NY; Buffalo Print Club (President, 1953), Albright Art Gallery (basement, later at Kevin B. O'Callahan's home circa 1940 at 620 Niagara Street, Buffalo, NY), Buffalo, NY; Patteran Society, Buffalo, NY; American Artists Professional League, NYC; Arts Club of Buffalo (Secretary, 1916), 71 West Tupper Street, Buffalo, NY; Northwest Printmakers; Saturday Sketch Club, Spring Brook, NY.
Group show, (Prize, Honorable Mention), Iroquois Hotel, Buffalo, NY; Western New York Annual, (Prize, 1935), Buffalo, NY; Albright Art Gallery (Prize, 1938), Buffalo, NY.
Library of Congress, Permanent Collection, three etchings "Booth Alley, no.2, Buffalo, NY" (1943), "Winter" (1935), and "Pickard Alley, Coon Town, Buffalo" (1936), purchased in 1936 (the first from the Buffalo Print Club through the Pennell Fund, named after the American printmaker Joseph Pennell [1857-1926]), Washington, DC; Albright Knox Art Gallery, Permanent Collection, Buffalo, NY; Buffalo Print Club, Buffalo, NY; University of Richmond Museums, Joel and Lila Harnett Museum of Art, Permanent Collection, Richmond, VA.
Meibohm Fine Arts, Inc., East Aurora, NY.
American Art Annual
, Vol. VIII, 1910-11, Florence N. Levy (Editor), American Art Annual, Inc., NYC, "Art Schools in the United States", for the illustration, "Drawing from the Antique: By Wm. J. Schwanekamp, Art School of the Albright Art Gallery. Buffalo, N.Y.", pg. 27, Copyright 1911;
The Buffalo Express (Morning Edition)
, "Exhibition of Outdoor Painting By The Saturday Sketch Club.", Saturday morning, December 9, unknown Pg. no., 1911;
The Buffalo Express (Morning Edition)
, "Larger Than Ever Before: 21st Annual Exhibition by the Society of Artists Opens This Afternoon", Saturday morning, April 10, unknown Pg. no., 1915;
The Buffalo Express (Morning Edition)
, "Local Artists Exhibit: Showing of Paintings and Illustrations at the Iroquois Hotel", Thursday morning, December 9, unknown Pg. no., 1915;
Publications cont....
The Illustrated Buffalo Express (Morning Edition)
, Social Calendar section, "The Starlight Fantasia", unknown date (circa August), unknown page no., 1916;
The Illustrated Buffalo Express (Morning Edition)
, World of Society section, "Exhibition by the Arts Club", September 10, Pg. B8?, 1916;
American Art Annual
, Vol. XIII, Florence N. Levy (Editor), The American Federation of Arts, Washington, DC, "New York State: Buffalo-Sculpture Exhibition, Albright Art Gallery", pg. 217, for 1916, Copyright 1917;
The Bookplate Annual for 1922
, "The Seventh Annual Exhibition of Contemporary Bookplates", edited by Alfred Fowler, Kansas City, The Torch Press, Cedar Rapids, IA, pg. 35, 1922; books.google.com, online digitized book pictorial,
Soviet Russia: Official Organ of the Friends of Soviet Russia
, Volumes 6-7, Russian Soviet Government Bureau, NYC, Relief Contributions section, May 1-15, Pg. 307, (Contribution made $12.50, Rec. #8862), June 1, 1922;
Publications cont...
An Exhibition of Etchings: Catalogue of an Exhibition of Etchings Under the Management of the Chicago Society of Etchers
, The Art Institute of Chicago, Pgs. 41 & 48, 1924;
The Buffalo Morning Express
, "Independent Salon Canvases Placed on Exhibition", Friday, April 4, Pg. 9, 1924;
An Exhibition of Etchings: Catalogue of an Exhibition of Etchings Under the Management of the Chicago Society of Etchers
, The Art Institute of Chicago, Pgs. 32 & 43, 1925; Exhibition Catalogue,
Commemorating the Twenty-fifth Anniversary of the Opening of the Albright Art Gallery
, The Buffalo Fine Arts Academy, Albright Knox Art Gallery, Buffalo, NY 1930;
The Buffalo Courier-Express
, "How an Etching is Made", included in one of the photos in the studio at the Albright Art Gallery, Sunday, April 26, 1936;
Rochester Democrat and Chronicle
, "From An Outstanding Visiting Exhibition Of Art", with picture of a W.J. Schwanekamp watercolor painting, "After Rain (Eggerstville, NY)", Sunday December 4, 1938; newspaperarchive.com, online digitized newspaper,
Syracuse Herald-Journal
, unknown article title, January 22, 1940;
Publications cont...
Rochester Democrat and Chronicle
, "2,300 Entries Judged in School Art Contest", Sunday, February 15, Pg. 8B, 1948;
Niagara Falls Gazette
, "House Need Fixing?", Tuesday, April 14, Pg. 5, 1953;
Buffalo Courier-Express
, "Schwanekamp's Etchings Provide Delightful Show", by Anne McIlhenney, September 2, 1960;
Kevin B. O'Callahan and The Buffalo, Print Club
, Burchfield Art Center, Buffalo State College Foundation, Pgs. 24, 28, 77-83, 87, 105, 108-09, 116, and 121-22, Buffalo, NY, Partners Press Inc., Buffalo, NY, 1988;
Who was Who in American Art 1564-1975
, Vol. II, by Peter Hastings Falk Editor-in-Chief, 1999;
The Woodcut Art of J.J. Lankes
, By Welford Dunaway Taylor, Published by David R, Godine, Jaffrey, NH, Printed by Daamen, Inc., West Rutland, VT, Bound by New Hampshire Bindery, Concord, NH, Pgs. 1, 4, 62, 111 & 112, 1999; museums.richmond.edu, biographical information from, "American Prints from the 1920's & 1930's: Selections from the Permanent Collection", Marsh Art Gallery; Exhibit catalog,
The Buffalo Print Club: The Print Collection of the Estate of Rodger Sweetland
, by Meibohm Fine Arts, Inc., S & G Press, East Aurora, NY, 2003.
For additional information on this artist or for other possible examples of his works, please visit the AskArt
(Rewritten in parts & compiled chronologically by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY, 08/2010, Sources: Too long to list here and are furnished upon request.)
Meibohm Fine Arts, Inc
478 Main St., East Aurora, NY 14052


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Real Life Rental Challenge: How to Strip & Refinish Carpeted Entryway Stairs
This week Camille is sharing her real life rental challenge and how she transformed her dingy carpeted entryway stairs (with her landlord's permission!) into something more welcoming, yet still temporary. If you want to see the first post, check out the before photos here.
My husband and I decided to DIY this project ourselves, and broke it down into manageable steps, each of which could be completed in a weekend. Here's how we ditched the carpet and got a better-looking set of stairs!
What You Need
- Paint - Farrow & Ball Wimborne White & Pink Ground in eggshell finish
- Primer - Farrow & Ball Primer
- Mild Cleaner
- Wood Filler
- Wood Glue
- Gloves
- Masks
- Crow Bar or Nail Remover
- Pliers
- Orbital Sander
- Block Sander
- Paint Rollers (both small and large)
- Paint Extension Poles (optional)
- Lock Jaw Tool Holder (optional)
- Paintbrush
Tip:If you are working with dingy decades-old old carpet, wear gloves and protective masks during the removal process. Ours was tacked down with staples and old nails, which stuck out from wooden carpet tacks along the edges of each step. Protection is important here.
1. Remove the carpet by slowly ripping it from the staircase.
There should be carpet padding underneath.
2. Next, remove the carpet padding so there's just the carpet tacks and nails that held everything down.
3. Using a crowbar or nail remover, rip out every nail and staple. The tacks are very hard to remove and require a lot of careful force to lift them up and out. Take breaks, because this process is very tiring!
Tip: Be very careful not to split the wood steps. Some cracks had already formed in ours, which made those areas even more sensitive when ripping out the carpet tacks and staples.
Use pliers to remove any staples.
4. Before you can paint, you'll need to patch any holes. Wood filler is a great product for large nail holes and it's pretty easy to sand away the rough edges when it's dry. Use wood glue to seal these, along with any minor splits in the stair risers or loose molding on the staircase edges.
5. Sand out all the bumps, ridges, glue and filler residue with your orbital sander. We also used a block sander to smooth out the nooks and corners of the steps. To get this done quickly, we made it a two person job: one coming down the steps and the other working upwards.
Tip: Before you start painting, use a mild cleaner to remove any dirt and oil on the steps and walls. We let the walls dry for about an hour before priming.
6. Tape off all the edges along the molding trim.
7. Using a paint roller, prime then paint the walls. Since our ceiling was recently painted, we used a special paint brush holder to hold a small brush and paint the ceiling edges.
9. Next, prime the steps using small rollers for the majority of the step surface, then paintbrushes for corners and tight angles.
I used a paintbrush for the tops of the steps since it was a small area and split the work over two afternoons.
Tip: If you paint the risers and the steps two different colors, you have to tape off the border for painting the risers the first color, then shift the tape to paint the steps the second color. This is the most tedious part of the process.


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Sen. Brandenburg supports legislation to fight prescription drug abuse
According to an interim report recently released by the president's Commission on Combating Drug Addiction and the Opioid Crisis, 142 Americans die every day from a drug overdose. More than six out of 10 drug overdose deaths involve an opioid.
The Michigan Senate passed a package of bills to fight opioid abuse in our state earlier this summer. One provision limits prescriptions for acute pain to seven days to help reduce the chance of unused pills.
Other provisions crack down on "doctor shopping" and "pill mills" by requiring physicians to have a bona fide prescriber-patient relationship and consult the Michigan Automated Prescription System (MAPS) before prescribing certain controlled substances. The legislation also requires someone treating a patient for an opioid overdose to provide them with information on substance use disorder services to address the addiction as well as treatment options. The bills have been sent to the House for consideration.
Fighting the threat of Asian carp
Efforts to keep Asian carp out of the Great Lakes are moving ahead on two fronts.
The state recently launched a global search for ways to stop these invasive fish from reaching the Great Lakes. Called the Invasive Carp Challenge, the program is accepting proposals through Oct. 31, 2017 to develop new solutions to this looming threat. One or more solutions will share up to $700,000 in cash awards. Visit www.michigan.gov/carpchallenge for more information.
In addition, the Army Corps of Engineers has now recommended a tentative plan for Brandon Road Lock and Dam in the Chicago Area Waterway system to prevent the inter-basin transfer of aquatic nuisance species. The plan includes nonstructural measures, complex noise, water jets, engineered channel, electric barrier, flushing lock, boat launches and mooring area. Find more information and submit comments online at http://glmris.anl.gov.
Mackinac Bridge closed to vehicle traffic Labor Day morning
Thousands of people enjoy great exercise and camaraderie at the annual Labor Day Mackinac Bridge walk. This year — aside from official walk shuttle buses and emergency vehicles — walkers will have the bridge to themselves as safety concerns will close the bridge to car and truck traffic from 6:30 a.m. to noon. More information about this popular event is available at www.mackinacbridge.org.
Report fish and wildlife observations on new DNR app
A new computer application developed by the DNR consolidates 15 separate fish and wildlife observation forms onto one site. The Eyes in the Field app includes forms for reporting diseased wildlife, tagged fish, mammals such as cougars and wolves, fish such as invasive carp and sturgeon, and more. The site does not replace the Report All Poaching (RAP) hotline (800-292-7800) although it provides a link to the web-based RAP complaint form. Check it out at www.michigan.gov/eyesinthefield.


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Cores and Genomics Services
State-of-the-art equipment, the latest technologies, and expert technical advice are available to researchers at Northwestern and other institutions in the Chicago metropolitan area through the Center for Genetic Medicine's core facilities.Find out more about the cores, available services, and more via the links below.
- NUSeq Core Facility
Find a wide range of sequencing, genotyping, and gene expression profiling, and services; access advanced equipment and bioinformatics analysis.
- The NUgene Project
Let the NUgene Project assist with your genomic research by collecting DNA samples and associated health information on Northwestern Medicine patients. Discover how the NUgene Project can provide you with control samples and/or samples from patients with your disease of interest.
- Transgenic and Targeted Mutagenesis Laboratory
Find a comprehensive range of services, including generation of transgenic mice, gene targeting of embryonic stem (ES) cells, ES cell microinjection into blastocysts, cryopreservation/recovery of mouse embryos, and rederivation of pathogen-free mouse strains
Feinberg Cores
NUSeq Core was recently featured in a Northwestern Core Facilities video.
Find a full list of research cores on the Feinberg Office of Research site.


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Kansas Geological Survey, Bulletin 233, p. 463-472
Robert V. Demicco1, Ronald J. Spencer2, Brent B. Waters3, and Kelly C. Cloyd4
1 SUNY at Binghamton
2 University of Calgary
3 Ground Water Associates, Inc.
4 New York State Department of Environmental Conservation
The Middle-Upper Cambrian Waterfowl Formation of the southern Canadian Rocky Mountains comprises (1) subtidal shelf facies, (2) ooid-peloid shoal facies, (3) outer-shelf tidal flat facies, (4) inner-shelf tidal flat facies, and (5) siliciclastic playa-mudflat facies. These facies are arranged in a deepening to shallowing to deepening pattern, representing one complete third-order cycle and the beginning of another. The Basic program MAPS was modified to model the facies of the Waterfowl Formation. Two examples are given: (1) a high-amplitude, oscillatory relative sea-level regime; and (2) a low-amplitude, oscillatory relative sea-level regime. Both regimes produce facies similar to those composing the Waterfowl Formation.
An Acrobat PDF file containing the complete paper is available (880 kB).
In recent years ancient coastal deposits have come under increasing scrutiny as the sea-level gauges of the ancient oceans (Vail et al., 1977, 1984; Haq et al., 1987). Ancient peritidal carbonate deposits carry an especially detailed record of sea-level history in that they (1) contain a wealth of sedimentary features that allow detailed paleoenvironmental reconstructions and (2) are characterized by a hierarchy of depositional cycles. Low-frequency third-order (1-10 m.y. period) depositional cycles some hundreds to thousands of meters thick include higher-frequency fourth-order (0.1-1 m.y. period) and fifth-order (0.01-0.1 m.y. period) cycles. Third-order cycles in platform carbonates are the unconformity -bounded sequences of seismic and sequence stratigraphic analysis. Fourth-order and fifth-order cycles together make up the shallow ing-upward sequences of James (1984) and partial shallowing-upward sequences [e.g., punctuated aggradational cycles (PACs) (Goodwin and Anderson, 1985; Strasser, 1988)] and have generated many contributions to the literature [see Hardie and Shinn (1986)]. Differentiation of fourth- and fifth-order cycles is difficult [cf. Hardie and Shinn (1986, table 2, p. 66)] because of imprecision in dating. Rarely, however, fourth- and fifth-order cycles can be differentiated. Fischer (1964) noted systematic variations in thicknesses of meter-thick cycles in the Triassic Dachstein Limestone of the southern Alps, which he termed megacyclothems. Goldhammer et al. (1987) used spectral analysis to demonstrate decameter-thick fourth-order cycles with meter-thick fifth-order cycles in the Triassic Latemar Limestone of the Dolomites.
Despite intense study over the last 30 years, the origins of these different depositional cycle types is still not well understood. Numerous techniques are available for quantitative analyses of third-order, fourth-order, and fifth-order cycles in platform carbonate deposits. These include Fischer plots (Fischer, 1964; Goldhammer et al., 1987, 1990; Read and Goldhammer, 1988; Read, 1989), spectral analysis of cycle thicknesses (Goldhammer et al., 1987; Hinnov and Goldhammer, 1988), detailed backstripping calculations (Bond et al., 1989), and computer modeling (Spencer and Demicco, 1989; Koerschner and Read, 1989; Goldhammer et al., 1990; and other papers in this volume). In the last few years one-dimensional and two-dimensional computer models of cyclic carbonate deposition have been a welcome step toward quantitative assessment of the roles that eustasy, tectonic subsidence, and sediment production have in controlling the stratigraphic record. However, rarely in these studies are sedimentologic logs of measured stratigraphic sections compared with synthetic computer-generated stratigraphic sections [however, see Goldhammer et al. (1990)]. Nor are composite facies cross sections constructed from correlated measured sections compared with synthetic cross sections generated by computer models. In this article we use the Basic computer program MAPS (Demicco and Spencer, 1989) to model third-order cycles (depositional sequences) and their component fourth-order cycles in the Middle-Upper Cambrian Waterfowl Formation of the southern Canadian Rocky Mountains west of Calgary, Alberta. Waterfowl Formation depositional sequences are modeled using both eustasy- and subsidence-driven regimes of relative sea-level change.
The stratigraphy of the Middle and Upper Cambrian rocks in the Western Ranges, Eastern Ranges, Foothills, and adjacent plains in southeastern Alberta is shown in fig. 1. Formations of the Eastern Plains, Foothills, and Eastern Ranges form a westward-thickening wedge, up to 2.5 km (1.5 mi) thick, composed of shales and carbonates deposited in a variety of shallow subtidal and peritidal environments on a passive margin (Bond and Kominz, 1984). Equivalent formations of the Western Ranges are predominantly shales with minor carbonates; they represent off-platform deposits (Aitken, 1966b, 1971, 1978, 1989; McIlreath, 1977; Bond and Kominz, 1984). The Middle-Upper Cambrian Waterfowl Formation is exposed across the Eastern Ranges and Foothills in a series of eastward and northeastward verging thrust sheets (fig. 2). Figure 3 is a restored stratigraphic cross section of the Waterfowl Formation from the Red Deer River on the northeast to Marble Canyon on the southwest (Waters, 1986). The Waterfowl Formation has a restored outcrop width of 140 km (87 mi) and varies in thickness from 165 m (541 ft) to the west to 55 m (180 ft) at the Red Deer River. Further east, the Waterfowl Formation pinches out in the subsurface within 100 km (60 mi) of the mountain front.
Figure 1--Stratigraphy of Middle to Upper Cambrian deposits of the Rocky Mountains and adjacent plains in southwestern Alberta.
Figure 2--Major structural and depositional elements of the southem Canadian Rocky Mountains. Numbers indicate locations of measured sections used to construct the profile (A-A') of the Waterfowl Formation shown in fig. 3. Stippled area underlain by Cambrian off-shelf shales. Thrusts are Brazeau (Bz), McConnell (Mc), Rundle (Ru), Sulphur Mountain (Sm), Bourgeau (Bo), Sawback Lake (Sb), Johnston Creek (Jo), Pipestone (Pi), Simpson Pass (Si), Mons (Mo), Chatter Creek (Ca), and Purcell (Pu). [Figure modified after Bond and Kominz (1984, fig. 4, p. 160).]
The exact nature of the Middle and Upper Cambrian shelf to basinal transition is controversial. Aitken (1971, 1989) postulated that a narrow shelf margin (the "Kicking Horse Rim"), composed of dolomitic grainstones and boundstones, separates the Middle and Upper Cambrian platform deposits of the Eastern Ranges from their basinal equivalents in the Western Ranges. Ludvigsen (1989) challenged this view for the Middle Cambrian "Cathedral escarpment" based on paleontologic data. Figure 4 is a map and cross section of the platform to basin transition exposed on Mt. Whymper. Here, the outcrop of the Middle to Upper Cambrian Waterfowl Formation mapped as a rim facies by Aitken (1971) on the western slopes of Mt. Whymper [0.5 km (0.3 mi) west of section 1], is a massive crystalline dolomite cross-cut by dikes and pipes of dolomitic breccias with "zebra" textures. No talus breccias or carbonate debris flow or turbidite deposits were observed in the equivalent basinal Middle Chancellor shale less than 3 km (2 mi) away. These observations suggest that the Kicking Horse Rim may be, at least in part, a diagenetic rather than a depositional feature. Instead, the Middle-Upper Cambrian Waterfowl Formation most likely represents a carbonate ramp deepening into a shale-carbonate basin to the west.
The exposed portions of the Waterfowl Formation can be divided into five facies (fig. 3): (1) subtidal shelf facies, (2) ooid-peloid shoal facies, (3) outer-shelf tidal flat facies, (4) inner-shelf tidal flat facies, and (5) siliciclastic playa-mudflat facies. These are briefly described and interpreted in what follows; see Waters (1986, 1988) and Cloyd (1990) for further details.
Figure 3--Restored cross section of facies that compose the Middle-Upper Cambrian Waterfowl Formation in southwestern Alberta. Section locations given in fig. 2. Compare with figs. 8 and 9. See Waters (1986) for further details.
Figure 4--Stratigraphic and sedimentologic relationships of the Waterfowl Formation platform margin on Mt. Whymper (fig. 2, section 1) and equivalent upper middle Chancellor Formation shales across Marble Canyon in the Vermilion Pass area of Kootenay National Park, British Columbia.
The subtidal shelf facies is composed mainly of burrow-disrupted couplets of limestone grainstone layers up to 0.05 m (0.2 ft) thick that grade upward into dolomitic mudstone layers, also up to 0.05 m (0.2 ft) thick (fig. 5a). The limestone layers have sharp bases with load casts into the underlying dolostone and display planar to wavy lamination; they grade from coarse- sand- sized intraclasts and skeletal fragments to fine-grained peloidal grainstones before grading into the overlying dolomitic mudstone. The dolomite mudstone layers have parallel fine laminae. Whole trilobite fossils and Planolites feeding traces are common on dolostone bedding surfaces. In addition, vertical burrow tubes up to 10 mm (0.4 in.) in diameter filled with dolomitic mudstone may disrupt the grainstone layers and commonly produce a thoroughly mottled rock in which irregular, discontinuous grainstone lenses are surrounded by dolomitic mudstone (fig. 5b). Such complete burrow mottling is most common in western sections.
Figure 5--Rock types composing the Waterfowl Formation. (a) Couplets composed of limestone grainstone layers (dark) that grade up into dolomitic mudstone layers (light). Layering in this example is planar and continuous. Matchbook gives scale. (b) Burrow mottled limestone-dolostone couplets. Knife is approximately 75 mm long. (c) Planar-tabular, large-scale, cross-stratified grainstones. Ruler is approximately 0.3 in long. (d) Bedding plain view of flat domal stromatolites capping shale to grainstone cycles in ooid-peloidal shoal facies of section 7. (e) Mudcracked, planar-laminated mudstones. Scale bar is 20 mm long. (f) Crinkle-laminated, prism-cracked mudstones. Knife is approximately 75 mm long.
The subtidal shelf facies also contains stromatolite layers [up to 0.8 m (2.4 ft) thick], Renalcis-Girvanella thrombolites [up to 2 m (7 ft) in diameter], flat pebble lenses and layers up to 0.2 m (0.7 ft) thick, and massive peloidal-ooid grainstone layers up to 5 m (16 ft) thick (fig. 5c). A number of stromatolite layers, thrombolites, and grainstones apparently correlate across the various sections, whereas others do not (fig. 3). Particularly significant is a flat-pebble conglomerate with a dark shale matrix that occurs between 20 in and 30 m (66-98 ft) above the base of the formation; it is traceable laterally for more than 20 km (12 mi) (fig. 3).
Ooid-peloid shoal facies are restricted to eastern outcrops and occur at 16-31 m (52-101 ft) in section 8 and at 58-100 m (190-330 ft) in section 7 (fig. 3). In section 7 this facies has massive burrowed beds up to 2 m (7 ft) thick, sets of large-scale tabular and trough cross-strata up to 2 m (7 ft) thick, and Renalcis-Girvanella thrombolites up to 1 m (3 ft) thick. In section 8 this facies consists of 6 coarsening-upward cycles up to 3 m (10 ft) thick. Cycle bases are shales that contain halite hopper casts; they grade upward into large-scale cross-stratified ooid grainstone. The grainstones occur as crosscutting channels up to 3 m (10 ft) thick and tens of meters wide. The grainstones are in turn capped by flat domal stromatolites, 0.01 m (0.03 ft) thick and up to 3 m (10 ft) in diameter (fig. 5d). Cycles are traceable up to 20 km (12 mi) along strike.
Outer-shelf tidal flat facies form two westward-thickening wedges between sections 2 and 8 (fig. 3). This facies has well-defined fourth- or fifth-order cycles [1-10 m (3-33 ft) thick] that record a shallowing- upward environment (fig. 6). In general, cycles thicken westward. It is important to note that in the lower wedge of outer-shelf tidal flat facies the cycles thicken upward as well. In the upper wedge of outershelf tidal flat facies, the thinnest cycles are in the center of the wedge. Cycle bases in western outcrops predominantly comprise graded limestone grainstone-dolostone mudstone couplets [0.06 m (0.2 ft) thick] with lesser thrombolites, stromatolites, grainstones, and flat-pebble conglomerates. In eastern outcrops the cycle bases are large-scale cross-stratified peloidal grainstones. The central portions of all cycles consist of wavy and lenticular bedded "ribbon rocks" in which small-scale cross-stratified peloidal grainstones alternate with dolomitic mudstone drapes (Demicco, 1983). Waterfowl Formation ribbon rocks contain mudcracks and halite hopper casts. Cycles are capped by planar to crinkle laminated, prism-cracked mudstones (figs. 5e,f). A number of individual cycles are apparently correlative across sections 1 through 8 (fig. 6). However, one-for-one correlations of each cycle are not possible.
Figure 6--Correlation of rock types and thicknesses of five cycles composing the upper wedge of outer-shelf tidal flat facies at sections 5, 6, and 7 in the Waterfowl Formation. Section locations given in fig. 2. Sand divided into fine (f), medium (m), and coarse (c) grades.
Inner-shelf tidal flat facies are restricted to section 9 and the upper portions of section 8 (fig. 3). These complicated rocks consist of (1) multistory grainstone bodies with lateral accretion bedding, (2) discontinuous shallowing-upward cycles up to 1 m (3 ft) thick that pinch out laterally over hundreds of meters, and (3) thicker cycles that grade laterally into grainstone and stromatolitic mounds hundreds of meters across and up to 2 m (7 ft) high. Details of this facies can be found in the articles by Waters et al. (1989) and Cloyd et al. (1990).
Siliciclastic playa-mudflat facies are found in section 9. However, they are continuous for 100 km (60 mi) along strike on the McConnell thrust sheet. Aitken (1966a) and Aitken et al. (1984) interpreted this facies as the Sullivan Formation. However, detailed stratigraphic work along the McConnell thrust by Cloyd (1990) suggests that these are facies within the Waterfowl Formation. These facies comprise carbonate grainstone-siliciclastic mudstone cycles generally less than 1 m (3 ft) thick. The siliciclastic mudstones have deep, ptygmatically folded prism cracks and abundant halite hopper crystals.
We interpret the facies distribution within the Waterfowl Formation (fig. 3) to represent one complete transgressive-regressive third-order cycle or sequence and the partial record of a second (fig. 3). We interpret these cycles as third-order sequences because of their thickness [approximately 100 m (330 ft) for the complete sequence] and duration (the entire Waterfowl Formation represents approximately 3.2 m.y.; Bond and Kominz, 1984). The base of the formation represents a sequence boundary that separates the mainly terrestrial playa-marginal marine tidal flat deposits of the Arctomys Formation (Waters, 1986; Cloyd et al., 1990) from the marine Waterfowl Formation. These sequence boundaries are type 2 boundaries according to Haq et al.'s (1987) classification because subaerial unconformities are not generated. The lower wedge of the cycles represents a transgressive systems tract, developed during flooding of the platform. Each cycle is interpreted to record westward progradation of a tidal flat environment (James, 1984; Hardie and Shinn, 1986). Thickening of cycles upward within the lower wedge of outer-shelf cyclic facies is consistent with this interpretation [see Goldhammer et al. (1990)].
The graded limestone grainstone-dolostone mudstone couplets of the overlying subtidal shelf facies are interpreted as distal storm layers similar to modem graded sand-mud beds recovered from shallow siliciclastic and carbonate shelves (Howard and Reineck, 1981; Aigner, 1985). Thrombolites and stromatolites represent subtidal cyanobacterial bioherms, whereas the carbonate -matrix flat-pebble conglomerates represent proximal storm layers (Demicco, 1985; Waters, 1988). The laterally continuous, shale-matrix flat-pebble conglomerate in the overlying shelf facies is interpreted to represent the maximum flooding surface developed during the highstand of this relative sea-level rise (Haq et al., 1987).
We interpret the ooid-peloid shoal facies in section 8 as a barrier beach-saline lagoon complex developed where normal fairweather waves broke on the inshore portions of the ramp. The upward-desiccating cycles that developed landward of this barrier are interpreted as deposits of a siliciclastic playa to marginal marine mudflat environment (Cloyd, 1990). The subtidal shelf facies and bottom portion of the overlying outer shelf tidal flat cycles represent the highstand systems tract developed during relative sea-level fall. The exact position of the sequence boundary within the upper outer-shelf tidal flat cycles is ambiguous. We suggest that the thin cycle in the middle of the upper wedge of outer-shelf cyclic facies represents this sequence boundary [cf. Goldhammer et al. (1990)]. The overlying sequence includes the upper portions of the Waterfowl Formation and the overlying shaly Sullivan Formation. The cycles and subtidal shelf deposits represent the transgressive systems tract of this second relative sea-level rise. The maximum flooding surface of this sequence is above the top of the Waterfowl Formation.
The Basic program MAPS (Model Accumulation of Platform Sedimentation) simulates accumulation of carbonate platform sediments in two dimensions. Demicco and Spencer (1989) provide details of the program and the algorithm. Figure 7 is a flow chart for the MAPS program, which we have modified slightly for the current simulations. There are five categories of user-chosen variables as input to the program: (1) simulated length of time the program runs, (2) initial conditions across the platform, (3) controls on the relative sea level with time, (4) depth-dependent sediment production parameters, and (5) sediment distribution factors. The program executes 5 steps for each 10,000-year time increment.
Figure 7--Flow chart for the Basic program MAPS.
First, water depth is calculated for points spaced 1 km (0.6 mi) apart across the shelf. Second, a thickness of sediment is produced at each point based on the assigned depth-dependent sediment production rates. Third, sediment is transported according to input distribution factors. Sediment transported onshore builds up to the high tide and across the shelf until all transported sediment is deposited. In the fourth step the new sediment surface is plotted, and its position relative to sea level during that time increment is recorded. Finally, sea level is changed by an appropriate amount based on the input conditions for the next time increment. The program returns to the initial step until the specified simulated run length is reached. Thus the output consists of a two-dimensional representation of the height of the sediment surface across the shelf during each time step and the position of that surface relative to sea level.
Although our modeling considers a large number of variables, we do not consider isostasy or synsedimentary compaction. However, isostasy or synsedimentary compaction might be reasonably modeled by low-amplitude sea-level oscillations (Spencer and Demicco, 1989; see also later discussion). MAPS was modified by adding a hinge point to reproduce the facies of the Waterfowl Formation. In addition, the program was scaled to model several tens of meters of sedimentation at 10,000-year time steps. Facies patterns similar to those in the Waterfowl Formation can be simulated by MAPS in a variety of ways. Here we present two examples: one using high-amplitude relative sea-level oscillations and the other using low-amplitude relative sea-level oscillations.
Figure 8 simulates 3.33 m.y. of sedimentation produced by 3 superimposed relative sea-level changes: (1) a third-order sawtooth oscillation with a period of 1.6 m.y. and a height of 100 m (330 ft), (2) a fourth-order sinusoidal oscillation with a period of 160 k.y. and a height of 40 m (130 ft), and (3) a linear rise of 0.0255 m/k.y. (0.0837 ft/k.y.). The initial slope of the platform was 1:8,500 east of the hinge and 1:425 west of the hinge; the tidal range was 1 m (3 ft). Sediment production rates were 0.1 m/k.y. (0.3 ft/k.y.) from -70 m to -10 m (-230 to -30 ft) and 0.09 m/k.y. (0.2 ft/k.y.) from -10 m to 0 m (-30 to 0 ft). Sixty-five percent of the sediment accumulated in place, whereas 35% was transported shoreward, where it accumulated in prograding tidal flats.
Figure 8--(a) Computer simulation of Waterfowl Formation facies under high-amplitude sea-level oscillations: tidal range = 1 m. White = subtidal deposits (>-0.5 m below low tide level); light gray = shallow subtidal to intertidal deposits [-0.5 m below low tide level to mean sea level (MSL)]; dark gray = upper intertidal deposits (MSL to high tide level) or subaerial exposure surfaces. Gap in diagram is approximately 50 km. (b) Simplified cyclostratigraphy of part a at the same scale. Cycles generated during 21 fourth-order sea-level oscillations numbered and stippled. Subtidal areas unadorned. (c) Relative sea-level curve used to generate parts a and b. Duration is 3.7 m.y. Lower dotted line is original relative elevation of western shelf edge; middle dotted line is original relative elevation of hinge line; upper dotted line is original relative elevation of eastern shelf edge.
Under these conditions modified MAPS produces two wedges of tidal flat cycles separated by subtidal deposits west of the hinge line. Subtidal deposits everywhere overlie the upper wedge of tidal flat deposits. Each 160-k.y. fourth-order oscillation produced a prograding tidal flat deposit (numbered in fig. 8b). Cycles 1-5 and 11-15 were generated on the falling portions of third-order oscillations. Each tidal flat prograded during falling sea level [i.e., "descending progradation" (Hardie and Shinn, 1986, fig. 77, p. 64)]. Cycles 6-10 and 16-21 were generated on the rising portions of third-order oscillations. Thick subtidal deposits were produced on the western portions of platforms during these third-order rises. However, the prograding tidal flats accumulated under conditions of descending progradation. It is important to note that in this model initial sedimentation (model startup) takes place on a third-order fall. Thus cycles 1-5 here belong to the underlying Arctomys Formation, with cycles 610 representing the initial tidal flat cycles of the Waterfowl Formation. We have modeled 5 cycles in this lower transgressive systems tract, whereas there are 5-10 cycles measured in the field. However, changing the sea-level oscillation period would allow us to match any number between 5 and 10.
Figure 9 simulates 3.7 m.y. of sedimentation produced by 3 superimposed relative sea-level changes: (1) a third-order sawtooth oscillation with a period of 1. 8 m.y. and a height of 5 m (16 ft); (2) a fourth-order sinusoidal oscillation with a period of 200 k.y. and a height of 1 m (3 ft); and (3) a linear rise varying across the platform from 0.043 m/k.y. (0. 14 ft/k.y.) at the western edge to 0.018 m/k.y. (0.059 ft/k.y.) at the hinge to 0.015 m/k.y. (0.049 ft/k.y.) at the eastern edge. In addition, during the last 1 m.y., linear relative sea-level rise was increased to 0.048 m/k.y. (0. 16 ft/k.y.) at the western edge of the platform. The platform was flat at the start of the simulation; the tidal range was 1 m (3 ft). Sediment production rates were 0.06 m/k.y. (0.2 ft/k.y.) from -12 in to -3 m (-39 to -10 ft) and 0.04 m/k.y. (0.13 ft/k.y.) from -3 m to 0 m (-10 to 0 ft). Seventy percent of the sediment accumulated in place, whereas 30% was transported shoreward, where it accumulated in prograding tidal flats.
Figure 9--(a) Computer simulation of Waterfowl Formation facies under low-amplitude sea-level oscillations: tidal range = 1 in. White = subtidal deposits (>-0.5 m below low tide level); light gray = shallow subtidal to intertidal deposits (-0.5 in below low tide level to MSL); dark gray = upper intertidal deposits (MSL to high tide level) or subaerial exposure surfaces. Gap in diagram is approximately 50 km. (b) Relative sea-level curve used to generate part a. Duration is 3.33 m.y. Upper line is relative sea level at western shelf edge; middle line is relative sea level at hinge line; lower line is relative sea level at eastern shelf edge.
Under these conditions tidal flats can prograde across the platform during third-order sea-level falls. However, during third-order rises, tidal flats can prograde only about halfway across the shelf, and a wedge of subtidal deposits is produced in western portions. The increased subsidence at the end of the simulation results in drowning and thinning of the westward portion of the shelf, matching the transition of the Waterfowl Formation into the deep-water shales of the overlying Sullivan Formation.
Both synthetic cross sections (figs. 8 and 9) compare reasonably well with the reconstructed sedimentary facies of the Waterfowl Formation (fig. 3). These simulations demonstrate that similar facies patterns can be produced on carbonate shelves using relative sea-level oscillations that vary over several orders of magnitude. We deliberately chose two disparate sets of input variables to produce the two models, which vary only slightly from each other or from the field data. However, all the variables are well within the ranges suggested by the scant available data [cf. Hardie and Shinn (1986) and Spencer and Demicco (1989)]. Furthermore, these simulations are only two possible end members, with a variety of intermediate solutions also possible. Forty-meter (130-ft) amplitude sea-level oscillations modeled in fig. 8 are in the range of Pleistocene glacio-eustatic fluctuations. In contrast, the combination of relative sea-level oscillations modeled in fig. 9 yields net long-term relative rates of sea-level changes from 0.03 to 0.05 m/k.y. (0.1-0. 16 ft/k.y.). Such variations might reasonably model varying subsidence rates, isostasy, or compaction [see Spencer and Demicco (1989)].
It is important to note that variations in other modeling parameters can generate similar facies patterns. Variations in oscillation period can also be used to simulate variable subsidence and can produce similar facies patterns. Likewise, changes in sediment production rates or changes in sediment transport parameters also can produce the observed facies patterns. Such changes model climatic changes, circulation pattern shifts, and transport pathway variation (autocyclicity). It is unlikely that any unique cycle-forcing mechanism can be demonstrated through computer modeling because of the many independent variables that even simplistic models contain.
This article is based in part on an M.Sc. thesis by Waters, at the University of Calgary, and on a Ph.D. dissertation by Cloyd at SUNY, Binghamton. We acknowledge Parks Canada for permission to work in Banff, Kootenay, and Yoho national parks. Spencer received financial support from the Natural Sciences and Engineering Research Council of Canada. Demicco was supported by the National Science Foundation under grant EAR8511001. R. K. Goldhammer and J. F. Read reviewed the manuscript.
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Bond, G. C., and Kominz, M. A., 1984, Construction of tectonic subsidence curves for the early Paleozoic miogeocline, southern Canadian Rocky Mountains--implications for subsidence mechanisms, age of breakup, and crustal thinning: Geological Society of America, Bulletin, v. 95, p. 155-173
Bond, G. C., Kominz, M. A., Streckler, M. S., and Grotzinger, J. P., 1989, Role of thermal subsidence, flexure, and eustasy in the evolution of early Paleozoic passive-margin carbonate platforms; in, Controls on Carbonate Platform and Basin Development, P. D. Crevello, J. L. Wilson, J. F. Sarg, and J. F. Read, eds.: Society of Economic Paleontologists and Mineralogists, Special Publication 44, p. 39-61
Cloyd, K. C., 1990, Cyclic sedimentary sequences of the Middle-Upper Cambrian Waterfowl Formation along the McConnell thrust, western Alberta: Ph.D. dissertation, State University of New York, Binghamton, 156 p.
Cloyd, K. C., Demicco, R. V., and Spencer, R. J., 1990, Tidal channel, levee, and crevasse-splay deposits from a Cambrian tidal channel system--a new mechanism to produce shallowing-upwards sequences: Journal of Sedimentary Petrology, v. 60, p. 73-83
Demicco, R. V., 1983, Wavy and lenticular-bedded carbonate ribbon rocks of the Upper Cambrian Conococheague Limestone, central Appalachians: Journal of Sedimentary Petrology, v. 53, p. 1, 121-1,132
Demicco, R. V., 1985, Platform and off-platform carbonates of the Upper Cambrian of western Maryland: Sedimentology, v. 32, p. 1-22
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Kansas Geological Survey
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Recycle your bicycle
2010-05-12 · By Editor
Do you have an old bike taking up space in your garage? Has your child outgrown a bike or two? You can give your bike a second life by donating it to Long Beach youth through the Recycle Your Bicycle Program.
In celebration of National Bike Month, the City of Long Beach, Waste Management, and the H.U.B. Bike Co-op are launching the Recycle Your Bicycle Program to collect and refurbish bikes, and then redistribute them to local youth.
"This innovative program is an excellent way to help Long Beach be even more sustainable as well as benefiting our youth," Mayor Bob Foster said. "We are encouraging alternative transportation, healthy lifestyles and recycling though one amazing community enrichment program."
The Recycle Your Bicycle Program kicks off May 22, and continues for the next three Saturdays (May 29, June 5, and June 12). Bring bicycles in any condition for donation from noon to 4 p.m. to any of these five city parks:
- El Dorado Park West – 2800 Studebaker Road
- Houghton Park – 6301 Myrtle Ave.
- Cesar Chavez Park – 401 Golden Ave.
- McBride Park – 1550 Martin Luther King Ave.
- Silverado Park – 1545 W. 31st St.
Bikes in salvageable condition will be repaired by the local bike community non-profit, the H.U.B Bike Co-op, through their mentorship program, and then redistributed to local youth. Bikes beyond repair will be recycled as scrap metal by Waste Management.
"We're asking Long Beach residents to think outside the aluminum can when it comes to recycling on this one," said Vickie Wippel, Community Relations Manager for Waste Management. "This is a great opportunity to clean out your garage, help out local youth and recycle all at the same time!"
The H.U.B. Bike Co-op is seeking volunteer bike mechanics to assist with bike repairs. Anyone interested in volunteering should email the H.U.B at firstname.lastname@example.com for more information.
Bikes donated during the Recycle Your Bicycle campaign will be redistributed to youth throughout the community to promote a more healthy, active, and sustainable community. Residents with questions about the Recycle Your Bicycle Program can contact Courtney Aguirre, Transportation Programs Planner, at 562.570.6667.


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