1,723,944 research outputs found
Notes of the « Codex Rickards ».
No full textRickards Constantine George. Notes of the « Codex Rickards ».. In: Journal de la Société des Américanistes. Tome 10 n°1, 1913. pp. 47-57
Letter from A.M. Rickards to Hagan
No full textPrinted circular letter with handwritten insertion from A.M. Rickards, secretary, British-American Tobacco Company, Ltd., Westminster House, 7 Millbank, London S.W.1, to Hagan, enclosing cheque over small dividends from his shares
Rickards, R T K, NX72646
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/413267Surname: RICKARDS. Given Name(s) or Initials: R T K. Military Service Number or Last Known Location: NX72646. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 40407.231977
Item: [2016.0049.45528] "Rickards, R T K, NX72646
The New Case for Gold
No full textIn this bold manifesto, bestselling author and economic commentator James Rickards steps forward to defend gold—as both an irreplaceable store of wealth and a standard for currency.
Global political instability and market volatility are on the rise. Gold, always a prudent asset to own, has become the single most important wealth preservation tool for banks and individuals alike. Rickards draws on historical case studies, monetary theory, and personal experience as an investor to argue that:
• The next financial collapse will be exponentially bigger than the panic of 2008.
• The time will come, sooner rather than later, when there will be panic buying and only central banks, hedge funds, and other big players will be able to buy any gold at all.
• It’s not too late to prepare ourselves as a nation: there’s always enough gold for a gold standard if we specify a stable, nondeflationary price.
Providing clear instructions on how much gold to buy and where to store it, the short, provocative argument in this book will change the way you look at this “barbarous relic” forever.
https://www.amazon.com/New-Case-Gold-James-Rickards/dp/1101980761/ref=sr_1_1?ie=UTF8&qid=1540431397&sr=8-1&keywords=The+New+Case+for+Gol
Angels Did Sing - SSA | 21-20250
Get PDFAngels Did Sing
Part Number: 21-20250
Previous Part Number: HL-250
Price: $1.90
Voicing: SSA
Lyrics By: Steven Rickards
Music By: Steven Rickards
Edited By: Henry Leckhttps://digitalcommons.butler.edu/jca_scores/1325/thumbnail.jp
Angels Did Sing - SATB | 21-20109
Get PDFAngels Did Sing
Part Number: 21-20109
Previous Part Number: HL-109
Price: $1.90
Voicing: SATB
Lyrics By: Steven Rickards
Music By: Steven Rickards
Edited By: Henry Leckhttps://digitalcommons.butler.edu/jca_scores/1326/thumbnail.jp
One foot in university, the other at school
Full text linkField Rickards explains a new model for teacher education
Grey light. Left and right back, high up, two small windows
No full textArtist Monograph providing a context for an extended consideration of Rickards' exhibition/work 'Grey light. Left and right back, high up, two small windows' (2014).
The publication includes critical essays/texts, transcribed interviews and images that document each exhibition and artist pages.
Hannah Rickards’ Grey light. Left and right back, high up, two small windows (2014) is a two-screen projected video installation with eight channels of sound. Structured rhythmically around the pattern of a foghorn sounding, the piece finds its origins in the notion of the foghorn as an auditory marker for non-visibility, or imagelessness. This major work by the London-based artist was commissioned by Fogo Island Arts and presented at the Fogo Island Gallery from September 24, 2014 to April 12, 2015.
The book features texts by Melissa Gronlund and Will Holder, a conversation between Rickards and Nicolaus Schafhausen, and striking new photographic imagery drawn from the installation’s physical materials and production process. Like Rickards’ work, the publication aims to bridge the distance between visual experience and its expression in language, whether spoken, written or gestural
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