Munch Museum Madonna Art Theft 2004: Arrests in 2005, Sentences in 2006

Summary: The Munch Museum Madonna art theft Aug. 31, 2004, has alleged suspects by October 2005, court rulings in May 2006 and two paintings back in August 2006.

Oslo's Munch Museum displays "Madonna" (second from right), safely recovered in 2006, during "Emma & Edvard -- Love in the Time of Loneliness" exhibit, Saturday, Jan. 28, to Monday, April 17, 2017; Munch's Madonna on Slow Art Day, Saturday, April 8, 2017; photo by Jonathan Vivaas Kise: Munch Museet (themunchmuseum), via Instagram April 8, 2017

Good old-fashioned police work of analyzing evidence and leads accounts for the status of closed case Aug. 31, 2006, to the Munch Museum Madonna art theft Aug. 22, 2004, in Oslo, Norway.

Investigations bring about an arrest just over seven months after the armed intervention, a reward offer of two million kroner ($294,000) and sentencing of three suspects. They continue alongside the airport-style security system deployed during the museum's closing from Sept. 6, 2004, until June 18, 2005, two months after the first arrest. They draw the oil on canvas and the tempera on cardboard versions of Edvard Munch's (Dec. 12, 1863-Jan. 23, 1944) two most famous artworks back home.

Museum security and police protocols ensure the safe success of the exhibited artworks Sept. 27 to Oct. 1, 2006, and May 22 to Sept. 26, 2008.

Police vans and journalists still outside Oslo's Munch Museum two hours after 2004 art theft of "Madonna" and "The Scream"; Sunday, Aug. 22, 2004, 13:22: Torstein Frogner, CC BY SA 3.0 Unported, via Wikimedia Commons

Oslo Police Detective Chief Inspector Kjell Pedersen's finding that "We're following all possible leads" even though "we don't know who did this" fuels the worst fears.

Leads give a perpetrator "grabbing" Madonna "off the wall" and "banging it against the wall and against the ground because the gray strings weren't breaking off." They have two black-clothed, black-hooded, black-masked perpetrators dropping Madonna and The Scream twice before shoving them into a black Audi A6 and smashing their gilded frames. Destruction of suspected tracking devices impels the frames' strewn wreckage all over the street near tennis courts about one mile (1.61 kilometer) from the Munch Museum.

Munch Museum Madonna art theft leads juggle evidence from the Audi fire-gutted with thick, white foam jeopardizing viable deoxyribonucleic acid (DNA) and fingerprints near fanned-out frames.

Munch Museum 2004 art thieves absconded with "Madonna" as well as Edvard Munch's most famous artwork, "The Scream": Google Art Project, Public Domain, via Wikimedia Commons

Brutality in the museum, in the Audi and on the street kindle Madonna's and The Scream's rumored destruction as too well-known for the black market's clientele.

An incident Sept. 24, 2004, just north of Oslo, leads to rumors that label Munch's Madonna as more damaged than The Scream and as subsequently destroyed. Professional drag racer Thomas Nataas mentions Madonna and The Scream as maintained, without his permission, in a white garbage bag inside his bus for 30-plus days. He notes the damaged Madonna as necessitating restoration because of a coin-sized, one-inch (2.5-centimeter) hole in one corner and the undamaged Scream as needing no repairs.

Assistant Police Chief Iver Stensrud offers no information about Madonna's and The Scream's whereabouts after obtaining an interview with Sverre Næss's unnamed client Dec. 22, 2004.

The trial of suspects in the Munch Museum 2004 "Madonna" art theft took place in Oslo District Court (Oslo tingrett), which is housed in the Oslo Courthouse (Oslo tinghus); exterior view of Oslo Courthouse, Feb. 10, 2008, 14:37: Mahlum, Public Domain, via Wikimedia Commons

The following year presents progress by pinpointing potential perpetrators and by publicizing arrests by April, and charges by December, 2005 prefatory to trial Feb. 14, 2006.

Rulings May 2, 2006, by the three-judge panel under Judge Arne Lyng qualify Morten Hugo Johansen, Thomas Nataas and Stian Skjold as acquitted of criminal charges. They require 50-50 responsibility by Bjorn Hoen and Petter Tharaldsen in repaying the City of Oslo the masterpieces' 750 million kroner ($121 million, £66.3 million) value. They sentence Bjorn Hoen, Petter Rosenvinge and Petter Tharaldsen, as respectively alleged ideator, vehicle supplier and vehicle driver, to respective seven-, four- and eight-year prison terms.

The Munch Museum Madonna art theft, like the Van Gogh Museum art theft Dec. 7, 2002, turns up suspected perpetrators, not stolen artworks, within one year.

Professional drag racer Thomas Nataas testified that Munch's "Madonna" and "Scream" were kept, without his permission, inside his bus for 30-plus days: Thomas Nataas (thomasnataas), via Instagram Feb. 11, 2017

Acknowledgment

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

Image credits:

Oslo's Munch Museum displays "Madonna" (second from right), safely recovered in 2006, during "Emma & Edvard -- Love in the Time of Loneliness" exhibit, Saturday, Jan. 28, to Monday, April 17, 2017; Munch's Madonna on Slow Art Day, Saturday, April 8, 2017; photo by Jonathan Vivaas Kise: Munch Museet (themunchmuseum), via Instagram April 8, 2017, @ https://www.instagram.com/p/BSngtkzggGm/; via Instagram April 8, 2017, @ https://www.instagram.com/p/BSngtkzggGm/?taken-by=themunchmuseum

Police vans and journalists still outside Oslo's Munch Museum two hours after 2004 art theft of "Madonna" and "The Scream"; Sunday, Aug. 22, 2004, 13:22: Torstein Frogner, CC BY SA 3.0 Unported, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Munchmuseetran2.jpg

Munch Museum 2004 art thieves absconded with "Madonna" as well as Edvard Munch's most famous artwork, "The Scream": Google Art Project, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Edvard_Munch_-_The_Scream_-_Google_Art_Project.jpg

The trial of suspects in the Munch Museum 2004 "Madonna" art theft took place in Oslo District Court (Oslo tingrett), which is housed in the Oslo Courthouse (Oslo tinghus); exterior view of Oslo Courthouse, Sunday, Feb. 10, 2008, 14:37: Mahlum, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Oslo_tinghus.jpg

Professional drag racer Thomas Nataas testified that Munch's "Madonna" and "Scream" were kept, without his permission, inside his bus for 30-plus days: Thomas Nataas (thomasnataas), via Instagram Feb. 11, 2017, @ https://www.instagram.com/p/BQYX7ruhOzH/; via Instagram Feb. 11, 2017, @ https://www.instagram.com/p/BQYX7ruhOzH/?taken-by=thomasnataas

For further information:

Gibbs, Walter. 3 May 2006. "3 Convicted, 3 Acquitted in Theft of Munch's Art." The New York Times > Art & Design.
Available @ http://www.nytimes.com/2006/05/03/arts/design/03scre.html

Goldiner, Dave. 22 August 2006. "'The Scream' and 'Madonna' Paintings Were Stolen at Gunpoint from the Munch Museum in 2004." New York Daily News
Available @ http://www.nydailynews.com/news/crime/oslo-scream-team-pulls-museum-heist-article-1.597151

Hollington, Kris. 13 June 2005. "Master Plan." The Guardian > U.S. Edition > Arts > Art & Design > Art.
Available @ https://www.theguardian.com/artanddesign/2005/jun/13/art.arttheft

Marriner, Derdriu. 4 August 2017. "Munch Museum Madonna Art Theft: FBI Crime Solved Within Two Years." Earth and Space News. Friday.
Available @ https://earth-and-space-news.blogspot.com/2017/08/munch-museum-madonna-art-theft-fbi-art.html

Poniatowski’s Bull Constellation Survives as Asterism in Ophiuchus

Summary: The obsolete Poniatowski’s Bull constellation survives as a v-shaped asterism in Ophiuchus the Serpent Bearer constellation.

Taurus Poniatovii (Poniatowski’s Bull) in German astronomer Johann Elert Bode’s 1801 star atlas, Uranographia: Public Domain, via Wikimedia Commons

Hovering near the celestial equator in the celestial northern hemisphere, the obsolete Poniatowski’s Bull constellation survives as a v-shaped asterism, marking the bull’s face, in Ophiuchus the Serpent Bearer constellation.

In 1777, Polish-Lithuanian Jesuit astronomer Marcin Odlanick Poczobutt (Oct. 30, 1728-Feb. 7, 1810) designated stars in northeastern Ophiuchus as a new, bull-themed constellation. His new constellation honored Stanisław II August (Jan. 17, 1732-Feb. 12, 1798), a member of Poland’s noble, prominent House of Poniatowski. A conscientious patron of arts and sciences, he reigned as last King and Grand Duke of the Polish-Lithuanian Commonwealth from Sept. 6, 1764, until his abdication Nov. 25, 1795.

The House of Poniatowski numbers among the szlachta (“nobility”) using the Ciołek clan’s coat of arms. The Ciołek coat of arms features a bull and a crown. King Stanisław II August’s coat of arms comprises a quarterly-parted escutcheon (Latin: scutum, “shield”) topped with a crown. An inescutcheon, or smaller shield, is placed over the middle of the escutcheon. The white-fielded inescutcheon displays a red bull.

Abbot Poczobutt’s inspiration for seeing a new constellation in a space of loose stars was a v-shaped pattern of stars located near Ophiuchus the Serpent Bearer’s shoulder. The v-shaped pattern reminded him of the v-shaped Hyades star cluster representing the bovine face in the zodiacal constellation of Taurus the Bull. The abbot mostly constructed his new constellations with stars from Ophiuchus. Aquila the Eagle constellation contributed to the new constellation’s rear edges.

Abbot Poczobutt included his new constellation in his star catalogue, Cahiers des Observations Astronomiques Faites à l’Observatoire Royal de Vilna en 1773, Présentés au Roi, which was published in 1777. German astronomer Johann Elert Bode (Jan. 19, 1747-Nov. 23, 1826) gave the new constellation a wider audience by reprinting Abbot Poczobutt’s starry list in Astronomisches Jahrbuch, an astronomical ephemeris almanac published by Bode since 1776.

French scientific instrument maker Jean Nicolas Fortin (Aug. 9, 1750-1831) claims publication of the first depiction of le Taureau Royal de Poniatowski (“Poniatowski’s Royal Bull”). Fortin collaborated with French astronomers Pierre Charles Le Monnier (Nov. 20, 1715-April 3, 1799) and Charles Messier (June 26, 1730-April 12, 1817) in updating Atlas Coelestis by John Flamsteed (Aug. 19, 1646-Dec. 31, 1719), English astronomer and First Astronomer Royal of the Royal Households of the United Kingdom. The star atlas, based upon Flamsteed’s astronomical observations, was posthumously published by the First Astronomer Royal’s widow, Margaret Cooke Flamsteed (ca. 1670-ca. 1730/1739).

In 1776, Fortin published Atlas Céleste, replacing Latin-named constellations with French, as the second edition of Flamsteed’s Atlas Coelestic. Beginning in 1778, the first depiction of Poniatowski’s Bull was added to the copper plates for the Fortin-Flamsteed atlas. Le Taureau Royal de Poniatowski appeared in revisions to Fortin’s second edition. A third edition, published in 1795, also depicted the new constellation.

In the 20th century, Poniatowski’s Bull joined other constellations in obsolescence. The International Astronomical Union (IAU), founded in 1919, whittled the confusing parade of global constellations to 88 modern constellations, which were approved May 1922 at the international association’s inaugural General Assembly, held in Rome, Italy. Constellation boundaries, established in 1930, were ratified in 1933.

As with other obsolete constellations, stars in Poniatowski’s Bull are now firmly settled components of adjacent constellations. The stars that shaped Poniatowski’s Bull are officially restored to the neighboring constellations of Aquila the Eagle and Ophiuchus the Serpent Bearer.

Although no longer listed as a constellation, Poniatowski’s Bull remains as a noticeable, v-shaped asterism in the celestial sphere, the imaginary, Earth-centered sphere projected outward into space. Poniatowski's Bull asterism resides to the east of Beta Ophiuchi (β Ophiuchi; Beta Oph; β Oph) and Gamma Ophiuchi (γ Oph; γ Ophiuchi) in the Serpent Bearer's shoulder.

The takeaway for obsolete Taurus Poniatovii is that Poniatowski’s Bull constellation survives as a v-shaped asterism in Ophiuchus the Serpent Bearer constellation.

1810 portrait of Martynas Počobutas (Marcin Odlanick Poczobutt) by Polish-Lithuanian painter Juozapas Oleškevičius (1777-Oct. 5, 1830), Lietuvos Dailės Muziejaus (Lithuanian Art Museum), Vilnius, southeastern Lithuania: Public Domain, 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:

Taurus Poniatovii (Poniatowski’s Bull) in Johann Elert Bode’s 1801 star atlas, Uranographia: Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Bode_pontowski.jpg

1810 portrait of Martynas Počobutas (Marcin Odlanick Poczobutt) by Polish-Lithuanian painter Juozapas Oleškevičius (1777-Oct. 5, 1830), Lietuvos Dailės Muziejaus (Lithuanian Art Museum), Vilnius, southeastern Lithuania: Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Marcin_Poczobutt-Odlanicki_1.PNG

For further information:

“Autorius: Oleškevičius, Juozapas, 1777-1830.” Lietuvos Dailės Muziejaus Rinkinys (Lithuanian Art Museum Collection).
Available @ http://www.rinkinys.ldm.lt/iris/index.aspx?cmp=search&action=details&lang=LT&mus=1&ext_id=954349

Barentine, John C. The Lost Constellations: A History of Obsolete, Extinct, or Forgotten Star Lore. Springer-Praxis Books in Popular Astronomy. Cham, Switzerland; Heidelberg, Germany; New York NY; Dordrecht, The Netherlands; London UK: Springer International Publishing, 2016.

Bode, J.E. (Johann Elert). Astronomisches Jahrbuch fr das Jahr 1785. Nebst einer Sammlung der Neuesten in die Astronomischen Wissenschasten Einschlagenden Abhandlungen, Beobachtungen und Nachrichten. Berlin, Germany: George Jacob Decker, 1782.
Available via HathiTrust @ https://babel.hathitrust.org/cgi/pt?id=nyp.33433057657961

Bode, J.E. (Johann Elert). Vorstellung der Gestirn auf XXXIV Kupfertafeln Nach der Pariser Ausgabe des Flamsteadschen Himmelsatlas. Berlin and Stralsund, Germany: Gottlieb August Lange, 1782.
Available via HathiTrust @ https://catalog.hathitrust.org/Record/009709414

Bril, Henk. “Fortin 1795 - E.” Astrobril. Dec. 23, 2008.
Available @ http://www.astrobril.nl/FortinE.html

Caglieris, Giangi. “On-Line Flamsteed - Fortin Atlas Celeste - 1776.” Infinito Web Sites > Users > C > G. M. Caglieris.
Available @ http://web.infinito.it/utenti/c/caglieris_gm/fortin/english.htm

“The Celestial Atlas of Flamsteed (1795).” The Public Domain Review > Collections.
Available @ https://publicdomainreview.org/collections/the-celestial-atlas-of-flamsteed-1795/

Fortin, Jean Nicolas. Atlas Céleste de Flamstéed. Third edition. Paris, France: Belin Lamarche, 1795.

Fortin, Jean Nicolas. Atlas Céleste de Flamstéed, Approuvé par l'Académie Royale des Sciences, et Publié Sous le Privilege de Cette Compagnie. Seconde Édition. Paris, France: F.G. Deschamps, 1776.

Frommert, Hartmut; Christine Kronberg. “Jean Nicolas Fortin (August 9, 1750 - 1831).” SEDS (Students for the Exploration and Development of Space) The Messier Catalog > Xtra > Bios.
Available @ http://messier.seds.org/xtra/Bios/fortin.html#fortin1776

Jamieson, Alexander. A Celestial Atlas: Comprising a Systematic Display of the Heavens in a Series of Thirty Maps Illustrated by Scientific Description of Their Contents and Accompanied by Catalogues of the Stars and Astronomical Exercises. London, England: G. & W.B. Whittaker, 1822.
Available via U.S. Naval Observatory Library @ http://aa.usno.navy.mil/library/

Kanas, Nick. Star Maps: History, Artistry, and Cartography. Springer-Praxis Books in Popular Astronomy. Cham, Switzerland; Heidelberg, Germany; New York NY; Dordrecht, The Netherlands; London UK: Springer International Publishing, 2007.

Marriner, Derdriu. "Serpens the Serpent Constellation Is the Only Two Part Constellation." Earth and Space News. Wednesday, April 26, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/04/serpens-serpent-constellation-is-only.html

Poczobutt, (l’Abbé) Marcin Odlanicki. Cahiers des Observations Astronomiques Faites à l’Observatoire Royal de Vilna en 1773, Présentés au Roi. Vilnius, Lithuania: Royal publisher, 1777.

Ridpath, Ian. “Taurus Poniatovii Poniatowski’s Bull.” Ian Ridpath > Star Tales.
Available @ http://www.ianridpath.com/startales/poniatowski.htm

2017-2018 Royal Opera Season Premieres George Benjamin’s Third Opera

Summary: The 2017-2018 Royal Opera season includes the world premiere of George Benjamin’s third opera, Lessons in Love and Violence.

The Royal Opera House hosts the world premiere of George Benjamin's third opera, Lessons in Love and Violence, May 10, 2018: Musical America @MusicalAmerica, via Twitter Feb. 2, 2017

The 2017-2018 Royal Opera season features the world premiere of George Benjamin’s third opera, Lessons in Love and Violence, in May 2018.

The Royal Opera House’s world premiere of Lessons in Love and Violence by English conductor and classical music composer George William John Benjamin occurs as a co-production with six opera houses in five countries. The premiere’s six other co-producers are De Nationale Opera (Dutch National Opera), Amsterdam, Netherlands; Hamburgische Staatsoper (Hamburg State Opera), northern Germany; Opéra National de Lyon, east central France; Lyric Opera of Chicago, northeastern Illinois, midwestern United States; Gran Teatre del Liceu, Barcelona, Catalonia, northeastern Spain; and Teatro Real, Madrid, central Spain.

The world premiere of George Benjamin’s opera themed on a king’s forced choice between love and political expediency plays for six performances. The opera’s composer conducts all performances at The Royal Opera House.

The world premiere’s opening night is Thursday, May 10, 2018. Closing night is Saturday, May 26.

Lessons in Love and Violence represents the third operatic collaboration between composer George Benjamin and playwright Martin Andrew Crimp. The duo’s partnership yielded Benjamin’s first opera, Into the Little Hill (2008), and his second opera, Written on Skin (2012).

Online database Operabase places George Benjamin at number 114 in a ranking of 1,281 most popular composers for the five seasons from 2011/2012 to 2015/16. Written on Skin places at 234 in the list of 2,658 most popular operas.

The production’s director is Katie Mitchell. The English director also directed The Royal Opera House’s premiere of Benjamin’s second opera in 2013. Katie Michell made her Royal Opera House debut in 2009 in James MacMillan’s Parthenogenesis.

The production team comprises Vicki Mortimer as designer, James Farncombe as lighting designer and Joseph Alford as movement director. Vicki Mortimer’s Royal Opera House debut occurred in 2013 on the production team for Written on Skin. James Farncombe debuted in The Royal Opera House’s December 2013 production of Julian Philips’ How the Whale Became by Julian Philips. Joseph Alford’s Royal Opera House debut occurred in 2011 on the production team for James MacMillan’s Clemency.

Lessons in Love and Violence brings together an international cast. Of the opera’s eight singers, three are making their Royal Opera debuts.

Samuel Boden debuted at The Royal Opera in 2014 in the title role in L’Ormindo by Italian baroque composer Francesco Cavalli (Feb. 14, 1602-Jan. 14, 1676).

French baritone Stéphane Degout debuted at The Royal Opera House in 2007 as Dandini in La Cenerentola by Italian composer Gioachino Rossini (Feb. 29, 1792-Nov. 13, 1868).

British tenor British soprano Jennifer France’s appearance in Lessons in Love and Violence marks her Royal Opera debut.

Canadian soprano and conductor Barbara Hannigan debuted as Agnès in The Royal Opera's 2003 production of Benjamin's second opera, Written on Skin.

English tenor Peter Hoare debuted as Spoletta in the Royal Opera’s 2001 production of Tosca by Italian opera composer Giacomo Puccini (Dec. 22, 1858-Nov. 29, 1924).

Hungarian-Romanian baritone Gyula Orendt’s Royal Opera debut occurred in 2012 as the Gamekeeper in Rusalka by Czech composer Antonín Dvořák (Sept. 8, 1841-May 1, 1904).

Icelandic bass-baritone Andri Björn Róbertsson makes his Royal Opera debut in Lessons in Love and Violence.

Hungarian-Canadian mezzo-soprano Krisztina Szabó also makes her Royal Opera debut in the production.

George Benjamin's much anticipated third opera is sung in English. The performance is timed to last 1 hour 40 minutes. There is no intermission, termed "interval" in the United Kingdom.

The world premiere of George Benjamin’s third opera during the 2017-2018 Royal Opera season attests to the vibrancy of opera as a dynamic art form in the 21st century.

Benjamin's Lessons in Love and Violence and Donizetti's L'Ange de Nisida receive world premieres at the Royal Opera House during the 2017-2018 season: Musical America @MusicalAmerica, via Twitter April 7, 2017

Acknowledgment

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

Image credits:

The Royal Opera House hosts the world premiere of George Benjamin's third opera, Lessons in Love and Violence, May 10, 2018: Musical America @MusicalAmerica, via Twitter Feb. 2, 2017, @ https://twitter.com/MusicalAmerica/status/827215079624044544

Benjamin's Lessons in Love and Violence and Donizetti's L'Ange de Nisida receive world premieres at the Royal Opera House during the 2017-2018 season: Musical America @MusicalAmerica, via Twitter April 7, 2017, @ https://twitter.com/MusicalAmerica/status/850350778485178374

For further information:

“Composers: Composers Ranked by the Number of Performances of Their Operas Over the Five Seasons 2011/2012 to 2015/16.” Operabase > Opera Statistics.
Available @ http://operabase.com/top.cgi?lang=en

“How the Whale Became.” Royal Opera House > Opera & Music Autumn 2013. June 2013.
Available @ http://static.roh.org.uk/for/pdfs/OperaMusicAutumnSeason-13-14.pdf

Musical America @MusicalAmerica. “George Benjamin’s New Opera to Bow in London in Spring, 2018.” Twitter. Feb. 2, 2017.
Available @ https://twitter.com/MusicalAmerica/status/827215079624044544

Musical America @MusicalAmerica. “@RoyalOperaHouse in 2017-18: Four World Premieres Including George Benjamin's Newest #MusicalAmericaNews.” Twitter. April 7, 2017.
Available @ https://twitter.com/MusicalAmerica/status/850350778485178374

Royal Opera House. “Royal Opera House 2017/18 Season Trailer.” YouTube. April 5, 2017.
Available @ https://www.youtube.com/watch?v=wNXuUdDn8xI

Schweitzer, Vivien. “A Minimalist Pied Piper (Imagine, Please, Those Rats).” The New York Times > Arts > Music. July 25, 2007.
Available @ http://www.nytimes.com/2007/07/25/arts/music/25benj.html

Spencer, Mel. “New Opera by George Benjamin and Martin Crimp Announced.” Royal Opera House > News. Jan. 31, 2017.
Available @ http://www.roh.org.uk/news/new-opera-by-george-benjamin-and-martin-crimp-announced

Spencer, Mel. “Royal Opera House 2017/18 Season Announced.” Royal Opera House > News. April 5, 2017.
Available @ http://www.roh.org.uk/news/royal-opera-house-2017-2018-season-announced

Tilden, Imogen. “Royal Opera to Premiere New Work by George Benjamin.” The Guardian > Arts > Classical > Opera. Jan. 31, 2017.
Available @ https://www.theguardian.com/music/2017/jan/31/royal-opera-house-premiere-george-benjamin-martin-crimp

Americanized Brazilian Waterweed Gardens Away From Waterways

Summary: Americanized Brazilian waterweed gardens handle low-light fountains, ponds and pools and murky ditches away from boaters, fishers and swimmers.

Brazilian waterweed (Egeria densa) foliage; Thursday, March 16, 2006, 11:43: Kristian Peters (Fabelfroh), CC BY SA 3.0 Unported, via Wikimedia Commons

Americanized Brazilian waterweed gardens alter dissolved oxygen levels and water flow rates, assemble into dense, floating, large mats, assist trapped sediment accumulation and attack aquatic native vegetation, irrigated lands and irrigation systems.

Native and non-native, related weedy herbs in the Hydrocharitaceae family of aquatic freshwater and marine herbaceous waterweeds behave similarly in Canada, Mexico and the United States. State governments in the United States call non-native curly waterweed, duck lettuce, European frogbit, hydrilla and water soldiers weeds for challenging species diversity and water quality. The California state government delivers weed sanctions against native American spongeplant even though no North American legislation describes as weedy native Canadian waterweed or water celery.

Brazilian waterweed, aquatic herbaceous perennial native to Argentina and Brazil, endures similar government-enacted weed designations in Alabama, Connecticut, Maine, Massachusetts, Oregon, South Carolina, Vermont and Washington.

Hydrilla, weedy relative with two small embryonic leaves, called cotyledons, on 0.24-inch- (6-millimeter-) long stems, furnishes an indication of Brazilian, Canada and curly waterweed seedling looks.

Brazilian, Canada and curly waterweeds give glimpses of seedling looks in research settings and, in the first and third cases, South American and South African homelands. Mature Brazilian waterweed, unlike Canadian waterweed's three-whorled leaves and hydrilla's three- to eight-whorled leaves, has crowded, dense, three-whorled upper foliage and four- to eight-whorled lower foliage. It is linear to lance-shaped, 0.39- to 1.58-inch- (1- to 4-centimeter-) long and 0.08- to 0.19-inch- (2- to 5-millimeter-) wide, with fine-toothed margins and tapered points.

American spongeplant's green-white to yellow, curly waterweed's pink-white, duck lettuce's pink- to violet-white and hydrilla's red colors join July- to August-blooming, white-flowering Americanized Brazilian waterweed gardens.

Brazilian waterweed, commonly named anacharis, Argentine elodea, Brazilian elodea, common waterweed, dense-leaved elodea, ditch moss, South American waterweed and water thyme, keeps its oldest flowers tiptop.

Leaf-to-stem attachment angles called axils, on 0.39- to 3.15-inch- (1- to 8-centimeter-) long stalks, launch emergent, male-flowered, showy white inflorescences called cymes horizontally onto water surfaces. Leaflike, two- to five-flowered, 0.29- to 0.47-inch- (7.5- to 12-millimeter-) long spathes maintain every cyme, whose clusters mingle 0.59- to 0.79-inch- (15- to 20-millimeter-) wide flowers. Male-only flowers need three green sepals, three 0.19- to 0.43-inch- (5- to 11-millimeter-) long, 0.24- to 0.35-inch- (6- to 9-millimeter-) wide petals and nine yellow stamens.

Americanized Brazilian waterweed gardens never obtain the perfect flower's green petals, pistil, white, 0.19- to 0.32-inch (5- to 8-millimeter-) long petals and red to yellow stamens.

Dry, explosive, transparent, 0.28- to 0.59-inch- (7- to 15-millimeter-) long, 0.12- to 0.24-inch- (3- to 6-millimeter-) wide capsules produce spindle-shaped to elliptical seeds in native habitats.

Germinating bumpy, viable, 0.19- to 0.32-inch- (5- to 8-millimeter-) long, 0.08-inch- (2-millimeter-) wide, seed with 0.12- to 0.16-inch- (3- to 4-millimeter-) long beaks qualifies as unknowns. Brazilian waterweed roots from double leaf-to-stem attachment nodes on fragmented 19.68-foot- (6-meter-) long stems 0.04 to 0.12 inches (1 to 3 millimeters) in diameter in spring. Brazilian waterweed, described by French botanist Jules Émiles Planchon (March 21, 1823-April 1, 1888) and named Egeria densa (crowded nymph), rarely seeds outside its native habitats.

Seeding trails vegetative offshoots in Americanized Brazilian waterweed gardens and in native homelands where low-lit, murky waters team six times as many male to female waterweeds.

Brazilian waterweed (Egeria densa) flower: Leslie J. Mehrhoff, University of Connecticut, Bugwood.org, CC BY 3.0 United States, via Forestry Images

Acknowledgment

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

Image credits:

Brazilian waterweed (Egeria densa) foliage; Thursday, March 16, 2006, 11:43: Kristian Peters (Fabelfroh), CC BY SA 3.0 Unported, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Egeria_densa.jpeg

Brazilian waterweed (Egeria densa) flower: Leslie J. Mehrhoff, University of Connecticut, Bugwood.org, CC BY 3.0 United States, via Forestry Images @ http://www.forestryimages.org/browse/detail.cfm?imgnum=5447179

For further information:

Dickinson, Richard; and Royer, France. 2014. Weeds of North America. Chicago IL; London, England: The University of Chicago Press.

"Egeria densa Planch." Tropicos® > Name Search.
Available @ http://www.tropicos.org/Name/16100033

Planchon, Jules Émile. 1849. "Sp. 1. Egeria densa, Planch." Annales des Sciences Naturelles. Troisième série. Botanique. Tome onzième: 80. Paris, France: Victor Masson.
Available via Biodiversity Heritage Library @ http://biodiversitylibrary.org/page/47175182

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.

Americanized Velvetleaf Gardens Away From Crops and Vegetables

Summary: Americanized velvetleaf gardens as contained or courtyard ground cover cannot cripple crops and vegetables with defensive chemicals and viral diseases.

velvetleaf's orange flower, foliage, fruit (lower center) and stem: Steve Dewey, Utah State University, Bugwood.org, CC BY 3.0 United States, via Forestry Images

Americanized velvetleaf gardens alleviate ground reflection and surface runoff losses but advance through croplands, farmyards, fencerows, gardens, orchards, pastures, rangelands and wastelands and afflict farm crops and garden vegetables with viral diseases.

The herbaceous, naturalized, non-native annual backs off from its original promise as a potential fiber crop brought from India to colonial America in the mid-eighteenth century. The weedy member in the Malvaceae family of mallow-related herbs and shrubs challenges food production and water uptake by corn and soybeans and conveys viral diseases. It damages corn and soybeans with chemicals that disrupt food production and water uptake and destroys crops and vegetables with tobacco streak and turnip mosaic viruses.

Chemicals, seeds and viruses expose velvetleaf to British Columbia, Nova Scotia and Quebec provincial, Canadian federal and Colorado, Iowa, Oregon and Washington state governmental weed sanctions.

Round, short hair-filled cotyledons 0.24 to 0.39 inches (6 to 10 millimeters) across fit atop short hair-filled, 0.39-inch- (10-millimeter-) long stalks purpling toward the soil level.

The seedling stage's embryonic leaves give way to first through mature leaf stages whose irregularly toothed margins, veined undersides and velvet hair-garnished surfaces go limp nightly. Mature velvetleaf, commonly named butter print, buttonweed, cottonweed, elephant ear, Indian hemp, Indian mallow, piemaker and velvetweed, has 1.97- to 7.87-inch- (5- to 20-centimeter-) long foliage. The alternate-arranged foliage implicates diamond-shaped arrowleaf sida, heart-shaped caesar weed, heart-leaved sida, velvetleaf and whorled mallow, kidney-shaped alkali mallow and round-leaved mallow and lance-shaped spiny sida.

Americanized velvetleaf gardens also juggle alternate-leafed, related, weedy crested anoda with triangular foliage, flower-of-an-hour and high mallow with three-lobed leaves and oval to elliptical-leafed yellow leafbract.

Mature, 11.82- to 90.55-inch- (30- to 230-centimeter-) tall velvetleaf, described by German botanist Friedrich Kasimir Medikus (Jan. 6, 1736-July 15, 1808), knows flowering, hairy, leafed-out stems.

Leaf-to-stem attachment angles called axils launch orange-yellow, perfect, regular, solitary flowers, 0.59 to 0.79 inches (15 to 20 millimeters) across, for July to August bloom times. Many fused stamens make a protective column around the only pistil and mingle with five petals and five united sepals on every velvetleaf and velvetleaf-related weed. Hormones, nutrients from white taproots and photosynthates in leafed-out stems nourish velvetleaf, scientifically named Abutilon theophrasti (Theophrastus' [371 B.C.-287 B.C.] velvetleaf) throughout its sole growing season.

Each fruiting green to black schizocarp, 0.79 to 9.84 inches (2 to 2.5 centimeters) across, offers Americanized velvetleaf gardens 12 to 15 five- to 45-seeded mericarps.

One velvetleaf plant optimally produces over 17,000 dull gray-brown, flattened, kidney-shaped, 0.11- to 0.13-inch- (2.9- to 3.4-millimeter-) long, 0.10- to 0.11-inch- (2.6- to 2.9-millimeter-) wide seeds.

Temperatures between 75.2 and 95 degrees Fahrenheit (24 and 35 degrees Celsius), optimally at 0.75-inch (1.9-centimeter) depths and maximally at 2.99-inch (7.6-centimeter) depths, quicken seed germination. Round-leaved mallow and velvetleaf seeds retain respective in-soil viabilities of 100 years and of 50 years while arrowleaf sida, caesar weed and flower-of-an-hour viabilities remain unknown. California, Colorado, Hawaii, Manitoba and Saskatchewan, and Washington respectively spurn weedy alkali mallow, crested anoda and flower-of-an-hour, caesar weed and yellow leafbract, round-leaved mallow and flower-of-an-hour.

Americanized velvetleaf gardens treat indoor and outdoor courtyards and isolated problem sites to ornamental  ground covers away from nonweedy but related cotton, hibiscus, hollyhock and okra.

turkeys passing behind velvetleaf (Abutilon theophrasti): Steve Dewey, Utah State University, Bugwood.org, CC BY 3.0 United States, via Forestry Images

Acknowledgment

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

Image credits:

velvetleaf's orange flower, foliage, fruit (lower center) and stem: Steve Dewey, Utah State University, Bugwood.org, CC BY 3.0 United States, via Forestry Images @ http://www.forestryimages.org/browse/detail.cfm?imgnum=1459825

turkeys passing behind velvetleaf (Abutilon theophrasti): Steve Dewey, Utah State University, Bugwood.org, CC BY 3.0 United States, via Forestry Images @ http://www.forestryimages.org/browse/detail.cfm?imgnum=1459827

For further information:

"Abutilon theophrasti Medik." Tropicos® > Name Search.
Available @ http://www.tropicos.org/Name/19600012

Dickinson, Richard; and Royer, France. 2014. Weeds of North America. Chicago IL; London, England: The University of Chicago Press.

Medikus, Friedrich Kasimir. 1787. "1. Abutilon Theophrasti." Ueber einige künstliche Geschlechter aus der Malven-Familie: page 28. Mannheim, Germany: Akademische Buchhandlung.
Available via MDZ (Münchener DigitalisierungsZentrum Digitale Bibliothek) Digitale Sammlungen @ http://reader.digitale-sammlungen.de/en/fs1/object/display/bsb10302489_00038.html

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.

Munch Museum Madonna Art Theft: FBI Art Crime Solved Within Two Years

Summary: The Munch Museum Madonna art theft Aug. 22, 2004, panicked witnesses but proved solvable with paintings saved and perpetrators sentenced within two years.

"Madonna," Edvard Munch's 1894 oil on canvas stolen Sunday, Aug. 22, 2004, from Oslo's Munch Museum and recovered Thursday, Aug. 31, 2006: Google Art Project, Public Domain, via Wikimedia Commons

August appeared on Federal Bureau of Investigation (FBI) top solved and unsolved art crimes lists with the Munch Museum Madonna art theft Aug. 22, 2004, and the painting's recovery Aug. 31, 2006.

Eyewitnesses bestowed almost an after-thought status to one of two black-masked gunmen breaking the wire to the 35.43- by 26.77-inch (90- by 68-centimeter) oil on canvas. Cameras, guards and visitors considered Skrik (The Scream) the cornerstone of the art crime calculated at $100 million (€83 million) in combined value with the Madonna. The all-dark attire, hooded tops and ski masks donned by the two gunmen dashed all hopes of the museum's closed-circuit television system detailing recognizable body features.

A bystander's camera elicited no clearer exposure of perpetrator identities even though it enabled police to establish perpetrator getaways in a black Audi A6 station wagon.

Munch Museum thieves carrying stolen artwork while another thief opens trunk of getaway vehicle, a black Audi A6; Associated Press handout photo taken Sunday, Aug. 22, 2004, by witness asking not to be identified: Mark Barry, CC BY 2.0 Generic, via Flickr

The internet furnished eyewitness accounts from newspaper articles about the perpetrators flourishing .357-Magnum handguns, forcing guards to the floor and fumbling with the paintings' flimsy attachments. Jorunn Christofferson, museum press officer, gave visitor-prioritized safety guidelines that "When they [perpetrators] threaten the guards with a gun there is not much to be done."

François Castang, French radio producer, held that "What's strange is that in this museum, there weren't any means of protection for the paintings, no alarm bell." As one of 50 to 80 visitors during the Munch Museum Madonna art theft, he indicated, "The paintings were simply attached by wire to the walls." He judged that "All you had to do is pull on the painting hard for the cord to break loose" and gunmen to jeopardize both masterpieces.

An exhibition, "Scream and Madonna Revisited," which ran from Friday, May 23, to Friday, Sep. 26, 2008, celebrated the stolen paintings' return and presented the restoration process; "Madonna," with worse damages, including a ripped canvas, than "The Scream," underwent further restoration after the exhibition ended; Saturday, Aug. 2, 2008, 01:51:12: Hans Dinkelberg (uitdragerij), CC BY 2.0 Generic, via Flickr

Brutal getaways knocked paintings off walls and out of their frames and kept them folded even though rolling also kindled such damages as chipped, loosened paint.

The armed intervention looked more lethal in the perpetrators' curtly lifting the paintings from the Oslo museum's walls than in their laden lumbering outside Tøyengata 53. It mustered up just minutes for the grab-and-go, in-and-out maneuver by maintaining the famous Edvard Munch (Dec. 12, 1863-Jan. 23, 1944) masterpieces upright in their frames. It nursed neither painting, less or more nicely with cutters, knives or razor blades, from their protective frames at no point inside or outside the museum.

Outrage to the Munch Museum Madonna art theft casualty, and to The Scream, occurred near a tennis court no more than one mile (1.61 kilometer) away.

Norwegian writer and model for Munch's "Madonna" Dagny Juel-Przybyszewska (June 8, 1867-June 5, 1901), in undated portrait, engraved by Berlin-based Meisenbach Riffarth, in Kiedy słońce zachodzi("When the sun goes down"; Warszawa: Jan Fiszer, MCMii [1902], frontispiece), translated from Norwegian and published (przełożył z Norweskiego i wydał) posthumously by Dagny's husband, Polish Decadent movement novelist, playwright and poet Stanisław Przybyszewski (May 7, 1868-Nov. 23, 1927): Public Domain, via Biblioteka Narodowa POLONA digital library

Purloining paintings at 11:10 a.m. Central European Summer Time (9:10 a.m. Coordinated Universal Time) progressed to parceling frame pieces by 1:00 p.m. CEST (11:00 a.m. UTC).

Cut cords at the Munch Museum, destroyed frames on the street and the fire-gutted Audi near tennis courts quickened fears of violence to the stolen duo. Rumors raged regarding both paintings' destruction and resemble those relating to the still missing Caravaggio Nativity, Chácara do Céu Museum and Gardner Museum art theft casualties. Silence strengthened sorrowful suspicions since police solve the first Munch Madonna art theft March 29, 1990, by securing the Gallery Kunsthuset AS version within three months.

The Munch tribute to Dagny Juel-Przybyszewska (June 8, 1867-June 5, 1901) in his world-famous Madonna turned up two years after the Munch Museum Madonna art theft.

Munch's 1894 "Madonna" is back on display, with a protective glass, in Oslo's Munch Museum; Sunday, July 25, 2010: Jean-Pierre Dalbéra (dalbéra), CC BY 2.0 Generic, via Flickr

Acknowledgment

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

Image credits:

"Madonna," Edvard Munch's 1894 oil on canvas stolen Sunday, Aug. 22, 2004, from Oslo's Munch Museum and recovered Thursday, Aug. 31, 2006: Google Art Project, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Edvard_Munch_-_Madonna_-_Google_Art_Project.jpg

Munch Museum thieves carrying stolen artwork to another thief at trunk of getaway vehicle, a black Audi A6; Associated Press handout photo taken Sunday, Aug. 22, 2004, by witness asking not to be identified: Mark Barry, CC BY 2.0 Generic, via Flickr @ https://www.flickr.com/photos/markart/230875315/

An exhibition, "Scream and Madonna Revisited," which ran from Friday, May 23, to Friday, Sep. 26, 2008, celebrated the stolen paintings' return and presented the restoration process; "Madonna," with worse damages, including a ripped canvas, than "The Scream," underwent further restoration after the exhibition ended; Saturday, Aug. 2, 2008, 01:51:12: Hans Dinkelberg (uitdragerij), CC BY 2.0 Generic, via Flickr @ https://www.flickr.com/photos/uitdragerij/2862542041/

Norwegian writer and model for Munch's "Madonna" Dagny Juel-Przybyszewska (June 8, 1867-June 5, 1901), in undated portrait, engraved by Berlin-based Meisenbach Riffarth, in Kiedy słońce zachodzi("When the sun goes down"; Warszawa: Jan Fiszer, MCMii [1902], frontispiece), translated from Norwegian and published (przełożył z Norweskiego i wydał) posthumously by Dagny's husband, Polish Decadent movement novelist, playwright and poet Stanisław Przybyszewski (May 7, 1868-Nov. 23, 1927): Public Domain, via Biblioteka Narodowa POLONA digital library @ https://polona.pl/preview/20b7facc-068c-4dcb-9b44-cf7f0c17a6f7; (image URL @ https://polona.pl/item-view/20b7facc-068c-4dcb-9b44-cf7f0c17a6f7?page=9);
Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Dagny_Juel.jpg

Munch's 1894 "Madonna" is back on display, with a protective glass, in Oslo's Munch Museum; Sunday, July 25, 2010: Jean-Pierre Dalbéra (dalbéra), CC BY 2.0 Generic, via Flickr @ https://www.flickr.com/photos/dalbera/4857491397/

For further information:

Fouché, Gwladys; Bowcott, Owen; and Henley, Jon. 23 August 2004. "A Blur of Balaclavas - and The Scream Was Gone Again." The Guardian > World > World News.
Available @ https://www.theguardian.com/world/2004/aug/23/artsandhumanities.education

Gibbs, Walter. 3 May 2006. "3 Convicted, 3 Acquitted in Theft of Munch's Art." The New York Times > Art & Design.
Available @ http://www.nytimes.com/2006/05/03/arts/design/03scre.html

Hollington, Kris. 13 June 2005. "Master Plan." The Guardian > U.S. Edition > Arts > Art & Design > Art.
Available @ https://www.theguardian.com/artanddesign/2005/jun/13/art.arttheft

Mellgren, Doug. 1 September 2006. "Police Recover Stolen 'Scream.'" Deseret News.
Available @ http://www.deseretnews.com/article/645197872/Police-recover-stolen-Scream-painting.html

Montgomery, David. 23 August 2004. "Munch's 'Scream' Stolen in Brazen Raid." The Washington Post > Politics.
Available @ https://www.washingtonpost.com/archive/politics/2004/08/23/munchs-scream-stolen-in-brazen-raid/fdb36e0d-b1ff-4b67-9519-9c273059343a/?utm_term=.b0cf66b2395a

"Scream Stolen from Norway Museum." BBC News > Europe > 22 August 2004.
Available @ http://news.bbc.co.uk/2/hi/europe/3588282.stm

2017 Partial Lunar Eclipse Favors Africa, Asia, Australia and Europe

Summary: The 2017 partial lunar eclipse occurring Aug. 7/8 favors Africa, Asia, Australia and Europe as well as four of Earth’s five oceans.

graphic of view of Earth from moon near instant of greatest eclipse: SockPuppetForTomruen at English Wikipedia, Public Domain, via Wikimedia Commons

The 2017 partial lunar eclipse occurring Aug. 7/8 favors Africa, Asia, Australia and Europe as well as the world’s least populated continent of Antarctica and four (Atlantic, Indian, Pacific, Southern) of Earth’s five oceans.

The geographic regions of eclipse visibility exclude the North American continent. Eclipse visibility, albeit limited, over eastern Brazil qualifies the world’s largest Portuguese-speaking country as the only place on the South American continent falling within the viewing region.

Four main astronomical events track the progress of the August 2017 lunar eclipse. The penumbra, the weakest part of Earth’s shadow, frames the eclipse’s start and finish. Entry into and exit from the umbra, the shadow’s darkest and innermost part, frame the moon’s closest passage with the shadow’s axis.

The instant of first lunar contact with Earth’s penumbral shadow signals the start of August’s lunar eclipse. P1 is the identifier for the instant of first contact. NASA’s eclipse expert, retired astrophysicist Fred Espenak, gives Monday, Aug. 7, at 15:50:02 Coordinated Universal Time as the start time for 2017’s only partial lunar eclipse.

In the Central Pacific Ocean, the United States’ 50th state, Hawaii, falls within the penumbral entry’s viewing region. Entry begins Monday, Aug. 7, at 5:50 a.m. in Hawaii’s time zone, Hawaii-Aleutian Standard Time (HAST). Time and Date website recommends an observation spot with an unobstructed view of the west-southwest horizon. Hawaii loses direct visibility with moonset, which occurs at 6:05:22 a.m. HAST (16:05:22 UTC).

Contrastingly, Australia’s federal capital of Canberra, located about 5,218 miles (8,397 kilometers; 4,534 nautical miles) southwest of Hawaii’s capital of Honolulu, has complete visibility from start to finish. Penumbral entry begins early Tuesday morning, Aug. 8, at 1:50 a.m., because Australian Eastern Standard Time (AEST) is 10 hours ahead of Coordinated Universal Time.

Entry into the umbra occurs at 17:22:55 UTC. U1 is the identifier for the moon’s umbral entry.

During a partial lunar eclipse, the greatest eclipse takes place in the umbra. Greatest eclipse signifies the instant of closest lunar passage with the axis of Earth’s shadow. Greatest eclipse occurs at 18:20:27.7 UTC.

Exit from the umbra happens at 19:18:10 UTC. U4 is the identifier for the moon’s umbral exit.

Exit from the penumbra takes place at 20:50:56 UTC. P4 is the identifier for the moon’s penumbral exit.

The 2017 lunar eclipse claims a total duration of 5 hours 0 minutes 54 seconds. The partial portion of the eclipse, which concerns passage through the umbra, accounts for 1 hour 55 minutes 15 seconds of the total duration.

A partial lunar eclipse requires the coincidence of two celestial events. Firstly, the moon is in its full phase. Secondly, sun, Earth and moon exhibit a fairly straight line of alignment. Shadow casting by Earth onto the lunar surface necessitates alignment.

The moon turns full Monday, Aug. 7, at 18:10 UTC. Fullness, at 100 percent illumination of the Earth-facing lunar surface, happens about 10 minutes before the greatest eclipse event at 18:20:27.7 UTC. According to visualizations by Ernie Wright, lead visualizer at NASA’s Scientific Visualization Studio (SVS) at Goddard Space Flight Center (GSFC), the moon’s center-to-center distance from Earth will be 394,819 kilometers (245,329.153 miles) at 18:00 UTC, 10 minutes before official fullness.

The August 2017 partial lunar eclipse joins February’s penumbral lunar eclipse as the year’s only two lunar eclipses. An equal number of solar eclipses brings 2017’s eclipse total to four. February’s solar eclipse is annular while August’s solar eclipse is total.

The takeaway for the August 2017 partial lunar eclipse is the event’s expansive visibility over five of the world’s continents and four of Earth’s five oceans.

August 2017’s partial lunar eclipse data and geographic regions of visibility: "Permission is freely granted to reproduce this data when accompanied by an acknowledgment, Eclipse Predictions by Fred Espenak, NASA GSFC Emeritus," via NASA Eclipse Web Site

Acknowledgment

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

Image credits:

graphic of view of Earth from moon near instant of greatest eclipse: SockPuppetForTomruen at English Wikipedia, Public Domain, via Wikimedia Commons @ https://commons.wikimedia.org/wiki/File:Lunar_eclipse_from_moon-2017Aug07.png

August 2017’s partial lunar eclipse data and geographic regions of visibility: "Permission is freely granted to reproduce this data when accompanied by an acknowledgment, Eclipse Predictions by Fred Espenak, NASA GSFC Emeritus," via NASA Eclipse Web Site @ https://eclipse.gsfc.nasa.gov/LEplot/LEplot2001/LE2017Aug07P.pdf

For further information:

“August 7 / August 8, 2017 - Partial Lunar Eclipse.” Time And Date > Sun & Moon > Eclipses.
Available @ https://www.timeanddate.com/eclipse/lunar/2017-august-7

“Eclipses in Honolulu, Hawaii, USA.” Time And Date > Sun & Moon > Eclipses.
Available @ https://www.timeanddate.com/eclipse/in/usa/honolulu

Espenak, Fred. “Catalog of Lunar Eclipses: 2001 to 2100 (2001 CE to 2100 CE).” Eclipse Wise > Lunar Eclipses > Lunar Eclipse Catalog.
Available @ http://eclipsewise.com/lunar/LEcatalog/LE2001-2100.html

Espenak, Fred. “Partial Lunar Eclipse of 2017 Aug 07.” Eclipse Wise > Lunar Eclipses > 2001-2100.
Available @ http://eclipsewise.com/lunar/LEprime/2001-2100/LE2017Aug07Pprime.html

Espenak, Fred. “Six Millennium Catalog of Lunar Eclipses.” Eclipse Wise > Lunar Eclipses > Lunar Eclipse Catalog.
Available @ http://eclipsewise.com/lunar/LEcatalog/LEcatalog.html

“Event in UTC on Monday, August 7, 2017 at 3:50:02 pm.” Time And Date > Time Zones > World Clock > Event Time Announcer.
Available @ https://www.timeanddate.com/worldclock/fixedtime.html?p1=1440&iso=20170807T155002&low=4

Marriner, Derdriu. “February 2017 Annular Solar Eclipse Favors South Atlantic Ocean.” Earth and Space News. Wednesday, Feb. 15, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/02/february-2017-annular-solar-eclipse.html

Marriner, Derdriu. "February 2017 New Moon Blocks the Sun in Ring of Fire Annular Eclipse.” Earth and Space News. Wednesday, Feb. 22, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/02/february-2017-new-moon-blocks-sun-in.html

Marriner, Derdriu. “February 2017 Penumbral Lunar Eclipse Over Every Continent Except Australia.” Earth and Space News. Wednesday, Feb. 1, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/02/february-2017-penumbral-lunar-eclipse.html

Marriner, Derdriu. “February Full Moon Enters Earthly Penumbra for 2017’s First Lunar Eclipse.” Earth and Space News. Wednesday, Feb. 8, 2017.
Available @ https://earth-and-space-news.blogspot.com/2017/02/february-full-moon-enters-earthly.html

Smith, Ian Cameron. “Partial Lunar Eclipse of 7 Aug, 2017 AD.” Moon Blink > Hermit Eclipse > Lunar Eclipse List.
Available @ http://moonblink.info/Eclipse/eclipse/2017_08_07

“What Does the Magnitude of an Eclipse Mean?” Time And Date > Sun & Moon > Eclipses.
Available @ https://www.timeanddate.com/eclipse/magnitude.html

“What Is a Partial Lunar Eclipse?” Time And Date > Sun & Moon > Eclipses.
Available @ https://www.timeanddate.com/eclipse/partial-lunar-eclipse.html