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"sale of work" Definitions
  1. a sale of things made by members of an organization, such as a church, often to make money for charity

14 Sentences With "sale of work"

How to use sale of work in a sentence? Find typical usage patterns (collocations)/phrases/context for "sale of work" and check conjugation/comparative form for "sale of work". Mastering all the usages of "sale of work" from sentence examples published by news publications.

Through the Wall brings together dozens of paintings, drawings, and sculptures from incarcerated artists, with all proceeds from the sale of work going back to support the program.
A Christie's sale of work by the sculptor Dylan Lewis, titled "Shapeshifting" and featuring depictions of lithe big cats in a variety of poses, came out to £7503,2750,2500 (~$2000,208,702).
His coach, Melanie Marshall, taught swimming at the school. Repton has partnerships with John Port Spencer Academy, Etwall, and Repton Primary School. During the 2020 Coronavirus pandemic the school's DT department made PPE for key NHS workers. Repton School and Repton village combine every year for a charity event known as Sale of Work.
She also met her brother in law Adrian Stokes who was a writer and leading art critic. In 1946 her sisters marriage failed and the following year she married her ex-husband. This was illegal in Britain so they had to travel to Switzerland to find someone who was legally allowed to marry them. In 1957 she took up pottery and she studied the subject deeply, whilst presenting her work to friends as a hobby with an annual sale of work.
But a shortage of funds threatened the completion of work. At the end of June, the Building Committee remained 200 pounds shy of the figure required. Steel, thereupon, decided to launch an appeal for funds from the wider Presbyterian community. Through weekly advertisement in The Presbyterian and Australian Witness, he entreated Presbyterians in Sydney and other parts of the colony to make gifts of work or money so that a fund-raising "Sale of Work" could be held in late September.
As a teenager, Ayrton became deeply involved in the women's suffrage movement, joining the WSPU in 1907 after attending a celebration with released prisoners. In 1909 Ayrton opened the second day of the Knightsbridge "Women's Exhibition and Sale of Work in the Colours" which included new model bicycles painted in purple, white and green and raised from 50 stalls and tea etc. £5,664 for the movement. Ayrton was with the delegation that went with Emily Pankhurst to see the Prime Minister and met his private secretary instead on 18 November 1910 (Black Friday).
Some restoration work was done on stained glass windows in the 2000s, and in April 2010, it was announced that the church required extensive roof repairs and an appeal for a quarter of a million euro was launched while a Government heritage building grant was received in early May. Further fundraising events included a Whist Day in December 2010 and a Barn Dance in January 2011, along with a Sale of Work, and a fundraising website. The works, which were managed for around 150,000 euro eventually, were completed by 2012.
Mwerre Anthurre developed out of The Bindi Centre, which opened in 1976 and sought to provide employment and community engagement to people with disabilities. In the 1990s, when working in the workshop, Billy Benn Perrurle started painting on off-cuts of timber and metal and Mwerre Anthurre was founded in order support his talent. Mwerre Anthurre is an Australian Disability Enterprise and receives funding from the Australian Government Department of Families, Housing, Community Services and Indigenous Affairs (FAHCSIA). Additional funds are also raised by the sale of work, following commissions given to the artists.
Johann Rynmann of Augsburg, also referred to as John Rynmann of Augsburg, (died 1522) is considered to be the first non-printing publisher. He started his profession as a bookseller in the German city of Oehringen and later moved to Augsburg in Bavaria. Unlike many of the publishers of his time, Rynmann would hire others to conduct the technical production of printed material, choosing instead to concentrate on the distribution and sale of work contracted to him. Reynmann published nearly 200 books but never printed one of them.
In the afternoon after the service there was a sale of work in the schoolroom, raising a sum between £20 and £25 in aid of the building fund. 200 local people were entertained to a tea to which the journalist of the Pately Bridge and Niddertale Herald was presumably invited, since he described it as a "great success". This was followed by an evening service held by the Dean of Ripon, the Reverend R.K. Smith vicar of Killinghall, Reverend J.J. Pulleine and Reverend H. Deck. The collection on this occasion raised more than £7 towards the building fund.
Qi Gong set up the Li Yun Grant in 1990 with 1.63 million yuan (US$196.904) of his own money, money raised at a sale of work in Hong Kong during which he sold out more than a hundred painting and calligraphic works of his own. For nearly 30 years, Qi was so busy working as a college teacher that he almost totally abandoned painting and focused on calligraphy in his spare time. It was not until the 1980s that he again picked up a paintbrush. As a renowned artist, Qi Gong served as vice-chairman and later chairman of the Chinese Calligraphers' Association.
The Lette-Verein was designed as a handful of societies, all closely knit together, located in the same premises, and with the same main object, namely, the promotion of women's education, the improvement of the working capacities of those who are self-dependent. Besides the trade school, there was the Victoria Stift, a foundation offering a temporary home to ladies of limited means; a bazaar for the sale of work; a registry for women in search of employment; a loan society; a lending library, and a school for servants, factory girls, and others seeking self-improvement. The school – open to girls 15 years and older – was designed to only provide a technical, not a general, education.
On January 7, 1960, the front page of the New York Times ran the story: “Sculptor, a Barter Artist, Blocks Sale of Work to Pay a $153 Debt” written by Ira Henry Freeman. Jacob Lipkin decided in 1959 that he needed an industrial grade dolly to wheel around his thousand-pound marble blocks. He went to Eugene Gomes, owner of the Kilian Caster Sales Company, promising to give him a work of art, a sculpture, in exchange for the “smooth-turning noiseless heavy pneumatic tires required” (from New York Daily News article, Man Who Hates Money). When Mr. Gomes, who also owned an art gallery in Westchester, New York, came eagerly to the St. Mark's studio to claim a sculpture of his choosing as payment he found that Lipkin did not do abstract art.
Katharine might have become an artist like her brothers, but as Kelly notes, in the manner of the time she stayed at home as the mainstay of the household as her mother grew old and infirm. Katharine was very involved with the Chapel on St. Andrew's Street, Cambridge. She was the president of the St. Andrew's Girls Guild, supported fundraising efforts, and was a regular performer at social functions, manning a stall at the 1903 Puritan Bazaar with her sister Bertha and featuring in the concert afterwards with Charles and Thomas. Katharine not only did the sweets with her sister-in-law Annie Dudley, but also contributed to the evening concert at the sale of work for the Baptist Missionary Society in 1908. Katharine sang at the function on 12 March 1909, together with Gertrude Alice Struggles, who later married Katharine's brother-in-law, Dudley James Smith, who played in a quartet that evening with his future wife, and with Katharine's brother Thomas.

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