Lawyer incorporating service - Attorney conflicts of interest.
Lawyer Incorporating Service
- (incorporate) unite or merge with something already in existence; "incorporate this document with those pertaining to the same case"
- (incorporate) include or contain; have as a component; "A totally new idea is comprised in this paper"; "The record contains many old songs from the 1930's"
- Put or take in (something) as part of a whole; include
- (incorporated) incorporate: formed or united into a whole
- Contain or include (something) as part of a whole
- Combine (ingredients) into one substance
- Assistance or advice given to customers during and after the sale of goods
- an act of help or assistance; "he did them a service"
- The action of helping or doing work for someone
- work done by one person or group that benefits another; "budget separately for goods and services"
- An act of assistance
- be used by; as of a utility; "The sewage plant served the neighboring communities"; "The garage served to shelter his horses"
- A person who practices or studies law; an attorney or a counselor
- a professional person authorized to practice law; conducts lawsuits or gives legal advice
- A lawyer, according to Black's Law Dictionary, is "a person learned in the law; as an attorney, counsel or solicitor; a person licensed to practice law.
- The burbot (Lota lota), from old french barbot, is the only freshwater gadiform (cod-like) fish. It is also known as mariah, the lawyer, and (misleadingly) eelpout, and closely related to the common ling and the cusk. It is the only member of the genus Lota.
Metropolitan Museum of Art
Upper East Side, , Manhattan, New York City, New York, United States The Metropolitan Museum of Art, the most renowned Institution of its kind in the United States and one of the finest art museums in the world, occupies an Imposing complex of buildings —a designated New York City Landmark— on Fifth Avenue at 82nd Street. The grandeur of the structure and its magnificent interior spaces—in particular, the Great Hall and the Grand Staircase—are a fitting complement to the greatness of the institution. The Metropolitan Museum had its beginnings in 1866 when John Jay, an eminent New York lawyer and a grandson of the first chief Justice, addressing a group of Americans celebrating Independence Day in Paris suggested that it was "time for the American people to lay the foundations of a National Institution and Gallery of Art." A group of New Yorkers who were present determined to work through the Union League Club towards such a goal. On November 23, 1869, the Metropolitan Museum of Art was founded at a meeting at the Union League Club with William Cullen Bryant presiding. It was incorporated on April 13, 1870, by an act of the State Legislature. Among the founding members were a number of men notable in the literary and artistic affairs of the city—William Cullen Bryant, Frederic E. Church, Richard Morris Hunt, Eastman Johnson, John F. Kensett, Frederick Law Olmsted, George P. Putnam, Russell Sturgis, and John Quincy Adams Ward. The Metropolitan Museum of Art was first opened to the public on February 17, 1872, in temporary quarters in the Dodsworth Building at 681 Fifth Avenue. In 1873 the museum moved to larger accomodations in the Douglas Mansion, 128 West 14th Street. Meanwhile the present site of the museum in Central Park had been chosen in 1872, largely at the urging of Andrew Haswell Green, president of the Central Park Commission and a founder of the Metropolitan Museum. Ground for the new museum building was broken in 1874, but construction did not begin until 1877. This first building was designed by Calvert Vaux and Jacob Wrey Mould, the architects of the bridges and other structures within Central Park, working with the building committee of the museum—which consisted of Richard Morris Hunt, James Renwick, and Russell Sturgis. Vaux and Mould also devised a master plan for the future expansion of the museum. Because the museum did not have sufficient funds to construct a new building, an arrangement was made with the City of New York to pay for it with public monies, the City retaining legal ownership of the museum building while the trustees of the museum retained ownership and control of the collections. This became the pattern which was followed by most of the major art museums in America. The new building in the park was formally opened on March 30, 1880, with President Rutherford B. Hayes presiding. As the collections of the museum increased and the institution expanded its activities, two new wings were added to the original building. The south wing, designed by architect Theodore Weston, was built in 1884-88, while the north wing, designed by Weston in collaboration with architect Arthur L. Tuckerman, was built in 1889-94. Again the City of New York paid for the new structures. No sooner had the north wing been completed in 1894, than the museum trustees began to plan for a further extension of the building. The State Legislature passed an act on April 16, 1895, authorizing the City of New York to expend one million dollars for a new building. Richard Morris Hunt, chairman of the museum building committee, was given the commission to plan this new structure, as well as to produce a new master plan for the future expansion of the museum. Richard Morris Hunt (1828-1895), the foremost American architect of the second half of the 19th century, was also among the most influential. He was the first American to study at the famed Ecole des Beaux-Arts in Paris, completing his work there in 1853. After working for a year under Hector Martin Lefuel as an inspector of construction on additions to the Louvre, he returned to the United States. He set up his own practice in New York in 1857. At the urging of a number of his younger friends Hunt established an ateIier in 1858 to train them in the Beaux-Arts principles of architecture. Among Hunt's students were George B. Post, Charles D. GambriII, Henry Van Brunt, William R. Ware, and Frank Furness. These men were, in turn, to become influential leaders in the American architectural profession. Also following Hunt's example, many Americans went to Paris to study architecture at the Ecole in the second half of the 19th century. In the first twenty years of his career Hunt achieved success in the design of institutional and commercial structures, one of which was the Tribune Building (1873), an early elevator office building. His Stuyvesant Apartments of 1869 was the first apartment house of note in the city. Hunt's most often remembered, ho
VICTORY LINER INCORPORATED (VLI) Bus Number: 1927 Bus Engine: Nissan Diesel UD PE6 Transmission: Manual (1-5 +R?) Bus Body: Santarosa Philippines SR series Fare Classification: Airconditioned Seating Capacity: 49 Seating Configuration: 2x2 Route: Pasay/ Cubao- Baguio City Additional Information: Poor 1927... Earlier that same morning wala pa itong unit na ito. I was so shocked that I immediately opened my camera as my uncle (seated at back) shouted "tignan mo yung victory naaksidente diyan sa gawing kaliwa mo", a few days from this shot I got on VLI 1901 bound for Pasay (photo's of which will be posted tomorrow) and asked the conductor what happend to that bus, he says that it had a head on collision with a Hyundai Starex Van (new) which the driver of the said van was on Drive (Its an Automatic Transmission), and upon overtaking it miscalculated and swerves on to a slow phased 1927 VLI, but still the driver of the van manage to steer the wheel and off it goes into the cliff! I don't know how many where injured and died on both VLI 1927 and the Starex van. Picture taken on: April 22, 2008 Picture taken at: Marcos Highway (SB) Estimated Time: 05:26pm