A Very Private Collection Why won't Mitchell Rales do the docent thing? A tale of a Maryland museum not open to the public

Last September, 35 graduate students and two professors drove from New York City to Potomac, Md., to see some art. The excursion was worth the ride, given the exclusivity of the destination. The group had been invited to view the private collection of Mitchell P. Rales, a billionaire industrialist who opened a museum to house his art collection in 2006. Reservations are required, and not easy to obtain.

Hidden among the rolling hills of Rales’ 125-acre estate, the Glenstone Museum couldn’t be seen from the street. The students checked in at the gatehouse, a stone-and-glass station guarded round-the-clock by off-duty police, then drove down a maple-lined road, between sculptures by Richard Serra and Tony Smith, and into a cobblestone courtyard with a totem by Ellsworth Kelly and another Serra sculpture, a giant curve of red metal. The museum itself was a sleek, modern structure of rectangles and curving walls constructed from gray limestone blocks and silvery zinc panels. Narrow banks of windows lined up like observation decks on a space ship. Across a man-made lake, the students could see Rales’ residence and a guest house.

Inside the museum, three guards explained the rules: no food, no drinks, no gum. And definitely no photography. The students came prepared with questions about their host, who did not arrive to greet them. Who was Mitchell Rales? What did he do? “We will not discuss Mr. Rales’ private life,” the guards said. The students persisted. Did he live at the estate? Why did he collect? Again, the guards refused to respond.

The art on display only magnified the students’ curiosity. In seven high-ceilinged galleries, they found sculptures by Calder, Matisse, and Koons, Warhol silk screens, paintings by Pollock and Rauschenberg, a series of blue shelves by Donald Judd. As they wandered, closely watched by the guards, the students whispered. The heightened security made one so nervous, he commented that he felt like they were on an art safari, as if a lion might attack at any moment. Gisela Gueiros, who wrote about the trip on her blog, described Glenstone as “inhospitable and brilliant,” a “magical, incredible and sinister place.”

Gueiros’ account was written in Portuguese, which may be the reason it escaped Rales’ knack for discouraging published descriptions of his collection. Over e-mail, Gueiros said she was disappointed by the restrictions and lack of information at Glenstone. It wasn’t like most museums.

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Then again, most museums these days can’t afford to compete with collectors like Rales. Even old, well-endowed institutions get outbid at the major auctions. That’s because the boom in the ranks of the super-rich has fueled an unprecedented escalation of prices in the art market over the past decade. The inflation in fine art has sent curators scrambling to court wealthy benefactors.

Rales is a prize catch for any museum. He’s relatively young, just 50, and has plenty of disposable income, with a net worth estimated at $3 billion. Since he began collecting 15 years ago, he has become a fixture at New York auctions, at first bidding on big-name modernists like de Kooning and Rothko. More recently, he has invested in the contemporary market. ARTnews named him one of the Top 10 art collectors in the world in 2006, the same year Glenstone opened. He has also demonstrated a commitment to give directly to museums. Through the Glenstone Foundation, a charity that predates the Glenstone Museum Foundation, Rales has given tens of millions of dollars to arts institutions.

When rich men like Rales give to museums, they get a lot in return. They get respect and gain clout, even power. Rales’ generosity has earned him positions on the boards of both the Hirshhorn and the National Gallery of Art. It has also won him license to do what he wants with his money and his art and cast any doubters as cynics.

The Glenstone Museum Foundation was registered in 2006 as a private, nonprofit charity, and thus pays no taxes on its assets. But the legal definition of the museum is far from clear, making it hard to say for certain whether Rales has violated any laws by restricting public access. When I requested a tour, curatorial assistant Cicie Sattarnilasskorn thanked me for understanding that they did not grant visits to members of the media. “As a private museum, it is necessary for us to maintain the privacy of the owners,” she wrote. According to several people familiar with the museum, invitations aren’t often extended to members of the general public, either.

Those who do get the chance to tour the place generally emerge with a jumble of emotions.

“That’s the only sad part of the collection,” Gueiros wrote. “You can’t chew gums (they really stop you and walk with you to the nearest trash can), there’s always someone around, I would say one or two people for every room.” Gueiros, who did not reveal the name of her school, said her professors wanted to keep the university out of any article on Glenstone, so that they might be able to visit again. Still, Gueiros wanted to know the story behind Rales’ interest in art. “Usually collectors love to explain and talk about their collections, how they started collecting and why,” she wrote. “He is clearly a very mysterious personality, which makes everybody even more curious.”

Rales graduated from Walt Whitman High School in Bethesda in 1974. The broad-shouldered football star with a real-estate tycoon dad (his mom owned Jolie Antiques) left the nest for Miami of Ohio, where he majored in business administration and graduated in 1978. Six years later, he and brother Steven took a real-estate trust left by their father and launched a leveraged buyout firm called Danaher, named after a fishing stream in Montana.

Loaded with debt, they staged risky corporate takeovers, getting tagged as “Raiders in Short Pants” by Forbes in 1985. When the managers of one company resisted the Rales’ court-approved invasion in 1986, Mitchell Rales walked into the president’s office and sat down at his desk.

While scoring several impressive grabs, the brothers got burned as well, losing bids to bigger competitors like Warren Buffet and agreeing to pay $850,000 to the Federal Trade Commisison after an investigation into pre-merger stock purchases. But by the mid-1990s, to Wall Street’s surprise, they had straightened out, paid down their debts, and transformed Danaher into a manufacturing and technology conglomerate with more than 100 subsidiaries. By 1999, both brothers were billionaires. They began ceding more day-to-day control of Danaher to their managers.

By then 42, Mitchell Rales had spent his 30s plotting the many acquisitions of a voracious conglomerate. He was a master of the spreadsheet and an expert on trimming excess spending. But he hadn’t had much time to enjoy his wealth. In 1999, he divorced his wife, Lyn, the mother of his two children, and began, very quietly, to reinvent himself. Still stung from some of the public hits he’d taken a decade earlier, he became an astute deflector of media attention. He gave no interviews and kept his private life out of the press. (His brother was less successful dodging headlines when his wife filed divorce papers accusing him of swerving his car into her lane in front of a posh girls school.)

A few months after Mitchell Rales’ divorce, a friend set him up with Rebecca Black, a blond, 30-year-old fundraiser at one of D.C.’s most prominent charities, Fight for Children. Black, a former animal behaviorist for the Barnum and Bailey Circus, seems to have inspired Rales’ inner naturalist. The couple began raising alpacas on the pastures of Rales’ estate.

In 2002, Rales started buying real estate in Tampa, Fla., Black’s hometown. The local girl and her billionaire boyfriend ignited a minor media circus there in 2003, when Rales paid $5.9 million for two luxurious bay-side properties: an Italian-style villa and a smaller mansion next door. He bulldozed both homes to make way for a new, giant estate for himself and Black, now his fiancée. His architect told the local paper it would be “the opposite of a McMansion.”

The months passed and construction never began. In 2004, Rales abruptly sold the lot to a developer for $6.2 million.

Black moved to Colorado, where she now raises alpacas on her own farm with her husband and two children. Rales, meanwhile, had torn down several buildings on his property and began planning construction on Glenstone, which opened in September 2006.

The newest legal resident of 12002 Glen Road is Emily Wei, 32, Rales’ former curator, who previously organized shows at contemporary galleries in New York and Miami. She is listed as the president of Glenstone on tax documents and museum letterhead. Gifts from the Glenstone Museum and Foundation now list Rales and Wei as the benefactors. In rare photos of Rales at recent arts events, a svelte Wei is on his arm. A Web site for Glenstone Farm still lists alpacas for sale, many with names like Kelly and Calder. “Visitors are always welcome,” the site says. But no one answers the phone.

Rales has outdone his Potomac neighbors in fortifying the entire Glenstone estate, including farm, museum, and two homes. Black wooden fencing surrounds the perimeter, with entrances at two gates on Glen Road. The brushed steel intercom boxes connect to a guard station at the first gate. When I buzzed, I was greeted by an officer in a golf shirt emblazoned with the Glenstone logo, a white “G” against a dark-gray square. I told him I wanted to visit the museum. While he made a call back in his booth, two more guards drove up in a little van. (County records show five off-duty police officers on his payroll.) One of the men introduced himself as Rales’ head of security. As we talked, I heard several clicks from the intercom box. “Who’s listening?” I asked. “No one,” he said. I requested a copy of Glenstone’s letter of exemption from the IRS, which the tax code requires nonprofits keep on hand at all locations for public review. The guard took my phone number and sent me away.

The following Monday, I received certified mail containing the letter of exemption.

Rales gets nothing but praise from the curators who depend upon his donations. His monetary contributions, which began a decade before his museum opened, are part of an old, well-choreographed exchange in which museums decide what they want to buy and then go hunting for the donor most likely to pony up for the purchase. Rales’ greatest impact may lie in the fact that he likes modern and contemporary art. So the museums who count him as a friend may be more likely to buy a de Kooning than ancient Chinese textiles.

“He’s one of these truly different kinds of collectors that mostly don’t exist today,” says Kerry Brougher, a curator at the Hirshhorn Museum. “He is someone like a Count Giuseppe Panza [an Italian industrialist and art collector] who truly believes in the transformative power of art and wants to build a truly great collection filled with the very best art he can manage to acquire.”

One of Rales’ first major gifts to the Hirshhorn was a set of four early works by John Baldessari purchased in 2005. “Mitch was very interested in Baldessari,” Brougher says. At the time, the museum didn’t own any of the contemporary painter’s work, a fact Rales was well aware of, “because I always mentioned that,” Brougher says.

As for the limited access to Glenstone, Brougher says he isn’t concerned. He doesn’t mention the rumors that Rales has plans to turn his hidden collection into a full-blown, self-sustaining museum or art school.

“I’m not completely sure of what the policy is,” Brougher says. “I know that it is possible to see the collection. It doesn’t bother me because I think there’s more access to Glenstone than there is to most private collections around the world. Even though the access might not be 100 percent.”

Judging by the paucity of published descriptions of the museum, Glenstone is actually far less accessible than many private collections. Other über-wealthy art collectors with their own museums—including real-estate tycoon Eli Broad, cosmetics heir Ronald Lauder, and Wal-Mart heiress Alice Walton, whose Crystal Bridges is scheduled to open in 2010—allow unconditional public access, with an admission fee.

One travelogue on Rales’ museum, written on a blog called Miscellany Inc., took note of the controlled environment.

The author, who went with a small group, described Rales’ collection as “what you might expect” from a relative newcomer with the funds to spend millions on “canonical, if hardly daring, work.” The author provided a detailed catalog of the art on display: a Giacometti thin man (those deathly looking bronzes of spindly walkers), two Cornell boxes (glass-fronted frames with surrealist collections of bric-a-brac), a complete series of Matisse’s sculpted heads of Jeanette, three Calder mobiles, a room of de Kooning drawings and paintings from his 1950s Woman series; a huge horizontal 1958 Rothko; two late Gorky drawings; six Pollocks; six Kellys. The list went on and on: Kline, Still, Twombly, Johns, Rauschenberg, Baldessari, Andre, Judd, Martin, Richter, Kiefer, Marden, Klein, Chamberlain, and Gonzalez-Torres.

Once again, guards followed close behind the visitors, “forcing us to look at a certain pace and under a certain level of anxiety.” Someone was controlling their experience, and it didn’t leave a good impression. The author wrote that Glenstone “felt obsessively micro-managed, down to the carefully manicured lawn which we were not permitted to walk on.” He left the museum with doubts about Rales’ intentions, writing, “The cynic in me wondered if Rales had created the foundation as an elaborate tax write-off.”

The author’s suspicions recently disappeared from his blog.

Indeed, creating a foundation to assume ownership of your art offers several opportunities to save on taxes: The initial donation may be deductible; the cost of housing and insuring the art can be covered by a tax-deductible cash donation; when the original owner dies, no estate tax will be due; if the art appreciates and is sold, a private owner would pay the 28 percent tax on capital gains for collectibles while a nonprofit foundation pays nothing; and, if the foundation purchases art on its own, it pays no sales tax in most states. Despite these hefty potential savings, establishing an institution that demonstrates your dedication to the arts can deliver a nonmonetary benefit for the ego.

For that reason, federal law places limits on the extent to which private benefators can profit from tax-exempt art collections. The tax code prohibits charities from “self-dealing,” tax speak for using your own nonprofit for your own benefit. The question is whether Rales’ museum is actually a nonprofit.

This is where it gets a little confusing.

There are actually two distinct Glenstone Museums. One is the physical structure, the Gwathmey Siegel museum on the same property as Rales’ home, a building owned, according to tax records, by Rales himself. It’s the one with seven galleries full of de Koonings and Calders and Matisses. The one where reservations are mandatory and hard to get. The one with a curator and a paid staff of security guards.

The second Glenstone Museum exists in the ether of IRS documents. Its assets consist of 10 paintings, valued at $76.5 million (Device Circle, 1960, by Jasper Johns; eight paintings by Brice Marden; Number 19, 1948, by Jackson Pollack). This IRS-blessed Glenstone pays no wages to staff and owns no real estate. Members of the board of directors receive no compensation. Tax documents state its purpose as promoting “the study, improvement and advancement of the arts,” mainly by lending art to other museums.

The legality of Rales’ private museum rests in how much the two Glenstones overlap. The extreme example of “self-dealing” would be if Rales listed a painting as property of the Glenstone Museum but kept it in his house. More plausibly, he could arouse suspicion by simply keeping art owned by the tax-exempt museum in the real museum on his property—legally, not much different from his house.

According to tax documents, the 10 paintings owned by the Glenstone Museum are sometimes stored at the “museum’s location” when they aren’t on loan. Letterhead included in the tax packets lists that location as 12002 Glen Road in Potomac—the same address as Rales’ estate. (To further complicate matters, the mailing address for the Glenstone Museum is 2099 Pennsylvania Ave. NW, D.C., the headquarters of Danaher.)

Rales could also be in murky legal territory if he keeps art owned by the Glenstone Foundation—his long-standing general charity—in his home or in the galleries of his private museum. According to tax documents, the foundation has previously invested in art. Since only 2006 tax documents are available, it’s unclear whether Rales plans to donate art currently on display at his private museum to either of his official, tax-exempt charities.

“He is right up on the edge of the law,” says Janne Gallagher, an attorney with the Counsel on Foundations, which advises nonprofits. “I’m sure he’s well-advised,” she says. Nonetheless, she says, Rales’ unusual arrangement could raise questions from the IRS.

Another potential legal question comes from how Rales uses the museum on his property. His architects’ online portfolio, which includes rare photos of the building, describes the gallery as a space for gatherings and receptions. If Rales uses a gallery hung with tax-exempt art to entertain guests for a Memorial Day picnic, that could also be considered self-dealing.

I attempted to get Rales or his museum to comment on these matters for several months. Finally, this week, the foundation released a statement vowing that Glenstone has “fully complied with the rules and regulations governing private operating foundations.” Regarding the specific location of art owned by Rales’ charities, spokeswoman Anna Cordasco says, “to the best of our knowledge, all of the art is on loan or in separate storage.” She says more than 2,000 people have visited Glenstone since it opened.

Cordasco also arranged a phone call from a visitor who had only good things to say about the museum. Kamala Subramanian, an art teacher at the SEED Public Charter School in Southeast, has visited Glenstone three times with groups of students. She described the experience as “very pleasurable, very unhuried....Our students have just been in awe of the work,” she says.

Arranged visits for charter schools aside, Glenstone is still far from public. The fine points of nonprofit law may matter less than the ethical questions posed by Rales building a house for his stuff, calling it a museum, and keeping the public out. The rich already control the market for buying art—should they also control who gets to see it?

Ford Bell, president of the American Association of Museums, says private museums aren’t good for the art world. And at a basic level, he says, they go against the whole point.

“It’s not a museum if you can’t get in,” he says.

Our Readers Say

this is not a new concept (the private charity museum) in fact, it lead directly to the creation of the National Gallery when Andrew Mellon was accused by the IRS of tax fraud for 'donating' paintings to his foundation. To settle his debt and make the charges go away, Mellon donated everything to a new museum on the Mall. It used to be people didn't get away with this as easily.
This is a really interesting and very insightful article, made more interesting by the subject's reluctance to do what many other BIG art collectors do: seek publicity for their endeavors!
Hmmm ... that's quite a sharp spin. Small and large museums of the world house works that will never be displayed publicly. And truly private collections don’t receive media attention because they are just that, private. While the author paints a rather sinister picture, this collector's willingness to share his passion through service and his treasures through loans and controlled visitation seems to indicate a commitment to art preservation and education. After all, couldn't this benefactor could easily collect and enjoy these precious works without regard for anyone else?
What is Ms. Valdez's problem? Rales creates a foundation, it owns art; seems to me Eli Broad and many others do the same thing. He creates a museum and restricts entry. Sounds like the Barnes Foundation and many others. Restricting photography, food, drink and chewing gum? Sounds like virtually any other museum. If, indeed, thousands have visited the Rales museum, what is the issue? You have to make reservations, as at the Getty? That there are guards in every room? Sounds like a good idea; every other museum wishes they could afford the practice.
Why aren't reporters focusing on Dick Cheney with as much skepticism and diligent investigation?
I agree wholeheartedly with That's quite a spin. It seems the writer looks for intrigue where none exists. I can also say as an educator who has been to the Foundation her description is just one opinion. I was not followed, I was not harassed by guards and the members of my group were treated with nothing but respect.
Glenstone is an extreamly beautiful museum and collection. It is completely fitting that the owner has specific criteria for any and all guests on his private estate. The writer may recall that it wasn't that long ago that Dr. Barnes also made it not simple for visitors to drop in on his collection; now of course it will be moved to Philadelphia, against his expressed wishes.
Art does ride a jaggeed slope, on broken glass with shards of hope

Form is imformation, Glenstone, is the new door to the future of American art, where setting is as important as composition and fermints in the minds of those who see.
In the past year, Gladstone has spent several millions purchasing land adjacent to Rales' estate. Apparently there are grander plans for the future!
We know a recent acquisation and would like an appointment to see that piece. It may not be public yet.
Mr Rales has now gone and destroyed one of the more beautiful, classic homes on Mount Desert Island. Surrounded by old shingled homes and Acadia National Park, he is building an estate for over $63 million, and by far is the ugliest, most out of place buildings yet to be built on this gorgeous coast of Maine. Shame on him AND his architect
I am interested in speaking to Mr. Rales. We stoller selling my husband's paintings on the market per se and have accumulated about five hundred works of art/enough to fill a wing of a museum/not to mention sculpture. We have been at it for forty years and now is the time for recognition. Please check out the web sit:www.fortgang.com and let us here from you. Thank-you, Francy and Steve Stoller
can you provide the credits for the image used?
Like some of the others, I don't understand the anger. A group of us went today without any problem. the docents were great, informative, and very pleasant. Of course, one was very aware of staff because there are so few visitors in each room. As to the skirting of IRS rules for nonprofits, i only wish that others "skirted" the law as Rales does---many are much worse.
If Mr Rales wants to keep his private life private that's his privilege.
As a artist i get sick of the idea of how the rich control the art and the art world. To think that i could paint something so amazing something so beautiful for this world and all its people to see just to be locked up away from the masses just to only ever be seen by a select few. I would rather burn all my art everything ive ever done then let my work be controlled by the highest bidder. Where would we be with out the mind the things that Mr Rales has been able to produce? And where would his art collection be if artist were to stop using there minds to produce such amazing works of art? People do not appreciate artist these days, its more of a craft or a hobby. Its easier to just go turn on a Tv or jump on the internet.

As long as the laws are catering to the rich they will always have control over the art world, the power will not be given back to the people untill there power is taken away. I say we just let it all society collapse and just come back and rebuild it, just rebuild a new museum just make new art when its all over and done with. Think how much better our museums could or would be if the super rich were not in the driving seat of all of our museums if the art that humanity produces the amazing peaces go to museums instead of being locked away in someones private vault? The greed of humanity needs to stop. Having personal belongings is one thing building your own museum is another. We need to grow up, this is insanity.
please tell me how to make a reservation to come to the museum..please faye
hello.i am 50 yrs old businessman from India and art and education is my passion. i request you to keep me in the loop of news and informations on the subject and mr.mitchell rales..
Please advise how my group, which is a well-established women's committee doing outreach work in the arts, can have the privilege of visiting your museum. A friend just told me how wonderful it is!

You have my email address above and my telephone number is 301.320.6006.

I would be most appreciative to be able to have my commitee view your art.

Sincerely,
Bunny Bialek
I've heard about your wonderful museum....how do I make arrangements to visit?



Mr. Rales,
My name is Charles B. Staunton. I live in Clinton, Md.
I have collected art for approximately 40 years. I read the
article in last week's paper about your museum. I have about
300 + pictures hanging. I am impressedwith your collection.
Is it possible that I can visit your museum? I am a friend of
Sally Epstein Collins. She has Edvard Munch's collection.
Thank you for your consideration. I am a retired Spanish
Teacher.
Charles B. Staunton
I am a Potomac resident and Interior Designer. I bought many antiques and accessories from Ruth Rales when she was in business. I would like to bring 3 guests to tour the museum on Thurs Aug. 16th. If possible.
Thank you
Linda Marx
Marx Sable Interiors.
Hey Mitchell,

Why don't you and your brother Steven come clean once and for all and tell the

world the truth of what real surreptitious scoundrels you both really are in how

you both practically stole, the your original business from your BROTHER Stuart!!

Ummmmmm! Explain that away you two A holes!!!!
I would like to make a reservation to visit the museum.Would you please advise how I go about making a reservation. Thank you.

Minna Passman
I'd like to visit the museum before August 20, 2012. I live in Bethesda, MD, in the Walt Whitman Highschool neighborhood. please let me know. Thank you.
Glenstone is not worth visiting. Just a nouveau riche (and inherited at that) ego trip/midlife crisis.

I just lament the tax fraud Rales is perpetrating upon honest workers/taxpayers.

Just shun this "man".


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ゼッケン番号は伝えてある。道の左側に寄って、友人を探しながら走る。東京マラソンのような大きな大会では、ランナーと応援者がお互いを見つけることは、とても難しい。
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<a href="http://www.ez-bazaar.com" title="コンバース 新作 2014">コンバース 新作 2014</a>
ゴールドウインの、THE NORTH FACE(ザ・ノース・フェイス)は、身体の動きに合わせて4方向に伸びる「Apex(エイペックス)」を使用したランニングウエアを、9月中旬より全国のザ・ノース・フェイス取扱店で販売する。「Apex」は、身体の動きに合わせてあらゆる方向に伸びる素材。自由な動きを妨(さまた)げないため、運動時のストレスを最小限にとどめることが可能。まず、普通に構えて打ってみましたが、すげスピン。レンジボールで、レンジのグリーンでもトントンキュッ!って、キッチリ止まってますからね。次に、開いて打ってみましたが、これがまたいいんです。
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<a href="http://www.fueltreatmalaysia.com" title="ナイキ スニーカー 激安">ナイキ スニーカー 激安</a>
クレイジーケンバンドが演歌ふうに唄う「ハワイの夜」が挿入される。「ハワイハワイハワイに身を潜め残された人生を賭けたこの俺さ」。記憶を無くした男の切ない人生に、残された希望が見えてくるような、すてきなシーンだった新作「ル・アーヴルの靴みがき」(ユーロスペース配給)は、フランスの港町ル・アーヴルが舞台。何か困ったことがあったら、「○○さんなら間違いないと思って」と頼ると、喜んで一肌脱いでくれそうです「意見を聞かれると、尊重されている気がして気分がいいです」(30代男性)など、折に触れて仕事のアドバイスを求められると、テンションが上がる男性もいるようです。参考になる意見をもらったら、「なるほど、聞いてよかった。さすがです!」とヨイショしておくといいでしょう「取引先とのやりとりを見ていた先輩に、『すごい進歩!』と驚かれたときは、本当に嬉しかった」(20代男性)と、後輩男性なら、日々成長していることを指摘するのもいいでしょう。練習のほうは、ひたすら、膝が伸びないように意識しました。まだまだ意識が抜けると、すぐ棒立ちになってしまいますが、がんばって意識していきたいなあと思います。スパーリングは、アマ選手の男性と分R。
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<a href="http://www.hootersofcranberry.com" title="ナイキ 店舗">ナイキ 店舗</a>

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