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Combination license plates are issued to pickup trucks, as well as all types of vehicles used for both business and private purposes with a Gross Vehicle Weight Rating up to 10,000 lbs. Connecticut COMB plates always have the letter C in one of the number/letter positions. This was on a red Ford pickup truck in BJ's parking lot in Brookfield,CT.
May 16,2014
This hair comb is dressy and playful at the same time and sturdy enough to use daily. I like the different shapes that Chaum put together to create this design. He hand makes each comb so they are unique. The one you see here is the one you will receive.
It is made with solid nickel silver. Nickel silver is a stiff metal alloy of copper, nickel, and zinc. This comb has 6 tines. The ends of each tine have a weld of nickel to create smooth tips so you won't scratch your scalp. The comb has a gentle curve to it so it will fit snug against your head.
*Operation*
These work at holding hair very well like the hair barrettes we make but do it in a different way. This comb will securely hold hair in a French twist, bun, or French roll.
*Measurements*
Comb measures 5.5 inches (14 cm) long with the tines measuring 4.25 inches (10.8 cm) long and the entire comb measures 2.25 inches (5.7 cm) wide.
*Care*
We do not coat our jewelry with any lacquer or other chemicals so the metals on this comb will tend to tarnish over time but can be polished up with any silver, brass, or copper cleaner. Also an old tooth brush and some toothpaste can do just as well. You can also just leave the piece alone and let the metals fade to softer tones.
Stems of the Forked Comb Fern, Schizaea bifida. Blue Mountains National Park, Blackheath NSW Australia, June 2012.
Comb Wash is a valley in southeastern Utah, in San Juan County. It runs from Elk Ridge in the north approximately 35 miles (56 km) to the south, where it merges with the San Juan River at an elevation of about 4200 feet (1280 m). The eastern edge of the wash forms steep cliffs of Navajo Sandstone, rising in places to 1000 feet (300 m) above the valley floor.
On the western edge of Comb Wash is a series of canyons draining Cedar Mesa. To the north is Arch Canyon, which has Texas Canyon as an upper tributary. In the central section are Mule Canyon, Dry Wash, and the combined outlet of Fish and Owl Canyons. To the south are McCloyd's Canyon (containing the Moon House ruin) and Road Canyon. Scattered throughout these canyons are cliff dwellings of the Ancestral Puebloans.
State Route 95 crosses the northern part of Comb Wash, while U.S. Route 163 crosses further south. Running along the wash is a primitive road, often impassable after floods. Nearby are the Natural Bridges National Monument, the Grand Gulch Primitive Area, the Valley of the Gods scenic area, and Goosenecks State Park.
en.wikipedia.org/wiki/Comb_Wash
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
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Handy Fact: This comb actually has a razor in it and people always ALWAYS use it by accident at parties
doing my very best dark helmet impression.
Chad's horny werewolf day present. it will fit him much better.
Flourish Tail Comb, hand carved in light/red Water Buffalo horn. Also available in black horn.
Design by Spellstone
Looks like the creature from The Abyss.This is no accident; I am told the creature was in fact modeled on this species of comb jelly.
Combs church wasn't open on the Wednesday that I visited. There was a phone number listed, but I was a bit pushed for time and was keen to get to Badley, which I hadn't visited before. So I had to make do. Combs sits on its own in fields south of Stowmarket. The church is quite large, and the setting is enjoyable, on a slight rise backed by trees. The tower is Decorated, as is the chancel. The rest of the church is Perpendicular.
There has been a serious reduction in the number of Leidy's Comb Jellies (Mnemiopsis leidyi) in the local waters…and here is the culprit - The Pink Comb Jelly (beroe ovata). Like the Leidy's Comb Jelly this one feeds on zooplankton. But, while the Leidy's feeds mostly on oyster eggs and larvae, the pink comb jelly feeds mostly on the Leidy's Comb Jelly. We ran into and saw quite a few Pink Comb Jellies last Sunday. And no Leidy's.
"Fluffy Clouds" Comb
Design copyright C. M. Hall. 2010
Do not use or reproduce design or photo without permission
St Mary, Combs, Suffolk
Combs is a large parish, and although there is a remote, pretty village that takes its name up in the hills, the bulk of the population of the parish is down in the housing estate of Combs Ford in suburban Stowmarket. Consequently, this church is often busy with baptisms and weddings, and can reckon on a goodly number of the faithful on a Sunday morning.
St Mary is on the edge of the housing estate, but the setting is otherwise profoundly rural: you reach it along a doglegging lane from the top of Poplar Hill, and the last few hundred yards is along a narrow track which ends in the wide graveyard. The church is set on low ground, hills rising away to north and south, and the effect, on looking down at it, is of a great ship at rest in harbour.
With its grand tower, aisles and clerestories this is a perfect example of a 15th Century Suffolk church in all its glory. In the 1930s, Cautley found the main entrance through the south porch, a grand red brick affair of the late 15th century. It has since been bricked up, and entrance is through the smaller north porch, which faces the estate. The gloom of the north porch leads you into a tall, wide open space, full of light, as if the morning had followed you in from outside. If you had been here ten years ago, the first striking sight would have been the three great bells on the floor at the west end. They represented the late medieval and early modern work of three of East Anglia's great bell-founding families, the Brayers of Norwich and the Graye and Darbie families of Ipswich. The largest dates from the mid-15th century, and was cast by Richard Brayser. Its inscription invokes the prayers of St John the Baptist. The other two come from either side of the 17th century Commonwealth; that by Miles Graye would have been a sonorous accompaniement to Laudian piety, while John Darbie's would have rung in the Restoration. It was fascinating to be able to see them at such close quarters, but they have now been rehung in the tower.
Stretching eastwards is the range of 15th century benches with their predominantly animal bench ends, some medieval and some clever Victorian copies, probably by the great Henry Ringham. The effect is similar to that at Woolpit a few miles to the west. The hares are my favourites. One is medieval, the other Ringham's work. They seems alert and wary, as though they might bolt at any moment. Clearly, the medieval artist had seen a hare, but lions were creatures of his imagination.
The great glory of this church, however, is the range of 15th century glass towards the east end of the south aisle. It was collected together in this corner of the church after the factory explosion that wrecked most of Stowmarket and killed 28 people in August 1871. The east window and most easterly south window contain figures from a Tree of Jesse, a family tree of Christ. Old Testament prophets and patriarchs mix with kings, most of them clearly labelled: Abraham and his son Isaac wait patiently near the top, and Solomon and David are also close companions.
This second window also contains two surviving scenes from the Seven Works of Mercy, 'give food to the hungry' and 'give water to the thirsty'. But the most remarkable glass here consists of scenes from the life and martyrdom of St Margaret. We see her receiving God's blessing as she tends her sheep (who graze on, apparently unconcerned). We see her tortured while chained to the castle wall. We see her about to be boiled in oil, and most effectively in a composite scene at once being eaten by a dragon and escaping from it.
Under the vast chancel arch is the surviving dado of the late 14th/early 15th Century roodscreen, a substantial structure carved and studded with ogee arches beneath trefoiled tracery, the carvings in the spandrels gilded. At the other end of the church, the font is imposing in the cleared space of the west end. It is contemporary with the roodscreen, and the suggestion is that we are seeing a building that is not far off being all of a piece: the fixtures and fittings of a new building roughly a century before the Reformation.
A period of history not otherwise much represented here is that of the early Stuarts, but a brass inscription of 1624 reset on a wall had echoes of Shakespeare: Fare well, deare wife, since thou art now absent from mortalls sight. One of those moments when the human experience transcends the religious tussles of those days.
Outside in the graveyard, two other memorials caught my eye. One dates from 1931, and remembers My Beloved Sweetheart Stan... who died in Aden aged 22 years. Not far off, a small headstone of the late 17th Century records that Here Restesth ye body of Mary, ye wife of Tho. Love Coroner with two still born Children. I stood in the quiet of the graveyard, looking across to the suburbs of the busy town of Stowmarket, and I felt the heartbeat, the connection down the long Combs Ford centuries.
Behind me, there was something rather curious. Although this is a big graveyard, the church is set hard against the western edge of it. Because of this, a processional way was built through the base of the tower by the original builders, as at Ipswich St Lawrence and Stanton St John. This would have allowed medieval processions to circumnavigate the church on consecrated ground. The way here has since been blocked in, and is used as storage space. A surviving stoup inside shows that, through this processional way, the west door was the main entrance to the church in medieval times, when this building was the still point of the people's turning world.
Combs, known as Kushi (櫛), are one of the most iconic types of Japanese hair ornaments. Their use hit an all-time high during the Edo Period (1603-1868) when the merchants, who held the most wealth but were extremely restricted in what they could wear by the government, found loopholes in the laws that allowed them to wear only a single comb, but they would have them made by famous artisans from the most expensive woods and tortoise shells. The wives of merchants competed to see who could have the most chic comb, which usually came down to shape and material. Since those laws have been lifted we now can appreciate combs being made from almost any material imaginable, with many new ones being made from resin instead of tortoise shell as the sale of tortoise shell is now highly restricted. The majority of the combs seen here are made from various woods, but most contain real gold paint known as Makie (蒔絵) and even inlaid seashells.
The peony one was actually a surprise gift for a friend ^^
Georges Fouquet, (Paris, en 1862 - Paris, en 1957), bijoutier - Joaillier
Représentation animalière, Papillon/ butterfly/ schmetterling / mariposa
Musée des beaux-arts de ville de Paris
Petit Palais
Paris
IMG_1707
Comb Jelly spreads out to dine- As this comb jelly drifts on the currents, it spreads two broad lobes out like nets to catch food, tiny prey sltick to the lobes, like flies to a spider's web. Then the food's swept by fine, little hairs toward the center to the comb jelly's waiting mouth.
Germany (Nuremberg, Master MR), 1590.
Helmet of the Guard of Christian I or Christian II, Electors of Saxony.
See also this helmet at Chicago and this helmet at The Walters.
Mycenaean ivory comb with elaborate relief decoration of sphinxes and rosette. National Museum Athens