View allAll Photos Tagged Complexion
Out of all the Liccas I have, only about four of them have truly black (black as a raven) hair, and because it looks so gorgeous on her and really stands out against her complexion, I got another black-haired Licca the other day. :o)
She's a Castle Licca with beautiful straight bangs and long hair that reaches her thighs and ends in a layered shaggy cut. Her lips are more of a natural pale pink, a color I love, and her eyes are brown.
I don't know why but I sense an air of melancholy around her, as if she's wiser and older than she looks, and as if she's seen things and been through a few hardships in her life, and that makes her even more interesting to me.
That's why I've dressed her as a street kid, to make her stand out from the rest of my Liccas, and to let her be her own character. Most of my dolly wardrobe is girlier rather than tomboy-ish, so I don't have lots of cool clothes for her right now. She needs some jeans and jackets and more hats of awesomeness. :D
Hat is from a playline Licca and the jersey tee is Momoko. Background is a skateboard from the 80's I used to have as a kid LOLZ.
So delighted to have another beauty from Sharon Avital to join my ever growing family! Previously, she had been named named Asia , but I felt her personality evoked an earthy connection with nature that Dakota suited her perfectly.
I also tried my hand at blushing a PN body that would match her Sunshine Holiday complexion. Dang, you should see her body without the clothes but we are trying to be more discriminate here as for she is making her debut after all!
Well, I am thrilled to have her and I am so proud to be sharing one of my lovely girls with you on Mother's Day!
Happy Mother's Day to you all!!
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
The statue's original carver is an anonymous Mexican carpenter, and the image arrived in the archipelago by galleon from Acapulco, Mexico. Folk tradition attributes the colour of the Black Nazarene to a fire on the ship carrying it, charring the image from its original fair tone into its present dark complexion.
The image was brought to the Philippines by the Augustinian Recollect Missionaries on May 31, 1606. It was initially enshrined in the first Recollect church in Bagumbayan (now part of Rizal Park). On September 10, 1606, the church was inaugurated and placed under the patronage of St. John the Baptist. In 1608, the image was transferred to the second bigger Recollect church of San Nicolas de Tolentino built in Intramuros. Between 1767 and 1790, the Archbishop of Manila, Basilio Sancho de Santas Justa y Rufina, ordered the transfer of the Black Nazarene to its present location within the Quiapo church.
Today, the image borne in procession consists of the original body of the Black Nazarene connected to a replica of the head, while the original head portion of the statue remains on a replica of the body enshrined within the high altar of the basilica. An exception to this setup was during the 2007 feast, where both the original head and the body were combined in celebration of the Black Nazarene's 400 year history.
Two major and two minor processions are held annually to honour the Black Nazarene, namely one on the feast day itself and another on Good Friday. The procession during the January 9 feast commemorates the Traslacion, or the transfer of the image to its present shrine in Quiapo.[citation needed]
The Black Nazarene is carried into the streets for procession in an andas or shoulder-borne carriage. The estimated millions of devotees wear the colour maroon, associated with the image, and go barefoot in imitation of Jesus on his way to Mount Calvary. Traditionally, men are the only ones permitted to hold the ropes pulling the image's carriage, but in recent years female devotees also participate in the procession. People who have touched the Black Nazarene are reported to have been cured of their diseases, and Catholics come from all over Manila to touch the image in the hopes of a miracle. Towels or handkerchiefs are hurled to the marshals guarding the Black Nazarene with requests to wipe these on the statue in hopes of the miraculous powers attributed to it "rubbing off" on the cloth articles.
The procession held on the feast day is notorious for the annual casualties that result from the jostling and congestion of the crowds engaged in pulling the carriage. The injuries and even deaths of devotees are brought upon by one or a combination of heat, fatigue, or being trampled upon by other devotees.
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported
A girl is walking towards a shopping center, and a billboard with a complexion lightening cream welcoming her.
Gent
The Geraard de Duivelsteen ("Geraard the Devil Castle") is a 13th-century gothic architecture building, which served as defense of the Portus Ganda, the city's port.
The building was built in the 13th century and was named after the knight Geraard Vilain (1210-1270), second son of the fifteenth viscount of Ghent, Zeger III of Ghent. Vilain's nickname was "Geraard de Duivel" ("Gerard the Devil"), which was based on his dark complexion and hair color.
In the 14th century, the building became city property. Over the course of centuries, it was used for various functions; gatherings of knights, as an armory, a monastery, a school, the seminary for the diocese of Ghent, an insane asylum and a prison. In 1775, the Rasphuis near the Coupure channel became the new prison. In 1830, the Geraard de Duivelsteen became a fire station. Near the end of the 19th century, it was bought by the Belgian state to serve as a national archive. For this purpose, a new wing was built.
________________________________________________
Ghent (Dutch: Gent) is a city in the Flemish Region of Belgium. It is the capital and with a population of 272,000 inhabitants, it is the largest city of the province of East Flanders, and the third largest in the country, after Brussels and Antwerp.
The history of Ghent begins in the year 630 when St Amandus chose the site of the confluence (or ‘Ganda’) of the two rivers, the Lys and the Scheldt to construct an abbey. From the year 1000 to around 1550, Ghent was one of the most important cities in Europe. With 60,000 inhabitants, it was bigger than London and second only to Paris in size.
Until the Battle of the Golden Spurs in 1302, the city was ruled by a number of rich merchant families, who mostly chose the side of the French king against the Count of Flanders. As the trades and guilds gained more political power in the 14th century, Ghent came to acquire a more democratic government.
Because England blocked the import of raw materials for the vitally important textile industry, Ghent was forced, by sheer necessity, to take England’s side (1338-1345) during the Hundred Years’ War. Jacob van Artevelde, a rich cloth merchant, led the uprising against Count Louis de Nevers, the vassal of the French king. In 1345, this ‘wise man’ was murdered by his fellow citizens. His importance is shown by the fact that Ghent is still called the ‘City of Artevelde’.
Ghent had to give up its ties with England and embrace the king of France. In 1407 the seat of the Council of Flanders, the highest judicial body in the county, was moved from Bruges to the Castle of the Counts. Since then Dutch became the official language.
The economic situation gradually worsened. The city lost its passage to the sea and the population decreased by half. Only in the second half of the 18th century was there an economic revival. In 1816, under Dutch administration, Ghent acquired its own university. As a commemoration, a statue of king William I of the Netherlands, founder of the University, was unveiled on Reep. Ten years later the city again became a sea port thanks to the Ghent-Terneuzen canal.
Nevertheless, Ghent still continued to sail against the tide: during Belgium’s independence struggle many inhabitants remained loyal to the Dutch House of Orange. Ghent later became the continent’s first large industrial centre. As a result, it was here that the socialist movement and the first trade union associations appeared.
In 1913, Ghent showed its best side during the World Exhibition. Because it suffered little bomb damage during the two world wars, Ghent’s historical heritage has remained largely intact right up to the present.
Shall I compare thee to a summer’s day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance, or nature’s changing course, untrimmed; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st, Nor shall death brag thou wand’rest in his shade, When in eternal lines to Time thou grow’st. So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.
This is one of the "new homeless". Notice his shoes and pants aren't showing street wear and he doesn't have the weathered complexion yet.
I wish I owned a Dior dress
Made to my order out of satin.
I wish I weighed a little less
And could read Latin.
Had perfect pitch or matching pearls,
A better head for street directions,
And seven daughters, all with curls
And fair complexions.
I wish I'd tan instead of burn.
But most, on all the stars that glisten,
I wish at parties I could learn
to sit and listen.
I wish I didn't talk so much at parties.
It isn't that I want to hear
My voice assaulting every ear,
Uprising loud and firm and clear
Above the cocktail clatter.
It's simply, once a doorbell's rung,
(I've been like this since I was young)
Some madness overtakes my tongue
And I begin to chatter.
Buffet, ball, banquet, quilting bee,
Wherever conversation's flowing,
Why must I feel it falls on me
To keep things going?
Though ladies cleverer than I
Can loll in silence, soft and idle,
Whatever topic gallops by,
I seize its bridle,
Hold forth on art, dissect the stage,
Or babble like a kindergart'ner
On politics till I enrage
My dinner partner.
I wish I didn't talk so much at parties.
When hotly boil the arguments,
Ah? would I had the common sense
To sit demurely on a fence
And let who will be vocal,
Instead of plunging in the fray
With my opinions on display
Till all the gentlemen edge away
To catch an early local
Oh! there is many a likely boon
That fate might flip me from her griddle.
I wish that I could sleep till noon
And play the fiddle,
Or dance a tour jeté so light
It would not shake a single straw down.
But when I ponder how last night
I laid the law down.
More than to have the Midas touch
Or critics' praise, however hearty,
I wish I didn't talk so much,
I wish I didn't talk so much,
I wish I didn't talk so much,
When I am at a party.
Ruaha National Park, Tanzania
Step 1: Immerse yourself in muddy puddle
Step 2: Rub mud all over face and as much body as you can reach
Step 3: Allow to dry, flake off and admire enhanced complexion :)
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported
Beauty standards (white complexion and big black eyes of the houris), jewels and fabrics worn by the people of paradise (rubis, coral, silk, brocade), perfumes that embalm the gardens of Eden (musc, amber), food and food in abundance, correspond to this horizon. The Muslim tradition is full of details about the physical features and customs of the inhabitants of paradise. Basically: beautiful, radiant, 33 years old (all men and women, without exception), they do not know sleep or fatigue and will never have children, because procreation is impossible in paradise. According to this description, the elected and blessed will all speak Arabic. In addition to being the language of the Koran, Arabic will also be the language of paradise. The palaces reserved for the inhabitants of paradise are carved out of precious stones and constructed of gold, ruby and musk, and are spread out over tens of kilometers and their ceilings are hundreds of meters high. Excessive dimensions that will make the poet Bashar Ibn Bord's teasing spirit say that it must be very cold during the month of December in such spacious and tall residences.
“Satisfaction is the greatest gate of God and the paradise of this world.” Know that the servant will not approach being satisfied with God". In addition to other descriptions of Jannah (heaven), Islamic tradition describes heaven as having eight "doors" or "gates." Each one has a name, describing the types of people who will be admitted through it. Some scholars interpret that these doors are found inside Jannah, after one enters the main gate. The exact nature of these doors is unknown, but they were mentioned in the Quran and their names were given by the Prophet Muhammad.Most of the Qur' anic verses evoking the resurrection, paradise and hell have been revealed in Mecca. During the first thirteen years of Islam, the Prophet Muhammad was to conquer the hearts and minds of the men and women who would make up the first Muslim community. This period spent in Mecca was a time of fragility, hardship and endurance for the prophet of Islam. The rich and powerful chiefs of the Qurayche tribe saw no point in believing and following the message of a destitute orphan, protected by an aging uncle and supported by "the weak and slaves". Mohammed then described the spiritual and moral aspects of his revelation, and described life here on earth as a passage, a transition, a trial course, where only submission to God and the fulfillment of good deeds counted. Wealth, prestige, noble belonging and titles had no interest or usefulness after death. The verses revealed to Mecca abound in descriptions that depict the future life, where the pious, rich or poor, will be rewarded, while the arrogant, the ungodly and the unbelievers will be promised to the torment and torment of hell. The description of paradise in these verses is sensual, taking up the aspects of luxury, opulence and comfort that were prevalent at the time among the wealthy inhabitants of Mecca. As pointed out by Sheikh Soubhi El-Saleh, author of a reference book on the subject (The Future Life According to the Qur' an, Vrin Edition, 1986), the highly materialistic nature of life in Mecca explains the use of this sensual description. A thriving centre of commerce, a meeting place for Arab tribes, Mecca was dominated by the cult of wealth, lush and affluence. The Qur' an should then present a description of the delights of paradise and the afflictions of hell close to the mental and cultural horizon of the inhabitants of Mecca.
To those who reject Our signs and treat them with arrogance, no opening will there be of the gates of heaven, nor will they enter the garden, until the camel can pass through the eye of the needle. Such is Our reward for those in sin. (Quran 7:40)
And those who feared their Lord will be led to the Garden in crowds, until behold, they arrive there. Its gates will be opened, and its keepers will say: 'Peace be upon you! You have done well! Enter here, to dwell therein.' (Quran 39:73)
Ubadah narrated that the Prophet Muhammad said: "If anyone testifies that none has the right to be worshipped but Allah Alone Who has no partners, and that Muhammad is his slave and His Apostle, and that Jesus is Allah's slave and His Apostle and His word which He bestowed on Mary and a spirit created by Him, and that Paradise is true, and Hell is true, Allah will admit him into Paradise through any of its eight gates he likes."
Abu Hurairah narrated that the Prophet said: "Whoever spends two things in the way of Allah will be called from the gates of Paradise and will be addressed, 'O slave of Allah, here is prosperity!' So whoever was among the people who used to offer their prayers will be called from the gate of prayer; and whoever was among the people who used to participate in jihad will be called from the gate of jihad; and whoever was among those who used to observe fasts will be called from the gate of ar-Rayyaan; and whoever was among those who used to give in charity will be called from the gate of charity."
It is natural to wonder: What will happen to those people who have earned the privilege to enter Jannah through more than one gate? Abu Bakr had the same question, and he eagerly asked the Prophet Muhammad: "Will there be anyone who will be called from all these gates?" The Prophet answered him, "Yes. And I hope you will be one of them."
The most commonly-cited list of the eight doors of Jannah includes:
Baab As-Salaat: Those who were punctual and focused in their prayers (salaat) will be granted entry through this door.
Baab Al-Jihad: Those who have died in the defense of Islam (jihad) will be granted entry through this door. Note that the Quran calls upon Muslims to solve issues by peaceful means, and only engage in defensive battles. "Let there be no hostility except to those who practice oppression" (Quran 2:193).
Baab As-Sadaqah: Those who frequently give away in charity (sadaqah) will be admitted into Jannah through this door.
Baab Ar-Rayyaan
The people who constantly observed fasting (especially during Ramadan) will be granted entry through this door.
Baab Al-Hajj: Those who observe the Hajj pilgrimage will be admitted through this door.
Baab Al-Kaazimeen Al-Ghaiz Wal Aafina Anin Naas: This door is reserved for those who control their anger and forgive others.
Baab Al-Iman: This door is reserved for the entry of such people who have sincere faith and trust in Allah, and who strive to follow the commands of Allah.
Baab Al-Dhikr: Those who constantly remembered Allah (dhikr) will be admitted through this door.
Whether one believes that these "gates" of heaven are metaphorical or literal, it helps one to see where the core values of Islam lie. The names of the gates each describe a spiritual practice that one should strive to incorporate into one's life.
“There are eight gates for Paradise and seven gates for the Fire.” said the Prophet (pbuh).
The saying of praise for Allah, “Al-Hamdu Lil-lahi,” has eight alphabets*; the number of the gates of Paradise is also eight, therefore he who recites these eight alphabets out of purity of heart does deserve (the opening of) the eight gates of Paradise. Know that indeed there are eight gates for Paradise, and in the rank that you reach after reciting, “I take refuge in Allah from Shaytan the outcast…” one gate of the eight gates of Paradise opens for you; that is the gate of Ma’refa (Divine Gnosis).
A second gate is that of al-Dhikr (Remembrance) as you are reciting ‘Bismil-lahir Rahmanir Rahim’.
The third gate is that of Shukr (Gratitude) after reciting ‘Al-Hamdu Lil-Lahi Rabbil Alamin’.
The fourth gate is that of Hope when you recite ‘Ar-Rahanir Rahimi’.
The fifth gate is that of Fear when you recite ‘Maliki Yaumid-Din’.
The sixth gate is that of Purity born out of the Ma’refa (Divine Gnosis) of ‘Ubudiat (Servitude) and Rububiat (Divinity) in your reciting ‘Iyyaka Na’budu Wa Iyyaka Nasta’inu’.
The seventh gate is that of Du’a (Invocation) in your reciting ‘Ihdinas Siratal Mustaqim’.
The eighth gate is that of ‘Iqtidā’ (emulation or following the example) of the good and pure souls, and of seeking guidance through their Nur (Divine Light) and that is in your reciting of ‘Siratal La-Dhina…’
Now you know the secrets of the Eight Gates of Paradise and what is referred to in 38:50. ‘The Gardens of Eden with opened gates for them’. For the Gardens of Divine Gnosis have been opened by these spiritual keys, and this does point to what happens during the Prayer of Spiritual Ascension, like that of the Prophet (pbuh) to the Heavens.
– From the Tasfir al-Kabir (The Great Commentary), al-Fatiha, verse 7, by Fahkr al-Din al-Razi (his exegesis on the Quran), also named the Mafatih al-Ghayb (The Keys to the Unknown).
The transition to Medina and the creation of the Islamic state marked a new trend in the description of the afterlife. The Qur' anic verses revealed to Medina, depicting heaven and hell, are more spiritual, less picturesque, and the notion of "divine satisfaction" (or Ridwan) is placed above any divine reward or reward. It is obvious that this evolution of spiritual thought is in Medina where the prophet has become the spiritual guide of the new community. It is precisely this period of great importance for the future of Islam that puts an end to the Paradise description,"notes Sheikh Sobhi El-Saleh, a former president of the Lebanese Ulema League and a member of the Academy of the Kingdom of Morocco.
It should be noted, however, that the Qur' an remains concise and sober in the description of heaven, hell and life after death. It is the Hadith and Muslim tradition that provide the most detailed and exuberant accounts of the afterlife.The resurrection and the day of the judgment are the subject of a Dantean and terrifying narrative in Muslim religious texts. According to a verse of the Qur' an, the resurrection (Al Qiyama) is announced by a trumpet blow (Al Nafkh fi Sour). All creatures will then find life and recover their bodies, souls and spirits. Harboured and stunned by their resurrection, human beings realize what happens to them and prefer to return to their graves rather than face the day of the final judgment. They are then placed in a long and unbearable wait, in a state of nudity and anguish, which will make the most selfish reflexes of the human being reappear: the mothers will forget their own children and everyone will be concerned about their own fate. In his masterpiece Al Foutouhat Al Makkiya, the mystical Andalusian master Ibn Arabi speaks of 50 stops along the way from resurrection to heaven or hell. According to Ibn Arabi, each stopping place is equivalent to a thousand years of waiting, and at each station (Mawqif), the different actions of human beings will be scrutinized. The good accomplished and the evil done by each one will be weighed and evaluated, before the faithful join paradise and the ungodly rushed into hell. The Hadith and Muslim tradition provide a colourful and very ceremonial description of the arrival in paradise. Thus, after having passed through the trials of judgment, the blessed ones will arrive before the eight immense gates of paradise. Each door has a name that designates it according to the benefits and virtues of the faithful: a door of prayer, jihad, fasting, repentance, almsgiving, submission to God, control of anger, and a last door reserved for those who will enter heaven without judgment. According to the Muslim tradition, the first person to enter heaven is the prophet Muhammad, followed by members of the Muslim community, the poor first, then the rich and the affluent. This discrimination is a way of "rewarding" the poor, slaves and wretched who were the first to believe in the message of the prophet of Islam. After the Muslim community, it is the turn of Christians, guided by Jesus, to reach heaven. The other communities will follow in their footsteps, led by their respective prophets. Noah and those who followed him after the flood will close this long procession to heaven. The arrival in front of the seven gates of hell is described in a more terrifying way. The damned doomed to hell will arrive in seven groups, depending on the seriousness of the sins committed. Each door will be assigned to a group and sinners belonging to the Muslim community will move towards the door where torments are the least cruel. Honoured, humiliated, carrying heavy weight, the condemned to hell are watched over by an incalculable number of guards endowed with an incomparable strength and an indescribable cruelty. As the ungodly and unbelievers approached, hell roared and spit out its flames, and a rain of fire, ropes and chains fell upon the future tenants of hell. At the sight of this frightening spectacle, the latter retreat from fear and fear, cry, cry, scream, but relentless angels will follow them and precipitate them into hell, and their fall will spread over several years (70 years according to some accounts) before reaching the bottom. The Muslim tradition is inexhaustible of details and imagination in the description of paradise, perceived as a place of rest, bliss and eternal enjoyment. The disproportionate dimensions, the abundance of goods and delicacies, the extremely sensual nature of the narratives that depict paradise, have prompted rational theologians and Sufis to put a dose of relativity and even doubt in this description. According to the Muslim tradition, which includes Hadith and comments from the Qur' an, heaven is placed in the seventh heaven below God's throne, to mark the closeness of the blessed mansion to God's dwelling-place. However, paradise does contain levels according to the degree of piety, faith and actions accomplished here below. The chosen ones, i. e. the most faithful prophets and believers, placed on higher floors, will appear to the other tenants of paradise as "the rays of the stars and stars". The alleys of paradise are inlaid with precious stones and rubies and the ground is covered with musk and saffron, and heady scents embellish the atmosphere. Rivers of honey, milk and wine flow through paradise and water its people with their unalterable taste. According to this description, the bodies of the inhabitants of paradise do not know sickness, decay or death. Moreover, a hadith explains that death will be incarnated in the form of a ram, brought back by angels, and slain before the people of heaven and hell, to signify to them the eternal character of life in the afterlife and the end of the fear of death that haunts humans.
The exuberant, picturesque and luxurious description of paradise has prompted a number of Muslim theologians and mystics to react, who wanted to give a more spiritual, rational or symbolic aspect to the catalogue of pleasures promised to the blessed in paradise. For Al Ghazali, the famous 11th century theologian, no human being is able to grasp or describe life perfectly in heaven or hell. Al Ghazali defines paradise and its pleasures in the words of a hadith:"Paradise is what no eye has seen, no ear has heard, and which has never passed through the heart of a human being". The description of paradise thus has the value of illustration and example. According to this vision of Al Ghazali, the delights of paradise are therefore nothing more than a theatre of shadows and a presentation close to the material meaning that humans give to the notion of pleasure. God has revealed only a figuration of paradise and not its essence nor its true and real nature, which is known only to him.
Much closer to us, Sheikh Mohamed Abdou, the great Egyptian religious reformer, is sceptical and sometimes critical of the material and overly detailed description of life in paradise, and the afterlife in general. While accepting the concrete and sensual nature of paradise, Sheikh Mohamed Abdou considers spiritual retribution to be more important than the material pleasures of paradise. The Egyptian reformer, aware of the role of tradition in amplifying stories about the afterlife, only admits to these questions the Motawatar hadiths, i. e. those with a high degree of authenticity and whose number is very small. The method allows this great figure of reformist and rational Salafism to give a sober description of paradise, closer to reason and understanding than the overly detailed narratives of which the Muslim tradition abounds. Like Al Ghazali, Mohamed Abdou also reminds us of this hadith, which presents paradise as belonging to the domain of the indescribable and the inexpressible. Sufism, on the other hand, provides an original vision of paradise and the relationship that Muslims must establish with the afterlife. For the masters of Muslim mysticism, God must be worshipped for himself and not out of fear of his hell or the desire to reach his paradise. Rabia Al Adaouia expresses this vision best when she explained to one of her visitors:"I did not worship God, like the evil slave, out of fear of his hell or desire for his paradise, but I loved him out of love for him and by inclination towards him". Rabia Al Adaouia did not dispute the existence of paradise and its nature, but felt that all these pleasures are incomparable with God's closeness and contemplation. As Orientalist Louis Massignon notes, the Iraqi mystic was looking for the neighbour (God) first, rather than the dwelling place (the paradise). Other mystics, such as Al Halaj or Al Nifari, considered paradise as a veil stretched to hide the essential. The pleasures of paradise are displayed as a kind of divine ruse that places the chosen ones in waiting, like the beloved one making his lover languish, before appearing and revealing himself to him.
www.thoughtco.com/doors-of-jannah-2004342
Taken, with thanks to Brother Dara, from the Untiredwithloving website.
He actually does have a ruddy complexion so I'm not too far off with the colour on this one…for a change.
_MG_1627_tonemapped 2 copy.psd
Foto en GRANDE con Fondo NEGRO
Orden:Passeriformes
Familia:Vireonidae
Género:Vireo
Nombre común: Vireo de ojo blanco.
Nombre científico:Vireo griseus
Nombre Ingles: White-eyed Vireo
Status Rep. Dominicana: Vagante
Lugar de captura: Eco Pond, Flamingo, Everglades National Park, Florida
Por: Cimarron mayor Panta.
BUENO, ES QUE YA ES UNA NORMA QUE TODO LO AMARILLO Y ESPECIES DE OJOS GRANDES SON PARA RAKEL. Espero que te guste tu Brad Pitt jaja.
Estoy contento con haber logrado este "lifer". Cuando uno se encuentra con una especie nueva ante nuestros ojos, la emoción que se siente es realmente indescriptible y más cuando se es conocedor o se tiene una idea de la especie, aunque núnca la hayamos visto.Considero como capturas merecidas, todas aquellas en las que el fotógrafo sabe lo que tiene por delante o por lo menos tiene una idea de lo que puede tratarse pues la ha estado persiguiento por mucho tiempo! Son inmerecidas para mi, todas aquellas inocentadas en las que el fotógrafo no sabe lo que ha retratado ni se interesa por llegar a la casa contento de su captura,ante algo nuevo y desconocido para investigar y celebrar su triunfo. Ese último captó una imágen, el otro captó la vida, la historia y todo el valor de la especie.
Una cosa es fotografiar por fotografiar y otra es fotografiar con sentido.Tiene más sabor y se disfruta más saber lo que estamos buscando muchas veces, que la misma fotografía lograda. Buenos captadores de imágenes los hay por montones, pero el fotógrafo naturalista tiene otro aroma y camina por los montes de Dios con otro sentido. Cuando se es conocedor de la especie a la que nos enfrentamos, ponemos más o menos interes dependiendo de su importancia. Si sabemos que una especie es una "VIGA" o esta amenazada o en peligro de extinción, nuestro interes es aún mayor, pero para poner ese interés teníamos que saberlo.Muchos dirán que esto no es verdad y que lo buscan es una imágen perfecta sin importarle de quien se trata. Todo dependerá de si solo se es fotógrafo de imágenes o si de verdad intentamos ser fotógrafos naturalistas y conservacionistas que vemos más allá de una figura perfecta de un pajarillo y sus colores.
LO QUE DEBE SABER TODO FOTOGRAFO CONSERVACIONISTA SOBRE LOS VIREOS:
Los vireos son una pequeña familia que se restringe exclusivamente al Nuevo Mundo. Son las aves más íntimamente relacionadas con los corvidos( cuervos) y su familia se puede dividir en tres grupos.
a) Los vireos verdaderos( género vireos)
b) Los Víreillos ( género Hylophilus)
c)Los alegrines y follajeros ( género Cyclarhis y Vireolanius)
Los víreos residen sobre todo en las partes septentrionales de Sudamerica, America centra o Mexico. Doce de las 13 especies que se reproducen en estados Unidos emigran hacia el sur durante el otoño. Unicamente los vireos verdaderos están representados en Norteamerica, al tiempo que los otros tres grupos tienen representacion en Latinoamerica.
DISTANCIA DE VIAJE: Esta puede variar desde 160 km hasta más de 4,800 km en los vireos de ojos rojos.
LIFER: Este fue mi primer encuentro con la especie y lo reconocí de inmediato. Para saber que estamos frente a un Vireo solo hay que mirarle los ojos y no niego que me recordé inmediatamente de nuestro vireo endémico, la Ciguita Juliana-Vireo nanus.
Todos los miembros de esta familia son portadores de colores apagados,complexion robusta y picos duros.Sus picos en la mayoría se caracteriza por un gancho cortante en la mandibula superior. Este gancho está ausente en los "Vireíllos".
Los vireos verdaderos se caracterizan por tener listas en las alas y anillos oculares blancuzcos o amarillentos.
La dieta de los víreos se compone fundamentalmente de insectos y artrópodos que persiguen continuamente en las capas del follaje y entre las hojas de los matorrales. La verdad que despues de miles de fotos entre las hojas, este vireo decidió percharse de forma aislada y se lo agradezco infinitamente. Todos los vireos consumen frutos en diferentes grados.
Su biología de reproduccion se conoce a partir de las especies que crían en Estados Unidos y Canada. Esta especie que estoy mostrando es capaz de cantar durante todo el año.
Una característica de los vireos es que los machos suelen cantar estando dentro del nido, como una forma de recordar a la hembra que venga a sustituírlo para el poder alimentarse.
Los que hemos visto los nidos construídos por el Vireo altiloquus o JULIAN CHIVI en nuestro país sabemos que son unos reales artistas y grandes arquitectos. Un nido colgante escogiendo a tres ramas, finamente decorado con tiras de cortezas de arboles,musgos la cual adhesionan utilizando telas ds arañas y lo decoran con cascaras de huevos de arañas y una capa interior de tallas finos de hierbas. Generalmente el detalle del forro interior de los nidos es responsabilidad de la hembra y de la parte exterior se ocupa el macho.
SU PRINCIPAL AMENAZA! EL DEMONIO NEGRO DEL PAJARO VAQUERO-MOLOTHURS BONARIENSIS.
Los vireos son enormemente susceptibles al parasitismo del pajaro vaquero, el mafioso que no hace nido,si no que roba nidos ajenos, le rompe los huevos al dueño y le pone los suyos para que le incuben y le alimenten a los hijos.
Esto reduce notablemente las posibilidades de que las crías salgan adelante.
El VIREO DE BELL, Ha sido tan acosado por el pajaro vaquero que ha aprendido a enterrar los huevos del vaquero puestos en su nido agregando mas material con el fin de taparlos y no incubar huevos ajenos.
STATUS MUNDIAL DE SU SITUACION:
DE LAS 32 especies de vireos, cinco están globalmente amenazadas de extinción. Tres especies de Vireos están en riesgo por la perdida de su hábitat. Dos especies mas de vireos endemicos como el de la montañas azules y el de Noronhna endemicos de Islas, estan amenazados.
Bueno, dejo la pista caliente con lo externado inicialmente.
Este fin de semana me toca contar carros en la avenida, así que estaré vigilante de quien viole el código cimarrónico.
Gran fin de semana amigos.
Cimarron mayor Panta.
Charity
Guido Reni (Italian, Bolognese, 1575-1642)
Oil on canvas; 54 x 41 3/4 in. (137.2 x 106 cm)
This exceptionally beautiful picture exemplifies the refinement of Reni's much admired style. The variously colored complexions of the three infants was intentional. The picture comes from the Liechtenstein collection, Vienna, where it is recorded in 1767. It may have been bought or commissioned in Italy by Prince Karl Eusebius von Liechtenstein (1611-1684), who travelled in Italy in 1629-30. While not exactly datable, it has much in common with works by Reni executed about 1630.
Gift of Mr. and Mrs. Charles Wrightsman, 1974 (1974.348)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
wearandcheer.com/5-fruits-that-can-lighter-your-skin-quic...
Fair complexion plays a significant role in your personality. If a person has a fair complexion, then it enhances his/her personality, a very helpful post 5 Fruits that can Lighter your Skin quickly without any side effect for you.
Everyone wished their skin becomes little fairer, if you want...
by Sobia Bilal on Wear and Cheer - Fashion, Lifestyle, Cooking and Celebrities - Visit Now wearandcheer.com/5-fruits-that-can-lighter-your-skin-quic...
You must like it and share it with your friends.
Sorry Léah about the bad light; India Poppy is the closest Poppy to Aggie's skin color! as you can see, Poppy is darker and she has more grey undertones, while Agnes has more orange. Natalia's arm looks a bit lighter because of the direct light , but my naked eye sees that Natalias skintone is about the same of Agnes'.Hope this helps. I wouldn't call Poppy's body "a great match", but it isn'ts totally wrong too.
Close up portrait of attractive young woman looking at camera. Head and shoulders view of female fashion model.
medievalpoc: In just about every American imagination, nothing is more essentially European than the elaborate, gravity-defying tall headdress or henin worn by the noblest women of history. Indeed, the European Henin is synonymous to many Americans as a visual symbol of frail feminity, “Faire Maydens”, milky complexions and delicate white women who must be protected by knights, preferably in shining armor. (psst. notice people of color in this miniature from Boccaccio’s The Fall of Princes: more on that in later posts) But what if I told you the heads this historical hat truly belongs on are not only those of women of color, but unrivaled Warrior Queens who ruled a vast empire, went to war with infant sons strapped to their backs, and commanded armies of tens of thousands? There is something that not even doctorate-holding Western Medievalists and Medieval Fashion experts will tell you, and may not even be aware of: The Henin did not spring out of nothingness to adorn the heads of European noblewomen. The European Henin is modeled directly after the willow-withe and felt Boqta (Ku-Ku) of Mongolian Queens, which could reach over five to seven feet in height. Mongolian women’s boqta also had a special role: because men and women’s clothing were more or less exactly the same in design, appearance and function, reflecting thousands of years of more or less equal rights between the genders, the women’s tall headdresses served to differentiate men and women from a distance. Mongolian equestrian culture influenced fashion as well as martial technology: the headdresses would have been even more impressive on horseback. The higher a woman’s position, the taller, richer, and more elaborately decorated the headdress. The important cultural role of the headdress is elaborated upon in Weatherford’s Secret History of the Mongol Queens, in this portion about the warrior Queen Maduhai as she prepares to lead her soldiers to war: The chronicles all agree that she fixed her hair to accommodate her quiver. The hairstyle of noble married women of that era precluded fighting or any other manual endeavor. She removed the headdress of peace and put on her helmet for war. By taking off her queenly headdress, known as the boqta, she removed virtually the only piece of clothing that separated a man from a woman. The boqta ranks as one of the most ostentatious headdresses of history, but it had been highly treasured by noble Mongol women since the founding of the empire.* The head structure of willow branches, covered with green felt, rose in a narrow column three to four feet high, gradually changing from a round base to a square top…The higher the rank, the more elaborate the boqta, and as a queen, Mandhui would have worn a highly elaborate one. A variety of decorative items such as peacock or mallard feathers adorned the top with a loose attachment that kept them upright but allowed them to flutter high above the woman’s head. The contraption struck many foreign visitors as odd**, but the Mongol Empire had enjoyed such prestige that medieval women of Europe imitated it with the hennin, a large cone-shaped headdress that sat towards the back of the head rather than rising straight up from it as among the Mongols. With no good source of peacock feathers, European noblewomen generally substituted gauzy streamers flowing in the wind at the top. * The ebook preview is truncated. I happen to own the book and have typed out the rest of the passage from hard copy. ** This statement reflects the bias of the author (Weatherford)-foreign visitors found the boqta overwhelmingly impressive statements of wealth. For primary source description contemporaneous with women in the boqta (c. the 1200s), keep reading below the cut! FULL HISTORY OF THE BOQTA, MORE PHOTOS AND LINKS BELOW THE CUT! Keep reading
SET 3 – HLT Remodel: 4-20-2023
As we see in this shot, the longtime neighbor of the now-relocated entertainment and electronics departments – health and beauty – remains stalwart along the front perimeter wall (for now), in a bit of a state of flux with new paint on the wall already (including some significantly darker gray than we’ve seen elsewhere in the salesfloor so far!), but the old floor tile and red stripe still remaining. Some more of those vacuums from the shelves in the picture two clicks back are visible here, too.
(c) 2024 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Candid street shot. Barcelona, Spain..
As we get older, this question must come to all of us eventually.
This Paramount vehicle for Anna May Wong co-starred Akim Tamiroff as a reformed underworld boss who turns over his fortune to a Chinese war relief fund. Sidney Toler, who had just completed his first Charlie Chan film only months before, also appears as Dr. Chang Ling.
Akim Tamiroff plays the title role, an underworld leader who controls all illicit operations in Chinatown. Tamiroff is toppled from power by two members of his own mob (Anthony Quinn and J.Carroll Naish). He is left for dead, but is saved by a dedicated Chinese-American doctor (Anna May Wong). In gratitude, Tamiroff turns over his fortune to a Chinese war relief fund. King of Gamblers was directed with flair by the otherwise unimaginative Nick Grinde, who seems to have borrowed several artistic touches from fellow Paramount contractee Robert Florey. Violence and death stalk the Chinese faction of a large American city, but one man, Dr. Chang Ling, and his daughter, Dr. Mary Ling, defy the racketeers who are responsible and, against terrific odds, bring peace to their oppressed neighbors. Gangland overlord Frank Baturin is shot and only the intervention and operation by Mary Ling saves his life. She performs the operation because it is her duty as a doctor, but she also thinks Baturin was shot by her father following a quarrel with Baturin. The racketeer then sets out for vengeance against the man who had actually tried to kill him in order to take over the Chinatown rackets.
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
Stephanie was a young woman (25 years old, but looks 15) with an innocent face and a 'peaches and cream' complexion. She was one of six models I tested for a book cover. Another model made the cover, because Stephanie looked too young! The fictional book was about a 24-year old woman who never wore makeup, yet had a 'peaches and cream' complexion. The art director wanted me to duplicate that look without having to resort to using too much makeup. To do this required some special, glamor lighting...
Click here or on the image to view LARGER and on black.
Unique lighting set-up:To get this 'cover look' required a custom lighting set up: Two 4'x8' sheets of 1/4" white Gator Board were taped together, then stood up on the studio floor in a "V" shape. Three 400 w/s strobe heads were aimed into the center of the "V" -- two on either side (and at mid-height). The third strobe head was placed on a boom and aimed into the top-center of the "V". The model was seated in the middle, facing the center of the "V". Finally, a hole was cut (a vertical, 5" x 10" slit) in center of the Gater Board (at the model's eye level) where the two halves were taped together. Through this hole I placed my lens and photographed the model. The effect was somewhat like a modified ring-light, producing a huge frontal reflector that softens and glamorizes the complexion.
Amongst the gathering of Great War era military graves in Section 25 of the Earlham Cemetery in Norwich there is also this one.
In loving memory of
SGT. FRANK S. TANN.
1st NORFOLK REGT.
Who departed this life
JANy 9th 1910.
Aged 35 years.
Had he asked us, well we know,
We would cry, O, spare the blow,
Yes with streaming tears we pray
Lord we love him, let him stay.
There are surviving serving records for Frank Samuel Tann of the Norfolk Regiment in the National Archives WO 97 series – viewable on the likes of Ancestry, FindMyPast and Genes Reunited.
Frank Samuel Tann, born North Heigham, Norwich and then aged 19 years and 9 months, enlisted at Norwich on the 29th August 1894. An unmarried man, he was working as a Clicker in the Boot trade. He signed up for 7 years in the colours and 5 in the reserves.
Frank had previously in the Militia Norfolk Regiment of Artillery, but had obtained his discharge via purchase.
He was recorded as 5 feet 7 and a half inches tall, weighed 133lbs and had Brown hair, grey eyes and a fresh complexion. He had no distinguishing marks.
His next of kin was initially his father, Ransome Bransby Tann, of 81 Philadelphia Lane, Norwich and his younger brothers Harry Tann, (Royal Marines) and George Tann, (2nd Norfolk Regiment). This was changed at some point to a wife, Mrs. E.E. Tann, of 2 King Edward Street, Rose Valley, Brentwood.
He was issued with service number 4058 and reported to the depot. From there he was posted to the 2nd Battalion at Warley on the 31st August 1894.
He passed his 3rd Class Certificate of Education on the 14th February 1895 and his 2nd Class one on the 14th June 1895.
Appointed Lance Corporal on the 27th April 1896, he was transferred to the 1st Battalion on the 10th November 1896. (He would have reverted to Private at that point – Lance ranks were appointments, not permanent promotions). On the same day he is shown as being in India, but I suspect that is the date he sailed from the UK. (He would remain there until the 25th February 1904, although again that might be the date he sailed from India or the date he returned to the UK).
He was appointed paid Lance-Corporal with his new Battalion on the 11th September 1897 with a promotion to Corporal following on the 18th September 1899.
On the 25th September 1900 he passed his 1st Class Certificate of Education.
On the 28th September 1901 he opted to extend his service in the colours to the full 12 years. A month later he was appointed unpaid Lance Sergeant. This was converted to a paid appointment on the 1st December 1901.
On the 6th July 1903 he was promoted to Sergeant.
While at Bareilly, India, with the 1st Battalion, on the 8th December 1903 he opted to extend his service to complete 21 years with the colours.
He was shown as being in the UK from the 26th February 1904 to the 14th January 1905 on “furlo” – although some of that may have been the journey back and possibly the journey out to his next posting.
He was shown as being stationed in South Africa from the 15th January 1905 to the 16th February 1907. While there he qualified in the Ordinary & Advance Course at the exam held at the School of Musketry, Blomfontein on the 27th March 1905. He returned to the UK in 1907 and did not go overseas again.
He was posted to the Depot on the 18th February 1908.
On the 14th September 1908 at Brentwood he married an Ellen Ethel Emily Overy, (Spinster). No children are noted in the records.
He died at Norwich on the 9th January 1910 of a “Malignant new growth.”
1874 / 1875 – Birth……………………………….
The birth of a Frank Samuel Tann, mothers’ maiden name Sayer, was registered in the Norwich District in the January to March quarter, (Q1), of 1875. Then, as now, you had 42 days after the event to register the birth, so potentially a child registered at the start of Q1 could actually have been born as early as the middle of the preceding November. Something like that would make his age at the time of enlistment correct. The published indexes were by quarter registered, which isn’t necessarily the same as quarter born.
The most likely marriage of his parents was recorded in the Norwich District in the April to June quarter, (Q2), of 1874. This was when a Ransome Bransby Tann married a Hannah Sayer.
The marriage actually took place at St Peter Hungate, Norwich, on the 6th April 1874, Ransome Bransby Tann, aged 20 and a Bachelor from Outside the Parish, worked as an Upholsterer. His father was Samuel Wiseman Tann, also an Upholsterer. Hannah Sayer was a 21 year old spinster. Her father, William Sayer, was a Shoemaker. Witnesses were Frank Tann and Elizabeth Browne.
www.freereg.org.uk/search_records/58183b21e93790eb7f69958...
1881 Census of England and Wales………………..
The 6 year old Frank Tann, born Norwich, was recorded living at a dwelling on Gildengate Street, in the parish of St George Colegate, Norwich. This was the household of his maternal grandparents, Henry Sayer, (aged 51, a General Shopkeeper, born Norwich), and Hannah Sayer, (aged 50, born Norwich).
His parents were recorded living at Gildencroft, St Augustines, Norwich. Ransome B., (26, Upholsterer, born Norwich) and Hannah, (27, Boot Machinist, born Norwich), live there with three of their children, (Harry,4, George, 2, and Emily, 11 months – all born Norwich) and Ransomes’ brother Frank H., (aged 23, an Upholsterer, born Norwich).
The birth of a Henry Tann, mothers’ maiden name Sayer, was recorded in the Norwich District in the April to June quarter, (Q2), of 1877.
The birth of a George Tann, mothers’ maiden name Sayer, was recorded in the Norwich District in the January to March quarter, (Q1), of 1879.
Franks’ future wife, Ellen Ethel E. Overy was registered as born in the Mile End Old Town District of London in the July to September quarter, (Q3), of 1883.
1891 Census of England & Wales……………………
Frank Tann, (16, Shoemaker) and his grandparents Henry, (63, Shoemaker) and Harriet Sayer, (62), were now recorded living at 75 Middle Street, which was also in the parish of St George Colegate, Norwich.
His parents has also moved and were now recorded at 49 Esdelle Street, Norwich. Ransome, (36, Upholsterer) and Hannah, (37) are living there with their children Harry, (14, Cabinet Maker), George, (13, Errand Boy), Emily, (11), Florence, (9), Arthur, (4) and Alice, (3 months). All the family members are shown as born Norwich.
Franks’ future wife, the 7 year old Ellen E., born Bow, London, was to be found living at 11 Trellis Street, Bow, London. This was the household of her parents Richard, (50, Labourer, born Bethnal Green) and Ellen, (42, born Lambeth). The couple have two other children living with them.
12th October 1893 – brother Henry joins the Royal Marines
Henry seems to have added a couple of years to his age when he joined the Royal Marine Light Infantry at Norwich on the 12th October 1893. A cabinet maker and the son of Ransome Tann, he gave his date of birth as the 28th April 1875 and his place of birth as St Benedicts, Norwich. Ransome was stated then to be living at Drakes Court, St Georges, Middle Street, Norwich.
On enlistment he was described as 5 feet 6 and six tenth inches tall, (on discharge he was 5 feet 9 and a half), with dark brown hair, hazel eyes and a dark complexion. He had no distinguishing marks.
His service number was Z/613 in the Chatham Division. He was stationed on HMS Torch from the 11th January 1897 to the 2nd September 1898, being promoted Corporal on the 23rd October 1897.
HMS Torch (1894).
HMS Torch was an Alert-class sloop of the Royal Navy, built at Sheerness Dockyard and launched in 1894. Torch joined the Australian Station in February 1897, serving in New Zealand waters in 1898 and 1899.
en.wikipedia.org/wiki/HMS_Torch_(1894)
He was brought home aboard S.S. Origaba and discharged as an Invalid on the 9th November 1898. His General Character was rated Very Good and he was discharged to an address of 45 Adam & Eve Row, East Road, Cambridge.
discovery.nationalarchives.gov.uk/details/r/D7767041
1895 – Brother George joins the Norfolk Regiment – possibly?
The service record for Frank shows he has a younger brother George serving in the 2nd Battalion, Norfolk Regiment. I couldn’t find any likely surviving service records, but in the 1899 to 1902 Anglo-Boer War Medal Roll for the Norfolk Regiment there is a Sergeant 4368 G. Tann.
A check of nearby services numbers shows that 4342 enlisted 23rd July 1895 and 4501 joined on the 27th January 1896.
armyservicenumbers.blogspot.com/2009/07/norfolk-regiment-...
On the 1911 Census of England & Wales there was a 32 year old married Colour Sergeant George Tann, born Norwich, who was recorded in Barracks at Belgaum, India with the 2nd Battalion, Norfolk Regiment.
And going forward to the Great War there is a Medal Index Card for Regimental Serjeant Major 4368 George Tann, Norfolk Regiment, later 63825 Royal Defence Corps. The card itself shows he went overseas with the 7th Battalion, landing in France on the 30th May 1915 when that Battalion first deployed abroad.
discovery.nationalarchives.gov.uk/details/r/D5477680
It looks like Ancestry potentially have some Pension records for him so seems likely he survived the war.
1901 Census of England & Wales…………………………
There is no obvious match for the Frank Tann shown above, but this is to be expected if he was the man who joined the Army in 1894. The service records for that individual shows him in India at that time. Members of the Army stationed overseas would only be included in the scope of the census from 1911 onwards.
His parents had by now moved to Cambridge and were to be found living at 45 Adam + Eve Street. As well Ransome B., (46, Upholsterer, born Norwich) and Hannah, (47, born Norwich), they also had living with them their two youngest children from the previous census, Arthur, (14, Errand Boy) and Alice, (10) – both born Norwich.
His grandfather, the 72 year old widower Harry Sayer, a working Shoemaker, was recorded boarding at 72 St Augustines Street, Norwich. The householder was a Licensed Victualler, so I suspect the address is probably a public house.
His future wife, the 17 year old Ellen E. Overy, a Laundress born Mile End, London, was recorded living at 4 Victoria Road, Southweald, Essex. She is recorded as the sister of the head of the household who is a 26 year old publishers clerk, Alfred Hyatt, born Finchley, Middlesex. Also in the household is Alfreds’ married mother, Ellen Ovey, aged “50” and born Lambeth. Alfred is presumably a child from a previous relationship.
No obvious match for brother Harry Tann on this Census.
14th September 1908 – marriage…………………
On the 14th September 1908 at Brentwood Frank married an Ellen Ethel Emily Overy, (Spinster). – sourced from his service record.
The marriage of a Frank Samuel Tann to an Ellen Ethel Overy was recorded in the Billericay District of Essex in the July to September quarter, (Q3), of 1908.
On the day………………….
As can be seen in his service record, Frank died of a malignant new growth on the 9th January 1910. I can only assume that was cancerous.
Postscript…………………………..
Parents Ransome and Hannah were back in Norwich by the time of the 1911 Census of England & Wales. Married 38 years, they state the marriage has produced 8 children, of which sadly only 4 were then still alive. Ransome would pass away in Norwich in 1918 at the age of 64. Hannah possibly died in the Epping District of Essex in 1942, aged 89.
Maternal grandfather Henry Sayer, (83), formerly a shoemaker, was an inmate in the Great Hospital, Bishopgate Street, Norwich. This was an Alms House for the distressed elderly. The death of a Henry Sayer, aged 83, was recorded in the April to June quarter, (Q2), of 1911 – the census was taken on the 2nd April.
Franks’ widow, the 27 year old Ellen Tann, born Bow, London, was recorded among the live in nursing staff at the Essex Lunatic Asylum at Brentwood, Essex. The death of the 72 year old Ethel E.E. Tann was recorded in the Brentwood District of Essex in Q2 1956.
Whatever caused his brother Harry to be discharged from the Royal Marine Light Infantry in 1898, it didn’t stop him joining the Royal Marine Reserve on the 25th June 1910. Looks like his number was Chatham A/538. After a basic weeks drill he would go on to do another week in 1911, 1912 and 1913 before taking part in the Test Mobilisation in July 1914. On the 2nd August 1914 he was embodied as a full time marine. After various home postings, he was discharged again on the 15th February 1916 on the grounds of ill-health. His discharge address was 54 Boundary Road, Merton Surrey.
Following his Great War Service it looks like George may have followed many a career soldier and sailors dream – he became a Pub Landlord, taking the Licence of The Ship Inn, Foulsham, on the 9th September 1926.
www.norfolkpubs.co.uk/norfolkf/foulsham/foulsh.htm
Unfortunately the death of a George Tann, aged 54, was recorded in the Aylsham District of Norfolk in the October to December quarter, (Q4), of 1933. The 1934 Probate Calendar records that George Tann, of The Ship Inn, Foulsham, Norfolk, died on the 22nd December 1933. Probate was granted at the Norwich Court on the 23rd January 1934 to Elizabeth Tann, widow. probatesearch.service.gov.uk/Calendar?surname=Tann&ye...
Elizabeth would relinquish the licence on the Ship Inn by the end of March 1934 – see the Norfolk Pubs webpage.
"Sweet and Simple"
I've been shooting a lot of film recently, so be prepared for an overload in the next few days.
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported
Snow White and her Prince have now been fully deboxed. They are posed standing, supported by the built-in doll stands in the base of the display case.
This regular version of the Snow White and the Prince Disney Fairytale Designer Collection Doll Set has the same two base dolls as the D23 special edition dolls that I reviewed earlier. That is the dolls themselves are identical in every way (except for the serial numbers on the back of the Prince dolls). They also have outfits of almost identical designs, but made of different materials and with differing colors. So the dolls have different looks, especially the Snow Whites.
Snow White has the body of a 2012 Disney Store Classic Princess doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is missing the usual manufacturer's marks printed on Disney limited edition dolls, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. She has a pale complexion, the same as the 2012 Snow White, with whom she shares the same body. However, her neck joint has more freedom of movement, especially downward, and her painted on panties are deep golden yellow, much darker than the 2012 Snow White.
Her face mold appears to be the same as the 2012 and 2013 Classic Snow White, but with a considerably different face paint than either of them. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character.
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a small amount of hair product applied just above her forehead, to a thin strip of her hair. In my doll, that strip keeps on separating from the rest of her hair. I haven't been able to integrate it with the rest of her hair; perhaps I will have to apply more hair product to keep it place. There is a thin bright red satin ribbon around the top of her head that ends in a small bow at left side of her head.
Her outfit is a take on her traditional Princess gown. Her bodice and skirt are separate pieces. The bodice is dark blue velvet with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. The floral design is similar to the D23 doll, but differs in its details. She has puffy sleeves of the same dark blue velvet, with separate ribbons of bright red satin that float over the velvet. The sleeves have black lace cuffs decorated with gold hearts, and the oversized collar is pure white lace folded in a fan-like manner behind her neck and head. Her skirt is dark golden taffeta with gold embroidering incorporating fleur-de-lis, flowers and hearts. The embroidery in the skirt is identical to that of the D23 doll. The taffeta gives the skirt has a wrinkled, antique appearance. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two spots at the hem, which I chose to leave alone for now. It is also sewn to the waist band of the skirt, so it is a permanent part of the skirt. She is wearing golden tan flat shoes (or slippers), the same as the D23 doll. It is a beautifully designed and beautifully made outfit that is a darker and more ornated version of the Princess outfit of the movie character.
The Prince appears to have the standard Disney Store Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are large, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
The Prince's outfit is very well made and fitted to his body. It consists of a dark blue faux leather vest, a bright red velvet and satin cape with gold piping permanently attached at the shoulders of the vest, a dark blue faux leather belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look and creases. In the scabbard is a steel gray sword with a brown handle. The sword is thin and very flexible. It was slightly bent out of the box, but was easily bent back into shape. The D23 Prince's vest is much thicker, and feels much more like real leather than this Prince doll. But this Prince has an outfit that is much closer in color to the movie character. He looks great in his outfit, and very dashing, but I wish his expression had more emotion, and was more cheerful.
Snow White and the Prince - Limited Edition Doll Set
Disney Fairytale Designer Collection
US Disney Store
Released and purchased in store on August 20, 2013.
Released online August 21, 2013.
$129.95 US
#558 of 6000
First Look
I will photograph the set boxed, during the deboxing, and fully deboxed. I will also pose the dolls next to comparable dolls, for instance the Gold D23 Snow White doll set.
Product information from the US Disney Store website:
Snow White and the Prince Doll Set - Disney Fairytale Designer Collection
$129.95
Item No. 6070040900883P
Fairest two of all
With lips red as the rose and skin as white as snow, the Princess has never looked fairer. Paired with her handsome Prince, this stunning set of Disney Fairytale Designer Collection dolls will be cherished happily ever after.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
As part of the Disney Fairytale Designer Collection this pair of Snow White and Prince dolls were carefully crafted by artists inspired by Walt Disney's 1937 classic, Snow White and the Seven Dwarfs. The original Disney Princess and her Prince have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
•Global Limited Editon of 6000
•Includes Certificate of Authenticity
•Romantic side-swept hair
•Dramatic lace collar
•Elaborately embroidered velvet bodice with puff sleeves with red satin detailing
•Layered gown ornately decorated with golden gemstones, taffeta, lace, and embroidered foliage
•Dramatic make-up and rooted eyelashes
•Red bow headband
•Prince features velvet cape
•Satin shirt with faux leather waistcoat and belt
•Boots and sword
•Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the name of Snow White and the Prince
•Includes special Disney Fairytale Designer Collection Gift Bag
•Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
•Plastic / polyester
•Snow White: 11 1/2''
•Prince: 12'' H
•Imported