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The Kalingas are the indigenous peoples of Kalinga, Philippines. They are generally known to be tall, dark-complexioned, and lissome with high bridsed noses. Physically they are very sturdy and well-built so that their war-like characteristics make them more like soldiers. They are believed to be descendants of the second group of Malays who came to the islands, as presented in Philippine history books.
The name Kalinga is believed to have come from Ibanas Kalinga and Gaddang Kalinga which both mean "headhunters." The Kalingas must have acquired their name because of their tradition of headhuntins during tribal wars.
The Kalingas settle on levelled or terraced areas on the slopes of steep mountains near rivers and streams with free, clear running water through the Chico, Pasil, Tanudan rivers with wide plateaus and floodplains and a large portion of open grass lands.
Many villages or in Kalinga are located in strategic areas where the villagers can be forewarned of intruders, or where the surrounding terrain is rugged and form a natural defense because of "tribal wars". Tribal wars occur when a bodong peace pact system was broken or violated.
The bodong is the most admirable and efficient Kalinga institution. It is a peace pact or treaty between two tribes, wherein the Pagta or laws on inter-tribal relations are made. The bodong is also the Magna Carta of the Kalingas.
The main source of livelihood among the Kalingas is the payew(ricefields) and the uma (swidden farm). Aside from food production, cattle are pastured there, and poultry is raised in the backyard. Small fish (gadiw), shell, and marine life are taken from the rivers. Men hunt for wild pigs, deer, and wild fowl in the forest using spears, indigenous traps or rifles. Fruit trees, coconut, coffee, and bananas are grown while sugarcane is planted and made into basi(wine). Other economic activities among Kalingas are cloth and basket-weaving, blacksmith, and pottery.
The Kalinga household consists of a nuclear family and sometimes, an aged grandparent. In general, the Kalingas show great respect for elders and they are clannish.
The Kalinga society may be stratified into lawa or kapus(poor) and the baknang(wealthy). Among the signs of prestige and wealth are possessions of several ricefields, working animals, heirlooms like china plates and jars, agate head/necklaces, and brass gongs.
The identification of self with the kinship circle could be such that whatever an individual does is the responsibility of the group, and whatever threatens the security of the group must be opposed by the individual.
It had been quite a few hours since Krishna jumped into the river and all villagers were worried about Krishna…
It happened long, long ago. There was a small village by the name of Vrindavan, in India. There was a dark-complexioned, beautiful little boy named Krishna, who lived in this village, with his parents. His father, Nandbaba, was the village head while his mother, Jashoda, looked after the family.
There was a river named Yamuna, near their village, on the banks of which, the kids played all kinds of game; all day. But, these days, the villagers advised their kids not to go near this river after Kalia Naag devoured some of the village kids.
Kalia Naag was a huge snake with five heads and it was so poisonous that the waters of the river, Yamuna, turned green due to the intensity of the poison of this snake. Kalia Naag used to devour kids of the village when they disturbed him from his sleep, even if by mistake. Villagers were frightened to face this snake and so, kept away from this river.
One day, Krishna asked his mother for a ball. “Mother, please give me the ball so that me and my friends can go and play with it. Its holiday time and we are all getting bored, sitting inside the house.” His mother tried to ignore his pleas, but after sometime, she gave up and gave Krishna the ball, but, at the same time, she strictly instructed him not to go near the river and play
Having got the ball, Krishna was just too excited to pay any heed to his mother’s warning and he nodded his head absent-mindedly and off he ran over to his friends.
His friends were eagerly waiting for him to get the ball. They decided to play the catch and throw game they had played innumerable times. It was one of their favorite games. No one knows if a short time passed by or long, but someone threw the ball and it landed straight on top of the tree on the riverbank and got entangled in its dense branches. No one had the courage to climb on top of the tree to fetch the ball, as the tree was right above the river, where Kalia Naag, the five-headed serpent was believed to live. They had heard of the stories of kids disappearing while playing on the river bank and they did not want to risk their lives. But, Krishna was not to be frightened by these stories. He told his friends, “Friends, do not worry. I have heard the stories too about Kalia Naag devouring some of our village kids while they played on the river banks. But, I don’t believe in all this. This is just to scare us and keep us away from the riverbank and save us from drowning. And, even if it were true, that Kalia Naag has to be taught a lesson so that never again would any such snake or demon try and harm our villagers. Dear friends, do not be afraid of anything. I will climb the tree and fetch the ball for us to continue playing.” His friends pleaded with him, “Please Krishna, don’t do this. The snake may harm you. We would not be able to show our faces to your parents. We all love you so much; we wouldn’t want any harm to occur to you. We don’t want the ball. We will pool in money and we will buy ourselves a new ball. Krishna, listen to us, please don’t go near the riverbank.” But, unfazed by the pleading and fear of his friends, Krishna made a decision to go and fetch the ball. He climbed up the tree, slowly and carefully treading on the coarse surface of the tree trunk and soon, he reached the branch where the ball was. He shouted happily to his friends, “Look I got it!” and showed off the ball to his friends. In his excitement, he lost his balance and fell into the river. There was complete silence. All his friends were too shocked to do anything. They watched as the turbulent waters of Yamuna engulfed Krishna. There was nothing they could do to save him. They ran to his parents and informed them of the accident and soon, the whole village had gathered near the riverbank and frantically waited for any signs of the kid. They were all too scared to venture near the river. Jashoda had gone completely hysterical worrying about her son. They had to hold her back to stop her from jumping in the river herself to save her son, who was nowhere in sight.
It had been quite a few hours since Krishna jumped into the river and all villagers were worried about Krishna…
There, as Krishna fell into the river and went deep into the waters, he stepped by mistake on one of Kalia’s heads and awakened Kalia. Furious, Kalia screamed, “Who is this, who has dared to step on my head? I will not forgive him. I will eat him up in one straight gulp and ensure that he is fittingly punished for his deed. How dare he disturb me in my slumber?”
He was about to tilt his head and topple Krishna, when Krishna overpowered him by catching hold of his tail and neck. During the process, the snake hit Krishna hard on his foot with his tail and hurt him but still, Krishna did not give up. He held his tail high in one hand and danced on the serpent’s head. However hard Kalia Naag tried, he couldn’t overpower Krishna. He realized that Krishna was no ordinary human being. He begged of Krishna not to kill him. “Oh young lad, please do not kill me. I understand that you are no ordinary human being. Please tell me who you are.” Krishna smiled and showed him his real form. Krishna was none other than the incarnation of Lord Vishnu. Kalia Naag bowed before him and requested him to pardon his life. Krishna smiled, “Kalia Naag, I spare you your life but in return, I want you to never again harm any creature.” To this, Kalia Naag agreed and apologized for his wrong deeds. Lord Vishnu then came back to his human form and dancing on top of Kalia’s head, he rose above the waters of Yamuna. Seeing him alive and dancing on Kalia’s head, all villagers cheered him while his parents had tears of joy in their eyes. They were all amazed to see this young lad come back alive victoriously winning over the dreaded Kalia Naag. They thanked God for the miracle. They were all also relieved that their village and every other creature was now safe and did not have to fear going near the river bank. Kalia Naag would never again harm them, all thanks to Krishna, the brave and chivalrous son of Nandbaba and Jashoda.
Moral: Good always wins over the evil. Even God doesn’t support the evil.
Hunzakuts, famed for their light complexion and even lighter eyes, trace their myth of origin back to Alexander the Great -- the Macedonian conquerer.
Here a young girl peels some yellow carrots and offers us some as we walk by her along an elevated path in Karimabad, Hunza.
Location: Karimabad, Hunza, Northern Areas, Pakistan
I may look like a child,with this fare complexion
But all you do in this forest, may come to my attention.
For I am queen of the fishies.
Protector of all.
And we shall never fall.
I once met a boy,down by the pond.
Who was cruel indeed,and from far beyond.
He'd lean down and hoist them,between thumb and forefinger.
Ripping their poor tails off,without even a moment to linger!
Fury became me and I lifted my wrist.
And I gave him a bop,and even a twist.
That mean boy sputtered and hissed.
And then he became a llama.
Details- fleshriddenkisses.blogspot.com/2015/01/curse-of-llama.html
Event: Bikini Under The Bridge 2010 (Bikini! 2010)
Location: The Power House Arena, Brooklyn, NY
Date: July 11, 2010
Overview of Bikini! 2010
The host of the show was Lu Celania Sierra, supermodel, choreographer, actress, producer, and runway coach for the Miss USA and Miss Universe pageants. Performances by Kamsha (Pop Artiste) and Mr. Lexx (Dancehall Artiste). The show featured eleven designers, five presented at the 5:00 pm show and six at the 7:00 pm show.
Designers In The Order They Presented
5:00 pm Show
1. Richnits
2. Omega 98
3. House of Culture
4. Niki Chin Couture
5. Brazilian Bezel
7:00 pm Show
1. Yard Rock
2. Chila For Fun
3. Me
4. Swiyyah Couture
5. Samali
6. Derek Moore
Models
Taylor Yu, Josie West, Rebecca Leigh West, Jena Mroz, NUBIA, LaShaye Moore, Felicia Greene, Janice Pugh, Shanice Thompson, Safia McNeishe, Laticha Williamson, Ashley Toppin, Jennifer Harrison, Kohcoa, Karmarie Lamonth, Latoya Davis, Jasmine Williams, Regena Williams, Sheriann Harding, Juanita Murray, Maybelline Canela, Laura Skemaite, Falone Jean, Janelle Victor, Colleen Artherly, LULU, Shakyra LaShae, Shirl, Danielle Edmond, Bar Drori, Lauren Waddell, Liane Boyko, Laura Savy, Fumie Seki, and Suhailah Rivera.
Make-up
Face To Face Artistry
Hair
Marcy Image
Sponsors Affiliated With Bikini! 2010
VIP Bar and Grill, Vinnie's, Crystals, Organic Root Stimulator, Chrome Azzaro, Vera Moore, Capital Records, YNTS, No 1. Front Street Restaurant, Pop Chips, BCW, One Caribbean Radio, Carivibez TV, Thompson and Thompson, Complexion Magazine, and Revenge Fashion Magazine.
Bikini Under The Bridge is a JRG Entertainment event. For more information on Bikini Under the Bridge visit:
JRG Entertainment
Live life in fashion.
Revenge Fashion Magazine
A Passion for Empowerment™
www.RevengeFashionMagazine.com
Royal Coronation Aurora is fully deboxed, and is posed standing, supported by a Kaiser stand. She can free stand, but is very unstable that way. Photographed in daylight.
Review of Royal Coronation Aurora Doll
Her face is pretty, but bland and generic. She only has a passing resemblance to the movie character, as portrayed by Elle Fanning. She doesn't have very realistic features, but looks like an ordinary doll painted to look like an animated character. She has a light complexion, small blue green eyes gazing straight ahead, brown eyebrows, small straight nose, light pink lips on a small mouth, large chin, and light rouge on her cheeks.
She has long golden blonde hair that reaches her hips. There is a solitary long curl hanging from her left side. The rest of her hair is slightly wavy, and is grouped in a single mass, which I left alone. It would look better if it were combed out, but I was afraid that it might get frizzy if I attempted to do so. The hair is shiny and soft, and doesn't appear to have any hair product.
The dress is golden brocaded satin, with a floral design. The underside is very light tan in color. There is also a painted floral overlay in pink and green, which is only in the front of the dress (the front of the skirt and bodice). There is golden lace trim at the hem, waist and collar and cuffs. Her collar and cuffs end in white organza. The skirt is pleated, and almost floor length. The bodice has a high waist, with a golden belt sewn around it. Her sleeves are full length. There is a over sized train sewn to the back of the dress, just below the waist. It made of the same material and has the same decoration as the front of the skirt. Its underside is fully lined with gold satin. The dress looks and feels luxurious, and fit for royalty.
She is wearing tan colored heels, with a simulated strap and an unpainted embossed floral design. She is wearing a gold colored plastic crown that is made to look like a floral wreath, that goes halfway around her head. It is secured only by two T-tab fasteners, so it is not meant to be removed or used on other dolls.
Her body is made of hard plastic throughout. She has seven points of articulation: her neck, shoulders, elbows and hips. Her hands are permanently tilted back to make the standard Princess pose. Her feet are fixed at an angle to wear high heels. Her head can turn 360 degrees around, and can tilt up about 20 degrees, and tilt down 10 degrees. Her arms can swivel about the shoulders 360 degrees, and can tilt about 20 degrees. Her forearms can swivel around her elbows almost 360 degrees, but cannot go completely around. They can tilt back about 20 degrees, and forward about 60 degrees. Her hips can swivel 90 degrees both back and forth, and can tilt out about 30 degrees. She has white painted on underwear, which looks like a strapless one piece bathing suit.
Packaging and Deboxing
It was easy to debox Coronation Aurora, compared to most Disney Store dolls. First step was to remove the clear plastic cover from the box, by cutting the tape around the edges, and lifting the tabs free from the cardboard. Aurora is standing on a small cardboard spacer. Behind her is a printed background from the movie, which is common to all the dolls in this series. There was only plastic T-tab fasteners securing her to the backing and the plastic spacer. It was possible to reach all the fasteners and snip them off, without having to remove the large plastic spacer. It turned out that the fastener that was supposed to go into the back of her head didn't make it past her hair, so she didn't have a post sticking out of her head when I snipped the fastener loose. The other end of the fastener was just laying loose in her hair. There was tissue paper around her legs, but only up to her knees, to make the skirt look fuller in the box.
Purchase Details
I just received the four available Jakks Pacific dolls from the Maleficent movie in single doll packages. I ordered them from Toys R Us on Friday night and got them Tuesday, with free shipping. I appreciated the quick shipping, compared to the Disney Store. The dolls are the following, with links to the TRU site. All the dolls are 11 1/2'' H. The Coronation dolls are $39.95 each, the other two are $19.95.
via
Many people (mostly women) are looking for the best skin lightening cream. Some of them wanted to whiten their whole body, while others are only concerned about a small dark area that needs to be lightened. There are several brands of skin brightening cream and skin lightening lotion that are popular in the market today. All of those products contain various chemical components that can whiten, lighten and brighten the skin.
Skin creams reviews
Many women are also obsessed about whitening products like bleaching cream and underarm whitening cream. It is because most women are conscious about having fair and even complexion. They are always on the lookout for product reviews about the best whitening cream for the face and body.
Bleaching cream prices may vary depending on the brand. Some whitening cream and lotion brands may be more effective than others. Effectiveness may also depend on your skin type and the whitening components of the product.
If you are in the midst of an extensive selection of whitening products, you may become even more confused in choosing the best bleaching cream for face, body or underarm. To help you in choosing the right one, you must know what to look for in a whitening product.
The following are key ingredients that are found in whitening creams:
Vitamin C
Vitamin C is a kind of antioxidant. Many brands of whitening face cream contain vitamin C. It is effective in lessening the formation of melanin (a pigment that darkens the skin). It also gives the skin a healthier glow.
Kojic Acid
Kojic Acid is an effective skin lightening agent. It comes in several forms, such as creams, soaps, lotions and serums. It has two kinds: kojic acid dipalmitate and kojic acid. Kojic acid is more effective than kojic acid dipalmitate. The only downside is that kojic acid oxidizes easily. Oxidizing happens in all kinds of whitening products. It is the process when the product changes in color and loses its effectiveness. Kojic acid soap does not oxidize like kojic acid lotions and creams.
Vitamin B3
Vitamin B3 is also known as niacinamide. It is effective in addressing skin inflammations due to pimples and acne. It is perfect for underarm whitening. It is also effective in whitening other dark areas, such as lower butt, bikini area and inner thighs.
Glycolic Acid
Glycolic acid is a type of alpha hydroxy acid. It is an effective skin exfoliant. It can help in brightening the skin.
Lactic Acid
Lactic acid is another kind of whitening agent. It can help in lightening sensitive skin.
Alpha Arbutin
Alpha arbutin is considered as the safest and most effective skin whitening agent. It gives a more natural whitening effect. It gives a brighter and suppler skin. It has two kinds: alpha and beta. Alpha arbutin is more effective than beta arbutin.
The following are types or forms of skin whitening products:
Cream
Whitening creams are good for dry and combination skin types. It has a rich consistency and it keeps the skin moisturized.
Serum
Whitening serums are lightweight and thinner than creams. It is perfect for oily skin. It can also be layered with other skin care products.
Ointment
Whitening ointment is greasier than other forms of whitening products. It is more effective and penetrates the skin much better than creams.
Now that you are well informed about the different components and forms of whitening products, here are some examples of natural ingredients that you can use in making your own natural skin lightening cream.
Orange
Oranges contain vitamin C that can help in reducing melanin formation. It has bleaching properties that can lighten the skin. Mix together a pinch of turmeric and 2 tablespoons of orange juice. Apply the mixture onto your skin and let it stay for 30 minutes before washing it off.
Yogurt
Yogurt is derived from milk. So, it contains lactic acid that can gently lighten the skin. It can be used for all skin types. Simply apply yogurt on your skin and let it stay for a few minutes before rinsing with lukewarm water.
Honey
Honey is a natural moisturizing and bleaching agent. It also has antibacterial properties that can help in fading acne scars and age spots. You can apply pure honey for moisturizing. But you can also mix a teaspoon of honey with other ingredients like milk (one tablespoon), almond oil (half teaspoon) and lemon juice (one teaspoon). Apply the mixture onto the skin and leave it on for 15 minutes before rinsing with cold water.
Gram Flour
Gram flour can help in absorbing the skin’s excess oil. It can also keep the skin’s natural moisture. It can also help in lightening the skin. Mix a small amount of gram flour with some rose water or water to create a thick paste. Apply it onto your skin and leave on until it dries. Then, rinse it with water.
To get the best results, you must make sure that you follow a good skin care regimen. Aside from the regular cleanse-tone-moisturize routine, you must also do the following:
Exfoliate
Exfoliate your skin every other day or twice a week. It will help in removing the top layer of dead skin cells on your skin. It will also allow the whitening product to penetrate your skin much easier.
Apply Sunscreen
Regular application of sunscreen is the key to keeping your skin protected from harmful UV rays. Make sure to apply 30 minutes before sun exposure and reapply every 2 to 3 hours. All of your effort will be put to waste if you do not apply sun protection.
Natural skincare tips
The post What You Need To Know About Bleaching Cream appeared first on Find The Best Skin Lightening Cream.
skinlighteningcreams.net/what-you-need-to-know-about-blea...
Gua sha is a very old Chinese process that is considered to support the flow of “chi” or energy in the complexion. Gua sha literally means "to scrape sand," which refers to the light, marked bruising on the skin after therapy. To know more, watch the complete video.
Learn about Gua Sha Facial Massage: www.drscottdenny.com/blog/263067-5-things-you-should-know...
For more information, give us a call or schedule an appointment.
Integrative Hospital Associates
4801 S University Dr., #3010
Davie, FL 33328
(954) 473-8925
Appointment - www.drscottdenny.com/contact
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23/817 Rfm
A. MAHAN
Rifle Brigade
Died 21 July 1923
Aged 34[sic]
Old plaque states:
“beloved husband of Nellie MAHAN”[5]
Arthur MAHAN
Block 37 Plot 298
Aged 33 years
Born: NZ
Occupation at death: Photographer
Complexion: fair; hair: brown; height: 5ft 5.5 in; eyes: blue.
Cause of death: Atrophic Cirrhosis of Liver – death due to war service
Service number: 23/817
First known rank: Bugler
Previously served in Oamaru Rifles for 4 years
Occupation at enlist: Photographer, Mahan and Sons, Oamaru
Next of Kin: Robert MAHAN, father, Wansbeck Road, Oamaru
C Company , 1st Battalion, Trentham Regiment
Total service: 3 years 288 days
Theatres of Operation: Egyptian 1915-16; Egyptian E.F. 1916; Western Euro 1916
Address at enlistment: Wansbeck Street, Oamaru
15 Sep 1916: Wounded in France – gun shot wound right arm, face and mouth
27 Sep 1916: Admitted to NZ General Hospital, Brockenhurst
15 Nov 1916: Admitted to Convalescent Camp, Hornchurch
6 Jan 1917: Admitted to No. 2 General Hospital, Walton
16 Jan 1917: Admitted to Convalescent Camp, Hornchurch
10 March 1917: Marched into Codford
26 April 1917: Admitted to No. 2 General Hospital, Walton
4 Sept 1917: Admitted to NZ General Hospital, Hornchurch
6 Nov 1917: Marched into Camp, Brocton
3 Dec 1918: Embarked for NZ per Tahiti, Liverpool.
9 Feb 1919: Discharged no longer fit for war service – gunshot wound to upper jaw
His Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/32520.detail?O...
FAMILY INFORMATION:
Robert MAHAN – Arthur’s father, also had military connections
“Major Robert Mahan, who is on the staff of No. 3 Battalion, Otago Rifles, has had a long experience as a volunteer. He served five years in the Timaru Artillery Cadets, and joined the Oamaru Rifles as a private in 1882, on his arrival in the district. Shortly afterwards he gained the rank of sergeant. At the time of the Russian scare Mr. Mahan transferred to the Naval Artillery, and was soon afterwards elected sublieutenant. Two years later he became lieutenant-commanding, and afterwards had charge of the corps. He is a son of Mr. A. Mahan, schoolmaster, Geraldine, and was born in 1862, in County Longford, Ireland. After completing his elementary education he learned the business of a photographer, and has been well-known in Oamaru since 1886. He is referred to in another article in connection with the firm of Mahan and Muir, photographers.”[1]
Councillor Robert Mahan , of the Oamaru Borough Council, has been in business for some years as a photographer, and is senior partner of the firm of Mahan and Muir. He is further referred to in connection with his firm, and as a volunteer officer.[2]
Photographers.
Mahan And Muir (Robert Mahan and Frederick Bailey Muir), Photographers, Thames Street, Oamaru, There is a branch at Timaru, where Mr. Muir, who joined the firm in 1903, is in charge, Mr. Mahan, who founded the business, still has the active management in Oamaru, where he established himself a good many years ago. He is referred to elsewhere in this volume in connection with the volunteers and the Oamaru Borough Council, of which he is a member.[3]
Archibald MAHAN – father of Robert and grandfather of Arthur
Mr. Archibald Mahan, Old Colonist, was born in Carigallan, County Leitrim, Ireland, in 1834. He was educated in Dublin, and brought up in the teaching profession. After his college course he went to County Longford, where he taught for fifteen years. While there he married Miss Cody. Mr. and Mrs Mahan arrived at Lyttelton, by the first trip of the “Duke of Edinburgh,” in 1874. After teaching for a short time in the Main School, in Timaru, Mr. Mahan went to Waitohi Flat, where he opened the local public school. He was teaching in South Canterbury for twenty-five years, within a radius of twenty-five miles from Timaru. Mr. and Mrs Mahan had fourteen children, eight sons and six daughters, eleven of whom are living. Mr. Mahan retired from the teaching profession in 1899 and started farming on the Rangitata, where he remained until his death in April, 1901.[4]
SOURCES:
Christchurch City Council cemeteries database
heritage.christchurchcitylibraries.com/Cemeteries/interme...
Military records:
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[1]
nzetc.victoria.ac.nz/tm/scholarly/tei-Cyc04Cycl-t1-body1-...
[2]
nzetc.victoria.ac.nz//tm/scholarly/tei-Cyc04Cycl-t1-body1...
[3]
nzetc.victoria.ac.nz//tm/scholarly/tei-Cyc04Cycl-t1-body1...
[4]
nzetc.victoria.ac.nz//tm/scholarly/tei-Cyc03Cycl-t1-body1...
with portraits of Archibald and his wife.
[5]
NZ Dept Internal Affairs Historic BDM Indexes. Nellie Edna nee TREASURE marriage registration 1922/8104
Royal Coronation Aurora is fully deboxed, and is posed standing, supported by a Kaiser stand. She can free stand, but is very unstable that way. Photographed in daylight.
Review of Royal Coronation Aurora Doll
Her face is pretty, but bland and generic. She only has a passing resemblance to the movie character, as portrayed by Elle Fanning. She doesn't have very realistic features, but looks like an ordinary doll painted to look like an animated character. She has a light complexion, small blue green eyes gazing straight ahead, brown eyebrows, small straight nose, light pink lips on a small mouth, large chin, and light rouge on her cheeks.
She has long golden blonde hair that reaches her hips. There is a solitary long curl hanging from her left side. The rest of her hair is slightly wavy, and is grouped in a single mass, which I left alone. It would look better if it were combed out, but I was afraid that it might get frizzy if I attempted to do so. The hair is shiny and soft, and doesn't appear to have any hair product.
The dress is golden brocaded satin, with a floral design. The underside is very light tan in color. There is also a painted floral overlay in pink and green, which is only in the front of the dress (the front of the skirt and bodice). There is golden lace trim at the hem, waist and collar and cuffs. Her collar and cuffs end in white organza. The skirt is pleated, and almost floor length. The bodice has a high waist, with a golden belt sewn around it. Her sleeves are full length. There is a over sized train sewn to the back of the dress, just below the waist. It made of the same material and has the same decoration as the front of the skirt. Its underside is fully lined with gold satin. The dress looks and feels luxurious, and fit for royalty.
She is wearing tan colored heels, with a simulated strap and an unpainted embossed floral design. She is wearing a gold colored plastic crown that is made to look like a floral wreath, that goes halfway around her head. It is secured only by two T-tab fasteners, so it is not meant to be removed or used on other dolls.
Her body is made of hard plastic throughout. She has seven points of articulation: her neck, shoulders, elbows and hips. Her hands are permanently tilted back to make the standard Princess pose. Her feet are fixed at an angle to wear high heels. Her head can turn 360 degrees around, and can tilt up about 20 degrees, and tilt down 10 degrees. Her arms can swivel about the shoulders 360 degrees, and can tilt about 20 degrees. Her forearms can swivel around her elbows almost 360 degrees, but cannot go completely around. They can tilt back about 20 degrees, and forward about 60 degrees. Her hips can swivel 90 degrees both back and forth, and can tilt out about 30 degrees. She has white painted on underwear, which looks like a strapless one piece bathing suit.
Packaging and Deboxing
It was easy to debox Coronation Aurora, compared to most Disney Store dolls. First step was to remove the clear plastic cover from the box, by cutting the tape around the edges, and lifting the tabs free from the cardboard. Aurora is standing on a small cardboard spacer. Behind her is a printed background from the movie, which is common to all the dolls in this series. There was only plastic T-tab fasteners securing her to the backing and the plastic spacer. It was possible to reach all the fasteners and snip them off, without having to remove the large plastic spacer. It turned out that the fastener that was supposed to go into the back of her head didn't make it past her hair, so she didn't have a post sticking out of her head when I snipped the fastener loose. The other end of the fastener was just laying loose in her hair. There was tissue paper around her legs, but only up to her knees, to make the skirt look fuller in the box.
Purchase Details
I just received the four available Jakks Pacific dolls from the Maleficent movie in single doll packages. I ordered them from Toys R Us on Friday night and got them Tuesday, with free shipping. I appreciated the quick shipping, compared to the Disney Store. The dolls are the following, with links to the TRU site. All the dolls are 11 1/2'' H. The Coronation dolls are $39.95 each, the other two are $19.95.
The monument has a distinctive plan of a square surrounded by an octagonal wall.
External detail of the mausoleum. A private cemetery of historical interest in St Margarets/ Isleworth. A full history and description is included in the set. This mausoleum which is now a grade II* listed building, was originally commissioned by the notorious eccentric of his day, the 2nd Earl of Kilmorey (also nicknamed as 'Black Jack’ Needham due to his dark complexion at times), .
The monument was built in 1854 for his mistress, Priscilla Hoste, who had originally been his ward of court.
They suddenly eloped abroad and then eventually returned to Twickenham, where she had a son called Charles in 1844. Unfortunately, Priscilla then became seriously ill in 1851 with a terminal heart condition, with the Earl deciding to set about constructing a suitable memorial for her in 1853.
She eventually died in October 1854, and was interred in secret, with no-one knowing about it for years afterwards.
A noted Victorian architect of his time, Henry Edward Kendall was employed to design the mausoleum, which he did in the popular and fashionable Egyptian revival style. This Egyptian design is believed to have been derived from a plate in a French book ‘Description de I'Eqypte ’ published in 1809. The shape of the building relates to the shrines at the heart of Egyptian Temples - the place where a treasured image of a god was installed.
Inside the Mausoleum is a fine white marble carved relief of the death bed scene of Priscilla, with the young son Charles and the Earl in attendance. It was carved in Rome by portrait sculptor Lawrence Macdonald, using more than one artistic style.
It is thought that the pink and grey granite Egyptian style mausoleum cost around £30,000? (a very large sum of money in the 1850’s!) not including the subsequent moving costs.
The Mausoleum was originally erected on a plot that the Earl had secured at the Brompton Cemetery in London, then subsequently dismantled, moved and re-built twice.
First when the Earl moved to Woburn Park Chertsey in 1862, and being of unconventional nature and restless as well; six years later he was on the move again. The next time, it was moved to its present site at Twickenham in 1868, where he lived in Gordon House; eventually to be part of the Brunel University complex which has subsequently been re-developed.
In his day, Lord Kilmorey owned all the land between the mausoleum site and Gordon House. According to some rumours and fact, and being the true Victorian eccentric; some tunnels were built, the main one apparently having a tramway between Gordon House and the Mausoleum. This ensured his privacy could be maintained, and would not have to leave his own property when the time came for him to join Priscilla in the Mausoleum. It is said that ‘when in the mood’ he would summon his servants, and in secret, dress in ‘white garb’ and proceed through the tunnel to the mausoleum, where he would lie in his coffin. He lived to the grand age of 92, and in 1880 on his death, his final wishes were carried out.
Since then the mausoleum has had a chequered history, and the site passed eventually to Hounslow Borough Council on condition that access would be maintained, although it was not for some time that anyone entered this hidden burial site.
In an extremely neglected condition, responsibility for the site was passed to Richmond Council, and the maintenance of the grounds to The Environment Trust for Richmond upon Thames, where volunteers have worked exceptionally hard over several years, to get the gardens into the condition you see them today.
The Postcard
A postcard bearing no publisher's name that was posted in Shrewsbury on Thursday the 17th. September 1903 to:
Mr. N. Bailey,
2, Lumley Road,
Chester.
Although the card has a divided back, the message was written on the front of the card:
"17 Sep 1903
Hope this will reach you.
I am giving it a boy to
post @ Shrewsbury
Station.
Kind regards to all.
Hurry up to get well".
There is also an unreadable signature.
Welsh National Dress
The popular image of Welsh national dress, i.e. that of a woman wearing a tall black hat with a red cloak over a decorative checked apron, is one which largely developed in the 19th. century as part of a conscious revival of Welsh culture during a period when traditional Welsh values were under threat.
Dolores Costello
So what else happened on the day that the card was posted?
Well, the 17th. September 1903 marked the birth in Pittsburgh, Pennsylvania of Dolores Costello
Dolores Costello was an American film actress who achieved her greatest success during the era of silent movies. She was nicknamed "The Goddess of the Silent Screen" by her first husband, the actor John Barrymore.
She was the mother of John Drew Barrymore and the grandmother of Drew Barrymore.
Dolores Costello - The Early Years
Dolores Costello was the daughter of actors Maurice Costello and Mae Costello (née Altschuk). She was of Irish and German descent.
Dolores had a younger sister, Helene, and the two made their first film appearances in the years 1909–1915 as child actresses for the Vitagraph Film Company.
They played supporting roles in several films starring their father, who was a popular matinee idol at the time. Dolores Costello's earliest listed credit is in the role of a fairy in a 1909 adaptation of Shakespeare's A Midsummer Night's Dream.
Dolores Costello's Acting Career
The two sisters appeared on Broadway together as chorines, and their success resulted in contracts with Warner Bros. Pictures.
In 1926, following small parts in feature films, Dolores Costello was selected by John Barrymore to star opposite him in The Sea Beast, a loose adaptation of Herman Melville's Moby-Dick, after which Warner soon began starring her in her own vehicles. Meanwhile, she and Barrymore became romantically involved, and married in 1928.
Within a few years of achieving stardom, Costello had become a film personality in her own right. As a young adult her career developed to the degree that in 1926, she was named a WAMPAS (Western Association of Motion Picture Advertisers) Baby Star, and had acquired the nickname "The Goddess of the Silver Screen".
Warners alternated Costello between films with contemporary settings and elaborate costume dramas. In 1927, she was re-teamed with John Barrymore in When a Man Loves, an adaptation of Manon Lescaut. In 1928, she co-starred with George O'Brien in Noah's Ark, a part-talkie epic directed by Michael Curtiz.
Costello spoke with a lisp, and found it difficult to make the transition to talking pictures, but after two years of voice coaching she was happy to speak before a microphone. One of her early sound film appearances was with her sister Helene in Warner Bros. all-star extravaganza, The Show of Shows (1929).
Dolores Costello as a Mother
Dolores' acting career became less a priority for her following the birth of her first child, Dolores Ethel Mae "DeeDee" Barrymore, on the 8th. April 1930, and she retired from the screen in 1931 to devote time to her family.
Her second child, John Drew Barrymore, was born on the 4th. June 1932, but the marriage proved difficult due to her husband's increasing alcoholism, and they divorced in 1935.
Dolores Costello - The Later Years
Dolores resumed her career a year later and achieved some successes, most notably in Little Lord Fauntleroy (1936), and The Magnificent Ambersons (1942). She retired permanently from acting following her appearance in This is the Army (1943), again under the direction of Michael Curtiz.
Making a rare radio appearance, Costello appeared as the Danish Countess Elsa on the radio program Suspense with an air date of the 28th. August 1943. The title of the episode is The King's Birthday, written by Corporal Leonard Pellitier of the US Army.
In 1939, Dolores married Dr. John Vruwink, an obstetrician who was her physician during her pregnancies, but they divorced in 1950. Costello spent the remaining years of her life in semi-seclusion, managing an avocado farm.
Her film career was largely ruined by the destructive effects of early film makeup, which ravaged her complexion too severely to camouflage.
In the 1970's her house was inundated in a flash flood which caused a good deal of damage to her property and memorabilia from her movie career and life with John Barrymore.
The Death of Dolores Costello
Shortly before her death, Dolores was interviewed for the documentary series Hollywood discussing her film career.
Dolores died at the age of 75 from emphysema in Fallbrook, California, on the 1st. March 1979, and was laid to rest in Calvary Cemetery, East Los Angeles.
Dolores Costello has a star on the Hollywood Walk of Fame for her contributions to Motion Pictures, at 1645 Vine Street.
Description: "Julia Brace-Deaf, Dumb, Blind, Girl-At the Hartford Asylum" article, author unknown.
Full text: Article Title: Julia Brace-Deaf, Dumb, Blind, Girl-At the Hartford Asylum
Article:
“By far the most interesting subject at present in the institution is the poor deaf, dumb, and blind girl, whose situation has been described in so beautiful and affecting a manner by Mrs. Sigourney. A charity box, the proceeds of which are designed exclusively for her support, is placed at the main entrance, which is certain no stranger can pass after viewing the utter desolation in which she has been left by nature, without dropping his mite. Her name is Julia Brace, and she is a native of the immediate neighborhood of the asylum. She is the only instance of so great a misfortune, of which any record is extant, except one European by the name of James Mitchell. He is so irritable that this does not apply to the present time.
Few experiments could be tried for his benefit; but Julia Brace, it is said, has been mild and docile from her childhood-although when I saw her, from some temporary vexation or indisposition she was evidently out of temper. She was seated at a table, her needlework in her lap. There is nothing disagreeable in her countenance, but her eyes, forever closed, create a deficiency of expression. Her complexion is fair, her smile gentle, and sweet, though of rare occurrence; and her person somewhat bent, when sitting, from her habits of fixed attention to her work. Many strangers have waited a long time to see her thread her needle, which is quite a mysterious process, and never accomplished without the aid of the tongue.
She was the daughter of exceedingly poor parents, who had several younger children to whom she was in the bait of showing such offices of kindness as her own afflicted state admitted. Not withstanding her blindness, she early evinced a close observation with regard to articles of dress, preferring among those which were presented to her as gifts, such as were of the finest texture. When the weather became cold she would occasionally kneel on the floor of their humble dwelling to feel whether the other children of the family were furnished with shoes and stockings, while she was without, and would express uneasiness at the contrast.
Seated on her little block, weaving strips of thin bark with pieces of leather and thread which her father in his process of making shoes rejected, she amused herself with constructing for her cat bonnets and bandykes, not wholly discordant with the principles of taste. Notwithstanding her peculiar helplessness, she was occasionally left with the care of the young children, while her mother went out to the occupation of washing. It was on such occasions that little Julia evinced not only a maternal solicitude, but a skill in domestic legislation, which could not have been rationally expected. On one occasion she discovered that her sisters had broken a piece of crockery, and imitating what she supposed would be the discipline of their mother, gave the offender a blow. But placing her hand upon the eyes of the little girl, and ascertaining that she wept, she immediately took her in her arms, and with the most preserving tenderness soothed her into good humor and confidence. Her parents were at length relieved from the burden of her maintenance, by some charitable individuals who paid the expenses of her board with an elderly matron, who kept a school for small children. Here her sagacity was continually on the stretch to comprehend the nature of their employments, and, as far as possible, to imitate them. Observing that a great part of their time was occupied with books, she often held one before her sightless eyes with long patience. She would also spread a newspaper for her favorite kitten, and putting her fingers on its mouth, and perceiving that it did not move like those of the scholars when reading, would shake the little animal, to express displeasure at its indolence and obstinacy. These circumstances, though trifling in themselves, reveal a mind active amid all the obstacles which nature had interposed. But her principal solace was in the employments of needle-work and knitting, which she had learned at an early age to practice. She would thus sit absorbed for hours until it became necessary to urge her to that exercise which is requisite to health. Counterpanes beautifully made by her, of small pieces of calico, were repeatedly disposed of, to aid in the purchase of her wardrobe. And small portions of her work were sent by her benefactors as presents into various parts of the union, to shew of what neatness of execution a blind girl was capable.
It was occasionally the practice of gentlemen, who from pity or curiosity visited her, to make trial of her sagacity by giving her their watches, and employing her to restore them to the right owner.
They would change their position with regard to her, and each strive to take the watch which did not belong to him-but though she night at the same time hold-
Publisher: Republican Advocate. National Gazette. Batavia, Genesee, Co., N.Y.
Date: 1831
Format: text
Digital Identifier: AG54-JB-0026
Rights: Samuel P. Hayes Research Library, Perkins School for the Blind, Watertown, MA
Edwin Hughes, (1830-1927).
Birth & early life
Born at Wrexham, Denbighshire, on the 12th of December 1830.
Enlistment
Enlisted at Liverpool on the 1st of November 1852.
Age: 21 years 11 months.
Height: 5' 8”.
Trade: Shoemaker.
Features: Fresh complexion. Hazel eyes. Sandy hair.
Service, discharge & pension
His horse was said to have been shot under him during the Charge and in falling was trapped under it, injuring his leg.
Sent to Scutari on the 11th of December 1854, was a "Cook" at the General Depot from the 29th of December and on being returned to the regiment on the 11th of May 1855, was sent to England on the 29th of May.
From Private to Corporal: 20th of May 1858.
Corporal to Sergeant: 1st of May 1863.
Re-engaged for 12 years further service on the 3rd of November 1864.
Appointed to Troop Sgt. Major on the 1st of March 1871.
Discharged from Colchester on the 24th of November 1873, "Free, at own request after 21 years service." His fellow N.C.O’s of the regiment presented him with a marble clock.
Served 21 years 24 days. In Turkey and the Crimea, 2 years. Canada, 2 years 11 months.
Conduct: "very good." Would, had he not been promoted, now be in the possession of four Good Conduct badges.
Never entered in the Regimental Defaulter's book. Never tried by Court-martial.
Aged 42 years 11 months on discharge.
Awarded a pension of 2/- per day.
He is shown on the Regtl." Married roll" from the 21st of February 1859. He and his wife Hannah (Ann) had four children by the 30th of April 1868.
He was enrolled in the Worcestershire Yeomanry as a Sgt. Instructor on the 10th of December 1873, Regtl. No. 69. He later became Drill Instructor on the 18th of October 1882 and remained in that post until the 9th of December 1885, when he was discharged, "on account of old age", having served a total of 33 years 66 days in the service, on the 5th of January 1886.
At the time of his going into the Yeomanry he was living at Hartlebury, Stourport, Worcestershire and after his discharge from the Yeomanry he went to live at Park Cottages, Alcester Road, Moreton, Birmingham.
Medals & commemorations
Documents confirm the award of the Crimean, Turkish, and the L.S & G.C. medal with a gratuity.
Entitled to the Crimean medal with clasps for Alma, Balaclava, Inkerman, Sebastopol and the Turkish medal.
A supplementary roll (undated) signed by Major Henry Holden shows him as being issued with the Crimean medal (with clasps for Alma, Balaclava and Inkerman) on the 7th of October 1855.
Awarded the Long Service & Good Conduct medal on the 19th of July 1871, with a gratuity of £5.
He was in receipt of 1d. per day allowance for "good shooting" during his service.
Was present at the Fleet Street offices of Mr. T.H. Roberts in June of 1897 for the Jubilee celebrations held there and signed the testimonial given to Mr. Roberts for his efforts on behalf of the veterans on that occasion.
Member of the Balaclava Commemoration Society in 1879.
Attended the Annual Dinners in 1895-1910-12 and 1913. He also received help from the "Robert's "Fund and in 1915 was granted a pension from the Royal Patriotic Fund. This fund ran out about 1925, but a special grant from the War Office enabled him to receive a pension until his death.
Medals placed in the market in March 2005 at DNW by one unmarried brother (of 4 elderly) in the Birmingham area. Agreement could not be reached over the medals ultimate disposal once one of the brothers had passed on, so it was agreed to sell them at auction. This from Susan Hughes and Michael Ball, a descendant in Weston super mare area.
Life after service
To live at Dod Oak, Worcestershire after discharge.
From an unknown newspaper report: "The sole survivor of the famous Charge of the Light Brigade at Balaclava celebrated his 96th birthday yesterday and is still in fairly good health. Sgt. Major Hughes, who was presented to the Duke of Connaught at a recent military banquet as the last survivor of the Charge (according to the official records) joined the 13th L.D in 1854 (sic) when he was despatched with his regiment to the Crimea and was soon thrown into the thick of the fighting. "I had my horse shot under me," he said in an interview recently. "But fortunately I was able to capture another horse, mount it and return to our lines. I was lucky, because I was terribly crushed in the fall I had." Later he fought at Inkerman, Alma and Sebastopol. After further service in India (sic) and Canada, Sgt. Major Hughes acted as Instructor to the Worcestershire Yeomanry when he retired on pension. During the last war a number of his grandsons carried on his fighting tradition, one being killed in action and another was seriously wounded whilst serving in the Queen Alexandra's Yorkshire Regiment as an officer. The Sgt. Major is spending the day quietly with his daughter at Blackpool.”
Death & burial
Becoming rather deaf towards the end of his life, Hughes died on the 18th of May 1927 at No. 64 Egerton Road, Blackpool, Lancashire, aged 96 years, and was buried on the 23rd of May in Blackpool Cemetery with full military honours. The cause of death was "Senectus". His daughter, Mary E., was present at and the informant of his death.
His grave, which in 1980 was partly overgrown, has a stone with the following inscription:
"In loving memory of Edwin Hughes. Died May 18th 1927 in his 97th year. The last survivor of the Charge of the Light Brigade at Balaclava, Oct. 25th 1854. Also of Hannah, wife of the above. Died February 8th 1899, aged 65 years. At Rest."
EJB: Their un-married daughter, Mary Gertrude, is also buried in the same grave-space.
Front cover:
Shafqat (~~ `Nostalgia' ~~), Diya (-diya-), Samia (neelgolapi) - three strikes. So, I am out.
Here I go
Prologue (when tagged by Nishi)
1.I am pot-belly, short, dark complexion, bald, old.
2.I have a very week memory for everything that I should remember.
3.I like to read books, any book – grammar to p***. Do not get time though!
4.I do not like to do any thing other than reading books and writing a few lines occasionally. I am a very lazy person.
5.I miss very much – my acting days. Last played – about 20 years ago. The drama team we formed more than 30 years ago, PATHASENA is still doing a wonderful job. I can not believe now-a-days that there were days when I worked under the direction of people like Paran Bandyppadhyay and Badal Sircar! Gone are those days!
6.I enjoy most now-a-days: Going through the wonderful posts of those who leave comments in my posts in flickr and putting a few words in their comment boxes just to share my enjoyment.
7.The most enchanting thing in life I found, even before I could sense it properly and still immersed in it – poetry.
8.I hate – thoughts of suffocation. I am claustrophobic!
9.Crushes – plenty. Can’t count! Got cured (please don’t push on it) after I had the last one! :)
10.I am a Gemini – a real one. Unbelievable opposite acts are very routine for me. It’s very tough to deal with me.
11.My most favorite quote "You talkin' to me?" delivered by the taxi driver Travis Bickle, played by Robert De Niro in the 1976 movie Taxi Driver.
12.Once again - I have always enjoyed the love and affection of women, always, all my life. Without them I could not be what I have been today – a completely spoiled and mostly happy person! Done!
Epilogue
Was I supposed to talk something about my photography? My photography – what’s there to talk about? Nothing, I say.
Back cover:
I tag –
…well, in my next post
(smile until it hurts :).
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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
Wearing V.Jhon
She is quite beautiful once you undress her and put her in colors that suit her complexion. Another unique looking Poppy. Just love her.
1ST N.Z.E.F.
23/2540 Sergeant
A[xel] ASKENBECK
Rifle Brigade
Died 16 September 1939
Aged 59 year[sic]
Block 3B RSA Plot 23
Born: 14 July 1880, Totara flat*
Occupation at death: Lawyer [this is probably 'sawyer' and is error on cemetery database].
Occupation at enlistment: Timber yardman for Butler Bros., Ruatapu
Next of Kin: Mrs Minnie ASKENBECK [wife], Ahaura P.O., Greymouth.
5ft 8 ¼ inches; 157 pds; Brown hair; hazel eyes; healthy complexion
“Linear scar about 3 inches long situated ion right side of chest. This is the result of an operation for empysemia[sic] five years ago.” [attack of pleurisy followed by Empysemia [sic].
No teeth: “Recruit is quite willing to be supplied with dentures at his own expense.”
Embarkation date: 1 April 1916
15 July 1916 charged with drunkenness and fined.
Foreign service: 3 yrs 176 days
Total service: 3 yrs 347 days
Discharged: 21 October 1919 discharged no longer medically fit for war service
Decorations:
British War Medal
[Victory medal crossed out with “deleted” written beside]
Awarded the MSM [Meritorious Service Medal] in 1919:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
“in recognition of valuable services rendered in connection with the war”
Axel passed the Junior Civil Service Examination in 1893
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
Appointed deputy registrar of Grey district [West Coast] in 1911 [1]
Grey River Argus , 3 April 1913, Page 4
At the Magistrate's Court yesterday before Mr. Felix Campbell, Justice of the Peace, Axel Askenbeck was charged that on or about the 10th day of October, 1912, at Greymouth, then being second clerk in the Magistrate's and Warden's Court at Greymouth aforesaid, then having in his possession as an officer of the New Zealand Government, the sum of £5 1 s in money received from Stratford, Blair and Company Ltd., did unlawfully steal the same contrary to the form of the Statute in such case made and proved Mr. F. Kitchingham appeared for accused. Detective Sergeant Campbell applied for a remand till Wednesday, the 9th inst. Which was granted. Accused was allowed bail himself in one surety of £100 and two others of £50 each.[2]
On the application of Inspector Phair, a remand was granted to 10.30 a.m. tomorrow (Friday) by which time, it is anticipated, the Government Auditor will be in Greymouth should his evidence be required. Dr. J. McBrearty, Senr., was the presiding justice.[3]
Grey River Argus , 12 April 1913, Page 3
Court official charged
Various sums stolen
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
It appears he got 9 months imprisonment:
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
* birth registration 1875/4325 so age discrepancy on headstone. Parents John and Sarah ASKENBECK. John died 17 July 1918 at the Grey River Hospital, native of Sweden and late of Orwell Creek. Aged 81 years.[4]
John and Sarah had other issue:
Gustaf Charles born 28 Jan 1872, also served in WW1
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
Samuel Henry Coates born c1892
Lucretia [Lucy] born c1887 who married in September 1912 to John MCCAULEY, Storekeeper of Orwell Creek
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&d=GR...
Axel married Minnie JAMES on 29th April 1901 at Ahaura by Rev, A. W. C. STACE
Minnie was the “daughter of Henry John JAMES and Sarah BERKETT, born in 1878 in Invercargill, Southland, New Zealand. and died in 1927 in Ahaura”[unverified 5]. She died c1926 aged 49.
3 Children on enlistment papers:
Pearl Sarah Gwendoline born 13 December 1901, Reefton
Eric John Coates born 17 June 1903, Reefton
Ettie Edith Coral born 20 August 1914, Ahaura
SOURCES:
Cemetery database
Military records
ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...
[1]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[2]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[3]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[4]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[5]
freepages.genealogy.rootsweb.ancestry.com/~kiwiadams/2/43...
I love the middle picture. If you read the copy it seems as though he's inspecting her for "faults in her complexion."
Vintage image of two brunette bathing beauties admiring their mirror complexions. Nice abstract image from the rear view. This found photograph is from the private collection of an unknown and/or unknowing art collector. It’s always a thrill when it’s from Vinnie DeVille!
My glasses!!!! Finally! I've been sleeping and functioning with my contacts in 24/7 for three and a half weeks... and it was getting quite painful. The logical thing to do is just to take them out at night and put them back in for the morning... But my eyesight is so bad that without them, I can't see whether or not they'd be going in correctly... or if I drop one.. all is lost. But, I'll be wearing these five year-old babies for a few days. The lenses are five years old, the frames are three... I think I need new glasses...
Also, I'm feeling a wee bit better after fighting off a plague for several days, even missed one class.... GASP! Well, just kidding, it was canceled.
And it looks pretty good that I'll be working in Florida this summer! I think the change of scenery will be good for me... And if I get to see my dad and my brother every day, it's enough for me to want to be there. I'll be working at South Seas Island Resort on Captiva Island. I'll be working recreation programs as well as buzzing around a front desk. I'm also excited because I'll be on a beach, and I haven't set foot NEAR one in almost five years... I'll be wearing a bikini top and boyshorts majority of my summer and down time, and wearing some nice, light clothes while working with kids, rec programs, and helping people... and that's exciting to me! I'll also be living at the resort, because they provide studio apartments for their employees (score!) and I will have full access to a fitness center, AND I can maybe start cycling and mountain biking again!!!!!
...... Is it summer yet?
This is one old picture of a pretty class mate of mine taken long time ago in my highschool day. Well, she was not a professional model by any chance,rather a naturally sweet girl who had lots of fan and she still makes me nostalic. I remember her shyness. He wore nice ornamented Kameez and that looked nice in fair smoth complexion. I often desire if I had few more good pictures of her.
"Gypsy Madonna"
Despite the closed triangle of the group of figures, the "Gypsy Madonna" (probably so called due to her dark complexion) gives the impression of relaxed naturalness. Unlike his teacher Giovanni Bellini, Titian moulds the body not by means of wrapped robes and veils but rather by use of sparing white highlights and subdued shadows. The painter therey shows himself to be of a younger generation for whom the world has become more sensual und tangible. This devotional picture is one of the oldest works of the painter still preserved.
Trotz der geschlossenen Dreiecksform der Figurengruppe gibt die (wohl nach ihrem dunklen Teint benannte) "Zigeunermadonna" den Eindruck entspannter Natürlichkeit. Anders als sein Lehrer Givanni Bellini modelliert Tizian die Körper nicht durch rundgeführte Gewänder und Schleier sondern durch sparsame Weisshöhungen und dezente Schattenpartien. Darin erweist er sich als Maler einer jüngeren Generation, deren Welt sinnlicher, konkreter geworden ist. Das Andachtsbild gehört zu den ältesten erhaltenen Werken des Malers.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
On the seventh night we celebrate Kalaratri Devi. This form of Durga has a complexion dark as night which symbolises infinity. Goddess Kalaratri is the Devi that accepts everything from the Devotee, not only the good, but all the negative qualities. She just absorbs them.
On this night we offered rose water and oil to the feet of the Divine Mother. Gurudev spoke about Kalaratri Devi as the destroyer of our egoistic qualities.
Mrs. Douglas Gian can compete with her daughter's "Little Girl Look"
She keeps her complexion young looking with pure,mild Ivory
photography by Scavullo
This beautiful diamond halo engagement ring is set in 18k rose gold. A tone which tends to compliment the Irish complexion. The band has a row of scallop set diamonds which lead upward towards a 0.65 carat round cut GIA certified centre diamond. The total carat weight comes to a sizable 1.00 carats.
To view this ring and the rest of the Commins & Co Halo Collections please click on the link provided or visit the family run store located in the prestigious Powerscourt Town House, Dublin, Ireland.
Link: goo.gl/AL3pc1
File name: 10_03_001265a
Binder label: Medical
Title: Carter's Iron Pills for the blood, nerves and complexion. Donât rise - I know how you feel - weak back, trembling, palpitation, headache. - I've had all - but thanks to Carter's Iron Pills I am fully restored and can guarantee they'll do as much for you. (front)
Date issued: 1870-1900 (approximate)
Physical description: 1 print : lithograph ; 11 x 8 cm.
Subject: Women; Patent medicines
Notes: Title from item.
Statement of responsibility: Carter Medicine Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
1. Salima Lanquaye (affectionately known as Sal?
2. ...................Mixy, Black, other if the goverments asking
3. Politically I am Black as it It affects me as such.
Although ethnically I find the white community have and maybe always will see me as black as they dont dont identify with my looks.
The Black African and Caribbean community seem to always state what colour my complexion is closest too by the visual. I often feel quite objectified by this as its always said so bluntly, as if I needed to be told again what colour my skin is.
Many asian and arab communities recognise that I am of mixed or claim me as a product of their native country. Because I am a Muslim many people then assume that I must be from Asia and immediately ask where my father is from.CI
I often feel aware of my racial surroundings and make a conscious stand to still be and behave as I always would and not feel the need to adopt my accent or body language, like many do depending on their enviroment.
This sometimes draws attention to myself and I wonder if I'm imagining it or are the people staring at me just giving me a dirty look, after all I do live in London or are they working out where to place me.
I often get people asking me randomly' where I'm from 'and so I am prepared to answer questions, I act like I am ready to explain who I am so everyone els feels comfortable
4. On holiday in Turkey with 4 other girls friends of mine we were approached by a few men, native to tha area we staying at.
These men then proceeded heckle us, chocolate ladies, cocolate babies, dark angels.
We all found this highly offensive.
But then they proceeded to individually categorize all of us whilst literally chasing us.
I remember being called non chocolate, 'she is like caramel.
Even during this awful scenario I fel tmarginalised further and bizarely wanted to be a felloow dark angel.
All my friends were chocolate, but I was caramel.
A sexist and racist remark all in one aimed as a compliment.
I felt seperate by that statement
5. The age old argument of women wanting to work and then to further argue of equal pay is not just a womens issue when your a women of colour.
Tell me when a black women hasn't had to work, that not our cause.
Show me a black women who complains at not being able to 'have it all'.
We we're doing that when the slave masters were raping us and waiting for us to get back to the plantaytion field.
Black women got the right to vote 50 years after their white counterparts and furthermore the feminist movement needs to identify with all its members, especially us women of colour as true equality can only happen when the most under represented are victorious and that is we!
I feel I am constantly stereotped as the mouthy angry black women.
The big black women from Tom and Jerry who's foot you only saw.
The animalistic women from Destiny's child ' Im a Survivor video crawling from the sea, like Darwin states we originally came, but like Darwin am dipicted as intellictually inferior and closer to other less intelligent animals than the intelligent mammals.
I am never seen as a women. but a black women, as if the black ditates a different type of women.
Just put me on a shelf on a shelf in Tesco, on offer
6. Politically yes because declaring that I am Black says where I stand politically and how I understand the rulling powers and system.
But when I have to fill out a goverment survey or application form for a job i fell categorized, where's my box.
If your not listed then am I part of some random race that is too weird to mention.
Does it matter if I'm not BlACK British Africanor Caribbean but Black european, well yes as that option is not there.
Can you have a Black European?
I dont know if I will ever be comfortable with naming my ethnicity as its such a fluid thing, I'm a human, not pieces of groups of humans.
7. There is a problem grouping all women together when analysing the issues we all face as when there is a progressive move forward like more women in executive positions, the public believe thats a clear picture for all women but its not.
Who are these women executives, what colour are they, are their disabillities known, if so would the bard still of promoted them.
Are these women mothers, are they openly lesbian and if so have they noticed visible prejudice regarding promotion.
Are they britsh etc.
If we are going to collate all this data on who works where then why are we not understanding the routes certain groups are taking whilst in employment, education etc.
I really wonder if all women, all sistahs really consider the plight of a female assylum seeker when they reach the UK.
What they've gone through and how their coping and how they themselves can help them as part of the sisterhood.
Loads of women do in single and collective ways but until all women start thinking in this way as standard, seeing womens experiences as their own and therfore fighting against those injustices in all their form, cateogorizing is neither here nor there.
8. The term women of colour is just another way of saying other. We need a woird that says our shared experience is similar and we speak with this voice.
Many would argue that the term Black does this.
We as women of colour need to decide what we want to call ourselves. our mums and daughters and lead with that decision and demand the respect of that name and movement from those of who we ask for change. Which must always start with ourselves.
Anas - KHI
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On the seventh night we celebrate Kalaratri Devi. This form of Durga has a complexion dark as night which symbolises infinity. Goddess Kalaratri is the Devi that accepts everything from the Devotee, not only the good, but all the negative qualities. She just absorbs them.
On this night we offered rose water and oil to the feet of the Divine Mother. Gurudev spoke about Kalaratri Devi as the destroyer of our egoistic qualities.