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Date: 5-4-2013
Make: Isuzu Cubic
Engine: 6QA2
Chassis: CJM500
Seating Configuration: 2x3
Operator: Nuestra Señora Del Carmen Transport Services, Inc.
Fare Class Operation: Air-conditioned
Route: Santa Maria (Bulacan)-Baclaran (Parañaque City) via EDSA, NLEX-Bocaue exit
Specifications are subjected for verification and may be changed without prior notice.
Date: February 29, 2020
Location: Patterson Park - Baltimore, Maryland
Description: Eastern Gray Squirrel seemed frozen in place and was still in this pose after I walked away.
Hard to give a title of this picture, so use your imagination. I took this picture in 1962 Aug. in Quebec city. Looks like I used grainy film
📆 2020-02-09 - Neteja desembocadura del Foix - Photo:©️J.Arnau/ @atelierphoto.cat -🔛: @fujifilmxworld_es - ⚪️🔵🔴 - 🔛 L'enllaç a les fotos ho podeu veure a la bio. El enlace a todas las fotos en la bio. Link to all photos in the bio. -
Description: The Chettiar Community's Arch in Penang Street.
Location: Penang, Malaya
Date: 1937
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Description: The "Thor Kor Kay" Arch, designed by the Creative Advertising Service 20D, Penang Street, and lighted by Lee Wah & Co, of 80 China Street. Phone No. 656.
Location: Penang, Malaya
Date: 1937
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Our Catalogue Reference: Part of CO 1069/502.
This image is part of the Colonial Office photographic collection held at The National Archives. Feel free to share it within the spirit of the Commons.
Please use the comments section below the pictures to share any information you have about the people, places or events shown. We have attempted to provide place information for the images automatically but our software may not have found the correct location.
For high quality reproductions of any item from our collection please contact our image library
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This couple was together a long time, the other Mallard males were chased away.
Don't know the name of this duck on left.
I had some fun last night to woodenize my date stamp. Sawed from the wooden beams I dissembled from a cabinet, a wooden cube now replaced the plastic handle from my Cox date stamp, matching the stuffs made of wood on my desk.
I'm still unsatisfied with the new wooden handle, will probably find some way to customize it further. If you ask me what color I like most, I will tell you "wood". Not brown, not dark brown, not burnt umber, just WOOD.
What else I have in wood on my desktop? A calculator with wooden rim, Tivoli Audio radio, antique wooden treasure box to store my travel tools/books, stamps, spools, cutter in wooden box, wine bottle holder, wooden photo frame and mirror, etc. If my dream house can't be in wood, at least my study room will definitely be.
Tonight I'm gonna play with some ideas about a notebook system which has all my favorite elements in note taking and journaling with photos. The polaroid here was taken today with my wife standing in front of a wall holding my Lomo LCA+ with wide angle lens, I should ask her to pose more for stuffs I love, including herself :)
More on Scription blog: moleskine.vox.com/library/post/woodenize-my-date-stamp.html
Date: 05-23-2022
Location: JSC Mars Rockyard
Subject: NASA Spacesuit User Interface Technologies for Students (NASA SUITS) Onsite Test Week (OSTEM). SUITS teams testing their augmented reality devices at the rock yard.
Photographer: James Blair
Title: Sign Painting in Beirut
Date: 1966
Description: In the mid-1960s, four sisters from the Albany Community of Sisters of Mercy established an English-speaking Catholic elementary school in Lebanon that offered free scholarships to those who are poor. The school was the first mission established in the Holy Lands by American sisters.
Source: Sisters of Mercy, Albany Community Collection
Additional Information: © Mercy Heritage Center, Institute of the Sisters of Mercy of the Americas
Título: Pintando signos en Beirut
Fecha: 1966
Descripción: A mediados de la década de los 60, cuatro Hermanas de la Misericordia de la Comunidad de Albany establecieron una escuela primaria católica de habla inglesa en Líbano que ofrecía becas a estudiantes pobres. La escuela fue la primera misión establecida por hermanas estadounidenses en Tierras Santas.
Origen: Colección de las Hermanas de la Misericordia, Comunidad de Albany
Mayor información: © Centro de Herencia de la Misericordia, Instituto de las Hermanas de la Misericordia de las Américas
Date: January 3, 2021
Location: C & O Canal - Potomac, Maryland (Montgomery County)
Falls Church
38077_H2
ROBERT DOWNEY JR. as Peter Highman in Warner Bros. Pictures’ and Legendary Pictures’ comedy “DUE DATE,” a Warner Bros. Pictures release.
Simurg - Picnic Date is now on sale...
Marketplace: marketplace.secondlife.com/s/Simurg-Picnic-Date-PG/26803212
mainstore: Taxi: SIMURG Mainstore
📆 2019-04-19⏱11'30h➡️WPF♀️SEMIS-🏆FINAL FOUR📍Piscina: Can Llong 🔛: @ 🆚 @ - @timeoutsports.cat @sports_of_our_world - Photo:©️J.Arnau/Atelier Photo - ⚪️🔵🔴 - 🔛 L'enllaç a les fotos ho podeu veure a la bio. El enlace a todas las fotos en la bio. Link to all photos in the bio. -
DATE:July 1953 D:H.M:Queen Mother and H.R.H.Princess Margaret,during their visit to Southern Rhodesia /original photo
She smiled at me from across the room. Why would a girl who looks like that be interested in me?... I looked at my friends, but none had even noticed her. I looked back at her, and she smiled again.
I smiled back at her awkwardly; I'm not the most confident guy when talking to attractive women. She beckons me with her finger. Me?... I gesture, pointing to myself. She laughs and nods her head.
"My friends probably won't even notice I'm gone," I think to myself as I walk slowly across the crowded room.
"Hi," I say nervously as I reach her. "I'm Steve."
"Hello Steve, I'm Samantha," she replies. "I love your blouse," she tells me as she runs her hand over my chest. "I love a man in satin. There aren't many men who can pull off wearing satin, but it looks good on you."
"Thanks," I reply. "My sister bought it for me," I tell her, instantly kicking myself. Damn it... Why did I tell her I was wearing a shirt my sister had bought me?... I feel like a fool.
"Well, your sister has good taste; I like her already," said Samantha with a smile, still running her hand all over me.
Despite my nervousness and lack of confidence, I found Samantha really easy to talk to; she quickly made me feel at ease.
I glance across the room to where my friends are standing to see them watching me and laughing.
After chatting with Samantha for about an hour, we shared a long, intimate kiss. I can't believe I've pulled the hottest girl at the party, but my friends seem extremely amused and can't stop laughing as they watch Samantha and me.
"Will you excuse me for a moment?" I ask Samantha. "I need to speak to my friends."
"What's so funny?" I ask them, annoyed. "I pull the hottest girl at this party, and you all can't stop laughing."
"You do realise that's a dude?" one of my friends replies.
"WHAT?" I ask, shocked. "What the fuck are you talking about?"
"She is a he; it's a dude," my friend repeats.
I look across at Samantha. She is absolutely stunning. She has the sweetest smile and the sexiest come-to-bed eyes I've ever seen. She has a body to die for, and I love how she is dressed.
She is so easy to talk to; she makes me feel at ease. She makes me laugh. She is perfect in every way.
I've only known her for an hour. We shared a kiss, and it was a great one at that. I'm already smitten.
"So she has a penis?" I ask my friends.
"I don't know... I guess so... Maybe... maybe not... All I know is that she was a he, and now he's a she," said one of my friends.
"You know what?... I don't care. If that makes me gay, then I'm gay. But I know one thing for sure: she is beautiful."
I push my way through the crowd back to Samantha as she smiles at me once again. I put my arms around her and pulled her close to me. Then I give her the most passionate kiss ever.
It was getting late; the party was winding down, and people were starting to leave. I had spent most of the night with Samantha, mostly talking, with a fair bit of smooching.
I offered to drive Samantha home; to be honest, I was so annoyed at my friends that I just wanted to get out of there. As we were leaving, I was surprised that one of my friends came over and apologised, not only to me but also to Samantha. I was even more surprised when he hugged Samantha, gave her a peck on the cheek and told her how much he admired her.
I didn't say much as I drove Samantha home; I was too preoccupied with what my friends had told me about Samantha. Samantha also seemed a little uncomfortable; perhaps she didn't feel safe now that she was alone with me.
"Are you okay?" I asked her as I drove.
"Ah, huh," she replied, nodding and smiling. "You?"
"Yeah, I'm fine," I told her.
I took hold of her hand to make her feel more at ease; she smiled sweetly, then snuggled up closer to me.
The drive back to Samantha's must have taken about 45 minutes, and we had barely spoken the whole way home.
I parked up outside her apartment block and turned to look at her. Her beauty took my breath away; I was smitten.
"Samantha, this has been such an amazing night; meeting you is like I'm in a dream where I never want to wake up," I told her.
"Oh, Steve, that's such a lovely thing to say. I feel the same way," she replied.
"I don't care what my friends think or say about you. You were by far the hottest girl at the party. I feel fortunate that you chose me to speak with, although I have no idea why. You could have had any guy you wanted. I would love the chance to get to know you better," I told her.
"I chose you because you looked so pretty in your gorgeous blue satin blouse. I love a confident man; not many men would look as good as you wearing a satin blouse."
I admit it's a little unusual to see a man wearing satin. Still, I was somewhat bemused that Samantha kept referring to my shirt as a blouse. No one had ever called me pretty before, but the fact that she liked my satin shirt made me feel good.
I told Samantha about my work outing at The Royal Albert Hall on Saturday night. "It will be a very special night, and I need a very special girl to accompany me. I would be honoured if you would be my date," I told her.
"Yes, I'd love to," replied Samantha, flinging her arms around me and kissing me with much pent-up passion. We spent the next thirty minutes just kissing and cuddling; she even told me she loved me.
Saturday night arrived; I drove to Samantha's apartment to pick her up. I had told her to dress elegantly, but nothing too formal. My greatest fear was that she would wear something too slutty that would not go down well with my boss. When I saw Samantha appear in a short red leather skirt and a navy satin blouse, I thought I had died and gone to heaven. I stood open-mouthed, staring in awe at this beauty walking toward me. The way her breasts filled that gorgeous fitted satin blouse, jiggling gently, making the shiny satin material ripple and shimmer. Her waist looked so tiny, and those sleeves... oh, those gorgeous puffy sleeves. Her hips swayed gently in her tight leather skirt as she placed one foot in front of the other, like a catwalk model. OMG...
I could feel myself getting an erection as I watched her coming toward me; it was as if everything had slowed down and was moving in slow motion. Then I noticed her smile, her gorgeous, beaming smile... and her eyes, those gorgeous, dark brown eyes that draw you in and make you weak at the knees.
"Hi, handsome," she said, kissing me passionately, standing on tiptoes.
The kiss suddenly brought me back to reality. "Wow, you look stunning," I said.
"Thank you, and you look very pretty in your suit and white satin blouse," she replied.
"Pretty?... Blouse?... There it is again," I thought, bemused... I said nothing.
As we drove to The Royal Albert Hall to meet up with my colleagues from work, I repeatedly glanced across at Samantha, finding it hard to take my eyes off her. Samantha warned me on more than one occasion to keep my eyes on the road. I jokingly made some cheeky comment about seeing the outline of her bra under her blouse. Samantha teasingly replied she was wearing a red silk bra and panties to match the colour of her skirt, and if I was a good boy, I might get to see them later.
Upon arrival, we met up with my boss and work colleagues in the foyer. Most of the men were accompanied by their wives or girlfriends; a couple had come alone and were looking to hook up. I introduced Samantha to my boss, and he wasted no time hugging her, a gesture that was a little too friendly for my liking. He said something to her that I couldn't quite hear and squeezed her bum. Then his hands ran up her back, and I'm sure he was about to squeeze her breasts as Samantha pulled away and turned towards me.
Most of the men made a pass at Samantha at some point during the evening. I may have mentioned that I had only recently met her, and therefore, they assumed she was fair game. A few had even tried to grope Samantha.
My boss continually tried his luck even though he was with his wife, who I must admit, was a beautiful woman for her age. At one point, my boss had his hand up Samantha's skirt; Samantha didn't make a fuss. I'm not sure if Samantha was being polite for my sake or if she genuinely enjoyed the attention she received. Samantha looked across at me with a puzzled look on her face. What was I supposed to do?... He was my boss; I didn't want to make a scene or risk losing my job. Did Samantha expect me to defend her honour?... I was more curious about what my boss might find up Samantha's skirt and how he would react. My boss's wife didn't seem to care about her husband's behaviour, and at one point, I'm sure she tried flirting with me. On the other hand, the other wives and girlfriends were not so friendly or forgiving.
After two of the wives followed Samantha to the ladies' room, I have no idea what occurred. However, Samantha spent the rest of the night clinging to my arm.
Samantha told me to find a quiet place to park on the drive home. Things went considerably further than just kissing and cuddling.
"I belong to you now," she said. "You can do whatever you want to me, and I won't stop you."
WTF?...
Samantha gave me a fantastic blow job, and I got to see her without her blouse. Her tits were amazing, but I couldn't quite bring myself to explore any further. What my friends had told me was still playing on my mind. I wasn't sure how I would react if it were true.
----------------
Samantha's Point Of View.
I'd had my doubts about going to this party; going out as Samantha, as a girl, was exciting but very daunting.
At the last party, I'd got friendly with a couple of guys; I wasn't looking for romance or a date, just a chance to meet a few guys, as a girl, a young lady.
I thought all was going fine until a third guy (Gary) turned up. I knew him from college and realised he had recognised me, despite my makeover and pretty floral dress. Gary knew me as Sam. He liked to tease me, calling me pretty Sam. I knew he'd let the cat out of the bag.
Sure enough, "Sam, why are you pretending to be a girl?... Guys, this is Sam, a guy from college." My cover was blown.
That was a while back. My medication, longer hair, and newfound self-confidence meant I was more determined tonight. At this party, things would be different. I'd had a few drinks for Dutch courage and felt good about myself when I saw him, this gorgeous guy over the other side of the room.
He turns and faces me; our eyes engage. He stares, so I smile nervously, but yes, I smile. He looks away but can't resist looking again; this time, I give him a seductive smile. He's nervous but adorably shy; he turns to the guys behind. Oh no... it's them; please don't say they're his friends. As he turns back, I beckon him over.
I crook my finger and beckon him, but he's not sure I mean him. He looks around; no one else is aware, so he points at himself to ask if I mean him. Silly boy... I laugh and nod to say yes, and he makes his way over. He looks a little effeminate in a gorgeous blue satin shirt, or is it a blouse?... But I love a man who's not afraid of being himself.
He approaches and introduces himself. "Hi, I'm Steve." He's so nervous.
"Hi Steve, I'm Samantha."
I tell him I love his blouse and that not many men can or are willing to wear satin. The bright blue satin blouse makes him look boyishly handsome, a look I love. I caress his chest through the satin material; it feels nice. I can see it's turning him on. Mmm, satin... could it be his fetish?... Maybe I'll find out later.
He's a bit more relaxed. We chat for a while, just small talk. He relaxes, and we bond; yes, we get on really well, but he keeps looking over at his friends. His friends are giggling like little schoolgirls. I pray it's not because they recognise me.
We continue to chat, but I move really close, still teasing him through his lovely blouse. Finally, we kiss; his lips are warm and delicate, so kissable, my first kiss wearing lipstick. Oh, I love it. He sees his friends laughing even more, then excuses himself and returns to his friends.
As they chat, they keep looking at me and laughing. Steve seems embarrassed. They're teasing him; they told him about me. He seems annoyed; I hope he's not angry with me. I felt we'd really connected.
Suddenly his mood changes; he seems to gesture at his friends. We exchange a warm smile as he heads back to me, looking very determined. He's either going to slap my face or kiss me. He slips his arms around my waist so forcefully as he reaches me. I had no idea he could be so strong. Yes, I'm his girl, as I wrap my arms around his neck. My hands on the back of his head, I pull him to me as we kiss. This time the kiss is full of passion. His hands grip my ass sensually as I press my thigh into him. I can feel he's aroused. I'm impressed; so much passion; he really wants me.
That Special Date
After the party, Steve offered to take me home. I was so glad to get away from those beastly friends of his. However, one of his friends (Simon) came over and apologised to us both as we were leaving. He even gave me a hug and a kiss on the cheek. The look he gave me was almost one of envy; perhaps he saw himself in me. Many guys are effeminate, some more than others, although most try to hide it. I made a mental note to find out more about Simon.
Steve drove me straight home, the perfect gentleman; no diversions or funny business. He was such a genuine guy; he was shy like me, which meant there were many silent moments, neither of us sure what to say.
There was definitely chemistry between us; he was just so painfully shy. Then as we pulled up outside my apartment block, Steve finally plucked up the courage.
"Samantha, this has been such a fantastic night. Meeting you is like I'm in a dream, where I never want to wake up." Steve held my hand so gently but firmly; he stared into my eyes so lovingly as he spoke.
"Oh, Steve, that's such a lovely thing to say. I feel the same way," I told him. "You are so romantic; I like you a lot. You are so kind, a real gentleman. I'm so happy we met. When I saw you across the room, you looked so pretty in your blue satin blouse; I just had to meet you."
Steve blushed; I hoped I hadn't embarrassed him.
"I hope this is not too soon, but it's my works night out this Saturday, a trip to the Royal Albert Hall. It's a very special night, and I need a very special girl to take; I would be honoured if you would be my date," said Steve.
He kissed my hand so gently as he pleaded with me; my heart skipped a beat. A date, a proper date with this gorgeous guy.
"Yes, I'd love to," I replied. I flung my arms around Steve and kissed him, with so much pent up passion, more passionately than I ever thought possible. I wanted this man, if only... but I knew I must not rush things. We kissed and cuddled. I even told Steve I loved him. It was so romantic.
Saturday night arrived; here I was, at the Royal Albert Hall. Steve said elegant but not too formal, so rather than a dress, I chose my favourite red leather skirt and a navy blue satin blouse I had bought specially for the occasion. The look on Steve's face said he approved.
"You look stunning," he assured me as I walked out to meet him at his car. We kissed. Yes... kissed like a real couple on a date. I was so excited and turned on by having such a fabulous boyfriend.
His work colleagues were so kind and so charming. Some had partners, but some were looking to pull, warned Steve. His CEO was something else, very self-confident, rather too brash, but a lovely man nonetheless. As we cheek kissed, he grabbed my arse and whispered, "You're gorgeous." His hands wandered over my body, and I pulled away before he did something he might regret. He is such a naughty man, but I have to admit that I love compliments like any other girl, especially from a wealthy guy like Bruce, Steve's boss.
I was on such a high; all the guys wanted to talk to me and chat me up. It seemed that as I was merely Steve's girlfriend, I was fair game; but did they know my secret?... had Steve told them?... or did they genuinely want to date me?...
I grew suspicious after a couple of Steve's colleagues tried to touch me up and feel my breasts. His boss even put his hand up my skirt and tried to pull down my silk panties. I looked across to Steve and prayed he hadn't seen what had happened, but Steve seemed busy fending off his boss's wife.
The wives and girlfriends were more than a little irritated; not surprising when their men were drooling all over me. It felt amazing to be wanted by so many men even though I was only interested in Steve. I was so flattered, thrilled and excited, but at the same time, terrified.
I excused myself and went to the lady's room, where I was cornered by two of the wives. They pinned me to the wall and called me a slut. One grabbed me by the hair and yanked my head back. As I yelped, she spat in my mouth. The other one unzipped my skirt and put her hand inside my knickers.
"OMG..." she said, backing away quickly.
I went back to our group and spent the rest of the night clinging to Steve's arm.
Dating back to the kingdom of the khmer king Jayavarman VII (1181-1201), Phimai was built in the western outskirts of his Khmer kingdom, where a previous Hindu temple had been standing. A 240-km-long road connected Angkor, his capital, to Phimai, passing through Muang Tam and Phanom Rung. Instead of facing east (towards the sunrise), like others Khmer monuments do, Phimai faces south-east, probably because it was meant to stand in front of Angkor; other historians suggested that this was due to the influence of Funan instead, Funan being the first Indianized state of South-East Asia from the Ist to the VIth century A.D.
The original complex stood inside a rectangular surrounded by walls (1000 m x 560 m), on an artificial island. There are 4 gopuras, placed so that their entrances corresponded to the entrances to the sanctuary. Pratu Chai (Victory Gate) faces South-east and was built to let elephants in. Just before the gate there is the Khlang Ngoen (treasury) where the most important pilgrims were lodged. Inside the complex there are three prangs: the largest one, Prang Prathan, was built in white sandstone, whereas the other two are in laterite (Prang Phromathat) and red sandstone (Prang Hin Daeng).
The central Prang, the largest one, represented a moment of change for Khmer architecture. Although its plan is similar to Phanom Rung’s, the elegant tapered structure probably became the model for the famous Angkor towers. Another unusual characteristics of Phimai is the predominance of Buddhist motifs in the engravings that adorn the temple. The lintel over the southern gate of the main sanctuary depicts Lord Buddha in meditation under a protecting naga, with the naga’s spiraling body lifting the Enlightened over whirling waters. On the western side of the building there’s a lintel representing Lord Buddha while preaching, with both hands raised. The temple was dedicated to Mahayana Buddhism, but one can easily observe also Hindu motifs. The main gate is adorned with a dancing Shiva. On the eastern side lintel of the main prang an engraving shows Krishna’s triumph over the evil Kamsa. Art historians can be particularly interested in the characteristics of the monumental gates, with petal-shaped decorations, similar to Angkor’s ones. Since Phimai was built before Angkor, it is considered to be the prototype for Angkor Wat.
Risalente al regno del re cambogiano Jayavarman VII (1181-1201), Phimai fu costruita nella periferia occidentale del suo Regno Khmer, su un sito indù. Una strada copriva i 240 km fra la sua capitale, Angkor, e Phimai, attraversando Muang Tam e Phanom Rung. A differenza di altri monumenti Khmer che sono rivolti a est (verso il sorgere del sole), Phimai è rivolto verso sud-est, probabilmente affinché si trovasse di fronte ad Angkor; alcuni studiosi hanno invece proposto che ciò fosse dovuto all'influenza del Funan, il primo Stato "indianizzato" del Sud-Est asiatico, che perdurò in Cambogia dal I al VI secolo d.C.
Il complesso originario sorgeva all'interno di un rettangolo circondato da mura di 1000 m per 560, situato su un'isola artificiale. Si contano quattro gopura, che furono collocati in modo tale che i relativi ingressi coincidessero con quelli del santuario. Il Pratu Chai (Porta della Vittoria) è rivolto verso sud-est e fu costruito per far passare gli elefanti. Poco prima della porta si trova il Khlang Ngoen (Tesoreria), dove venivano alloggiati i pellegrini più importanti. All'interno del complesso si trovano tre prang: il più grande, Prang Prathan, è in arenaria bianca; quelli sui due lati sono in laterite (Prang Phromathat) e arenaria rossa (Prang Hin Daeng).
Il prang centrale, il più grande, rappresentò un importante punto di svolta per l'architettura khmer. Sebbene simile in pianta al Phanom Rung, l'elegante struttura rastremata divenne probabilmente il modello di riferimento per le famose torri di Angkor. Un'altra caratteristica inusuale di Phimai è la predominanza di motivi buddhisti nelle incisioni che adornano il tempio. L'architrave sopra il portone sud del santuario principale raffigura il Buddha in meditazione sotto un naga protettivo, con il corpo spiraleggiante del naga stesso che solleva l'Illuminato su acque vorticose. Sul lato occidentale dell'edificio si trova un architrave che raffigura il Buddha che predica, con entrambe le mani levate. Il tempio fu dedicato al Buddhismo Mahayana, ma sono chiaramente riconoscibili anche motivi indù: l'ingresso principale, per esempio, mostra Siva danzante. Sull'architrave del portico orientale del prang centrale un'incisione mostra la vittoria finale di Krishna sul malvagio Kamsa. Particolarmente interessanti per gli storici dell'arte sono le caratteristiche delle por-te monumentali, con decorazioni a petalo, simili a quelle che si trovano ad Angkor. Poiché Phimai è più antico di Angkor, si suppone che sia stato utilizzato come prototipo per Angkor Wat.
www.world-heritage-tour.org/asia/southeast-asia/khmer-emp...
Boiserie from the Hôtel Lauzun
•Date: ca. 1770, with one modern panel
•Culture: French, Paris
•Medium: Carved and painted oak
•Dimensions:
oHeight: 323½ (821.7)
oWidth: 323½ (821.7)
oDepth: 195¾ in. (497.2 cm)
•Classification: Woodwork
•Credit Line: Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1976
•Accession Number: 1976.91.1
On view at The Met Fifth Avenue in Gallery 523.
The design of this Neoclassical paneling incorporates fluted pilasters crowned with Corinthian capitals and three sets of double doors that alternate with carved panels. The latter are embellished below with symmetrical arabesques and vases in low relief and with graceful swags at the top, but they all differ slightly from each other. No eighteenth-century provenance has been discovered for this woodwork, but by 1874 it had been installed in the first-floor (American second floor) gallery of the Hôtel de Lauzun, a seventeenth-century residence on the Île Saint-Louis in Paris. The house was then occupied by the baron Jérôme-Frédéric Pichon (1812-1896), a well-known collector and bibliophile. Stripped to its bare oak and stained a dark shade of brown, the paneling lined the walls of his library. With its four large windows overlooking the quay and the river Seine, this room was the setting for eccentric parties at which Pichon entertained literary contemporaries such as Charles Baudelaire and Théophile Gautier. The paneling remained in place until the baron’s grandson, Louis Pichon, acquired the hôtel in 1905. Having a stricter aesthetic sense and a desire to restore the seventeenth-century appearance of the gallery, he dismantled and sold the boiserie. It arrived at the Museum in 1976. When microscopic analysis revealed little about the original paint below the stain, the woodwork was repainted in a monochrome gray-green distemper to harmonize with the three grisaille overdoors, which have been associated with the paneling but did not originally belong to it. Showing children representing spring, summer, and winter, they are duplicates of the overdoors representing the four seasons painted about 1787 by Piat Joseph Sauvage (1744-1818) for Queen Marie-Antoinette’s dairy at Rambouillet.
Provenance
Baron Frédéric-Jérôme Pichon; [B. Fabre et Fils, 1976; sold to MMA]
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art
•Masterpieces of The Metropolitan Museum of Art
•A Guide to the Wrightsman Galleries at The Metropolitan Museum of Art
Tester Bed (Lit à la Duchesse en Impériale)
•Maker: Georges Jacob (French, Cheny 1739-1814 Paris)
•Factory: Tapestry made at Beauvais
•Artist: After a design by Jean-Baptiste Huet I (French, Paris 1745-1811 Paris)
•Date: ca. 1782-83
•Culture: French, Paris
•Medium: Carved, painted and gilded walnut, pine, and linden; iron hardware; silk and wool Beauvais tapestry; modern silk damask
•Dimensions:
oOverall (bed components installed): 156¾ (Height) × 73½ (Width) × 86¾ in. (Depth) (398.1 × 186.7 × 220.3 cm);
oHeadboard: 79½ (Height) × 73½ in. (Width) (201.9 x 186.7 cm);
oTester at rectangular frame: 78 (Width) × (Depth) 90½ in. (198.1 x 229.9 cm);
oGreatest dims. of tester including protruding crestings: 17 (Height) × 96 (Width) × 99½ in. (Depth) (43.2 × 243.8 × 252.7 cm);
oHeight of Canopy from Floor: 156¾ in. (398.1cm)
oMatteress Support: 80 × 64 × 3½ in.
•Classification: Woodwork-Furniture
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235a
On view at The Met Fifth Avenue in Gallery 523.
As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]
The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.
[Daniëlle Kisluk-Grosheide, 2010]
Footnotes:
[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers’ Classics 11. Fontwell, Sussex, 1969, p. 43.
Signatures, Inscriptions, and Markings
•Signature:
oStamped on Base of Headboard: G. IACOB
Provenance
Possibly ordered by comte César Gabriel Choiseul-Chevigny, 1st duc de Praslin; or ordered by comte Renaud César Louis Choiseul-Chevigny, 2nd duc de Praslin; duchesse de Choiseul-Praslin Guyonne-Marguerite de Durfort de Lorge, Hôtel de Belle-Isle, Paris (by 1791); [sale, Grand Bazar, Paris, July 12, 1830; to J.E. Quinet, for Alexander Hamilton] Douglas, tenth Duke of Hamilton (?); Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton , Lanarkshire (until 1882; Hamilton Palace sale, Christie, Manson and Woods, London, July 18, 1882, lot 1912, for £ 1,155; to Edward Radley); [Edward Radley (in 1882)]; [Lowengard Frères (by 1893/94)] ; [Duveen Brothers (until 1897; sold September 1897, for $3,300 to George J. Gould)]; George Jay Gould (from 1897); Kingdon Gould (until 1923; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
Lining for the Headboard of a Bed (Lit à la Duchesse en Impériale)
•Factory: Tapestry Made at Beauvais
•Date: ca. 1780-1790
•Culture: French, Beauvais
•Medium: Silk and Wool (20-25 warps per inch, 8-11 per centimeter)
•Dimensions:
oHeight: 38 (96.5 cm)
oLength 63 in. (160 cm)
•Classification: Textiles-Tapestries
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235f
On view at The Met Fifth Avenue in Gallery 523.
As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-1783 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]
The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.
[Daniëlle Kisluk-Grosheide, 2010]
Footnotes:
[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers' Classics 11. Fontwell, Sussex, 1969, p. 43.
Provenance
Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton, Lanarkshire (until 1882; sale, Christie, Manson and Woods, July 18, 1882, no. 1912; to Radley); Edward Radley (in 1882); [Lowengard Frères (by 1893/94)]; Kingdon Gould (until 1923; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
Tapestry Lining for Tester (Ciel for Lit à la Duchesse en Impériale)
•Factory: Tapestry made at Beauvais
•Date: ca. 1780-1790
•Culture: French, Beauvais
•Medium: Silk and wool (20-25 warps per inch, 8-11 per centimeter)
•Dimensions:
oOverall: 87 (Height) × 72 in. (Width) (221 × 182.9 cm)
•Classification: Textiles-Tapestries
•Credit Line: Gift of Kingdon Gould, in memory of his mother, Edith Kingdon Gould, 1923
•Accession Number: 23.235e
On view at The Met Fifth Avenue in Gallery 523.
As its full-size domed canopy is suspended from the ceiling rather than supported on posts, this tester bed, which bears the stamp of the menuisier Georges Jacob, is a type called lit à la duchesse en impériale. Its original but now fragile hangings, woven in 1782-83 at the Beauvais tapestry manufactory after designs by Jean-Baptiste Huet (1745-1811), have been replaced by modern silk damask, except for the lining of the interior dome. French eighteenth-century beds tended to be lofty, as it was customary to pile them with three or more mattresses filled with straw, wool, horsehair, or feathers. Tobias Smollett (1721-1771) noted in 1766, “French beds are so high, that sometimes one is obliged to mount them by the help of steps.”[1]
The custom of receiving visitors while reposing in a large and elegantly fitted out bed was practiced in France during the eighteenth century mostly by aristocratic women. The Museum’s imposing piece of furniture with its exquisitely carved floral decoration, the work of an unknown carver, must have formed a splendid backdrop for such official calls or congratulatory visits. In 1791 the bed is documented as standing in the large bedchamber of Guyonne-Marguerite de Durfort de Lorge, duchesse de Choiseul-Praslin (1737-1806), at her Parisian home, the Hôtel de Belle Isle. Following the turmoil of the Revolution and the political changes of the early nineteenth century, the bed was sold in Paris in 1830. It became part of the famous collections at Hamilton Palace, South Lanarkshire, Scotland, the residence of Alexander Hamilton Douglas, tenth Duke of Hamilton (1767-1852), where it was placed in one of the state rooms. The duke’s grandson sold the contents of the palace, including the bed, at a highly anticipated auction that took place in 1882. Through the intermediation of several dealers, the bed was acquired in 1897 by the financier and railroad executive George J. Gould (1864-1923). His wife, the former actress Edith M. Kingdon (1864-1921), used it in her bedroom of their New York town house.
[Daniëlle Kisluk-Grosheide, 2010]
Footnotes:
[1]Tobias George Smollett. Travels through France and Italy. London, 1766. New ed.: Introduction by James Morris. Travellers’ Classics 11. Fontwell, Sussex, 1969, p. 43.
Provenance
Dukes of Hamilton; William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton, Lanarkshire (until 1882; sale, Christie, Manson and Woods, London, July 18, 1882, no. 1912; to Radley); Edward Radley (in 1882); [Lowengard Frères (by 1893/94)]; Kingdon Gould (until 1923; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
BOX DATE: None
APPROXIMATE RELEASE DATE: 2006
MANUFACTURER: M.G.A.
DOLLS IN LINE: Cloe & Cade pack; Yasmin & Cameron pack
MISSING ITEMS: Veil
PERSONAL FUN FACT: Talk about a fancy wedding ensemble for a very tiny doll! Despite the fact that Babyz Cloe is petite, I feel that her outfit is just as detailed as you would expect a full sized Bratz doll's gown to be. Interestingly, to date MGA has never made a regular Bratz bride doll...probably because it's a bit too cheesy and expected for the Bratz franchise (Barbie has cornered the whole wedding concept anyways). That's one of the reasons that I was very drawn to Cloe and Cade. Even though I'm not one to salivate over bride and groom themed dolls, I was blown away by the quality of these get ups. Cloe's outfit in many ways is reminiscent of my Winter Ball Beauty Cloe doll's dress. Just like Winter Ball Beauty, this Babyz Cloe's outfit is two pieces--one being an itty bitty halter top, the other being a dramatic skirt. Interestingly enough, the purse is also almost just like Winter Ball Beauty Cloe's. It's interesting that MGA even stuck to the snowflake adornment on it, when this Bride & Groom set isn't supposed to be winter themed. The little bouquet is the same as the ones sold with the Formal Funk dolls. I love how early Bratz came with cloth flowers instead of chunky plastic ones. It definitely makes the doll look more expensive and higher quality overall. I'm very grateful that I was lucky enough to get this set with all its little odds and ends for the most part.
Tank Dress: Torrid
Shrug: Avenue
Necklace: Avenue
Flip Flops: Payless
(will dig through my shoes in a bit to find something with a bit more panache)
Out for a casual dinner and coffee with friends and then to find other Saturday night shenanigans.
What's better than naturally sweet and fudgy Date Fudge Filling? Encasing it in dark chocolate!
www.yummysmells.ca/2013/12/date-fudge-and-filled-chocolat...