Grotesques, Chimeras, Babewyns, Gargoyles, et al...
View allAll Photos Tagged Gronda
MEDIEVAL BRIDGE on the Gronda Creek, it still preserves the typical humpback structure intact. Rassa, Tremendi Valley, Piedmont, ITALY. EXPLORE 24-09-2022.
Leica M-P & Elmarit-M 28mm
Please don't use this image on websites, blogs or other media without my written permission.
© Toni_V. All rights reserved.
Copyright 2016 - all right reserved
____________________________
El2deepblue*'s photos on Flickriver
La promenade de 4,5 km du littoral angloy longe des 11 plages de sable fin, pour certaines de renommée internationale.
Elle relie le quartier de la Chambre d'Amour à celui de la Barre (au nord).
La légende de la Chambre d’Amour
La légende est née en pleine période romantique, au début du dix-neuvième siècle. « Dans les temps lointains, Laorens, pauvre et orphelin et Saubade, fille d’un riche cultivateur, s’aimaient. Ils se retrouvaient, en dépit de l’opposition paternelle, dans une grotte, face à l’immensité des vagues. Là, ils faisaient le serment de s’aimer jusqu’à la mort. Un beau jour, l’orage gronda dans le Golfe de Gascogne, et la mer, poussée par le vent du large, monta plus rapidement qu’à l’habitude, emportant les amants. On appela « Chambre d’Amour » la grotte fatale qui attire, aujourd’hui encore, amoureux et curieux. » (rapporté par E. De Jouy dans l’Hermite en province ou observations sur les moeurs ou les usages français au commencement du XIXe siècle.)
___
Anglet forms part of the Biarritz-Bayonne-Anglet 'conurbation', on the Atlantic Coast in south-west France and running along the Adour River to the north.
As with most of the beaches along this part of Atlantic, the five kilometres of beaches in Anglet are typically long and sandy. Behind the beaches the landscape is mostly of open grassy areas and small forested areas, and there is a promenade popular with walkers, cyclists and joggers behind a large part of the beach.
In Anglet, at the 'Lover's Room', the long beaches end with 30- to 50-metre cliffes and little beaches hidden in coves.
Another 'Romeo and Juliet"-tragedy has taken place there in the 19th century...
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Wishing you a Happy Sunday, dear friends.
Thank you for your interest in my images.
Please, forgive my absence of Flickr, I'm so busy
in my private life...
I will be away for some days...
Leica M-P & Elmarit-M 28mm
Please don't use this image on websites, blogs or other media without my written permission.
© Toni_V. All rights reserved.
Bavonatal
Das Bavonatal mündet bei Bignasco in das Maggiatal. Durch das Tal fliesst die Bavona. Es steigt auf einer Länge von 12 Kilometer rund 560 Meter.
Das Tal ist ein enges eiszeitliches Trogtal in U-Form. Die vielen Felsblöcke und Steine, die den Talgrund übersäen, stammen aus der Zeit, als sich die Gletscher zurückzogen und von Bergstürzen wie demjenigen von 1594 bei Fontana.
Im Talboden liegen zwölf Weiler (Terre), deren Bewohner Terrieri genannt wurden. Wegen der bis 1950 fehlenden Strasse und der auch heute absichtlich nicht vorhandenen Elektrizität haben sich die einheitlichen Ortsbilder mit den traditionellen Steinhäusern (sogenannte Rusticos) erhalten, auch wenn letztere manchmal durch zusätzlichen Schmuck wie Geranien und Wagenräder ihren ursprünglichen Charakter etwas verloren haben. Elektrizitätsanschlüsse sind im Tal aus Gründen des Traditionsschutzes verboten, auch wenn dieses Verbot von den Bewohnern immer wieder auf vielfältige Weise unterlaufen wird (Generatoren, Kleinturbinen, Solarzellen, Autobatterien).
©wikipedia
Sabbione
Gli edifici ai margini della breve campagna sono costruiti a ridosso di enormi massi sotto i quali sono state scavate numerose cantine. Una spelonca ha persino trovato il nobile impiego di locale per il telaio. A Sabbione si trova una delle più antiche case con loggiato sul lato di gronda.
Leica M-P & Elmarit-M 28mm
Please don't use this image on websites, blogs or other media without my written permission.
© Toni_V. All rights reserved.
Bavonatal
Das Bavonatal mündet bei Bignasco in das Maggiatal. Durch das Tal fliesst die Bavona. Es steigt auf einer Länge von 12 Kilometer rund 560 Meter.
Das Tal ist ein enges eiszeitliches Trogtal in U-Form. Die vielen Felsblöcke und Steine, die den Talgrund übersäen, stammen aus der Zeit, als sich die Gletscher zurückzogen und von Bergstürzen wie demjenigen von 1594 bei Fontana.
Im Talboden liegen zwölf Weiler (Terre), deren Bewohner Terrieri genannt wurden. Wegen der bis 1950 fehlenden Strasse und der auch heute absichtlich nicht vorhandenen Elektrizität haben sich die einheitlichen Ortsbilder mit den traditionellen Steinhäusern (sogenannte Rusticos) erhalten, auch wenn letztere manchmal durch zusätzlichen Schmuck wie Geranien und Wagenräder ihren ursprünglichen Charakter etwas verloren haben. Elektrizitätsanschlüsse sind im Tal aus Gründen des Traditionsschutzes verboten, auch wenn dieses Verbot von den Bewohnern immer wieder auf vielfältige Weise unterlaufen wird (Generatoren, Kleinturbinen, Solarzellen, Autobatterien).
©wikipedia
Sabbione
Gli edifici ai margini della breve campagna sono costruiti a ridosso di enormi massi sotto i quali sono state scavate numerose cantine. Una spelonca ha persino trovato il nobile impiego di locale per il telaio. A Sabbione si trova una delle più antiche case con loggiato sul lato di gronda.
Leica M-P & Elmarit-M 28mm
Please don't use this image on websites, blogs or other media without my written permission.
© Toni_V. All rights reserved.
Leica M-P & Elmarit-M 28mm
Please don't use this image on websites, blogs or other media without my written permission.
© Toni_V. All rights reserved.
This is a panorama from the top of the new Piz val Gronda cablecar in Ischgl, Austria. A fine piece of engineering that leads you to fine off-piste skiing. This view is of the Breite Kone (3079m) and Fluchthorn (3398m) peaks. A fine view and great skiing!
Olympus OM1, Ektachrome EX (E4 process), transparency scanned, digital development in Lightroom.
The walking to the northeast of the Heidelberger Hütte was reminiscent of the Cairngorms. Today, you would be near to the tops of ski lifts from Austria.
de.wikipedia.org/wiki/Piz_Val_Gronda_(Samnaungruppe)
In architecture, a gargoyle (/ˈɡɑːrɡɔɪl/) is a carved or formed grotesque with a spout designed to convey water from a roof and away from the side of a building, thereby preventing rainwater from running down masonry walls and eroding the mortarbetween. Architects often used multiple gargoyles on buildings to divide the flow of rainwater off the roof to minimize the potential damage from a rainstorm. A trough is cut in the back of the gargoyle and rainwater typically exits through the open mouth. Gargoyles are usually an elongated fantastic animal because the length of the gargoyle determines how far water is thrown from the wall. When Gothic flying buttresses were used, aqueducts were sometimes cut into the buttress to divert water over the aisle walls.
The term originates from the French gargouille, which in English is likely to mean "throat" or is otherwise known as the "gullet";cf. Latin gurgulio, gula, gargula ("gullet" or "throat") and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water (e.g., Portuguese and Spanish garganta, "throat"; gárgola, "gargoyle"). It is also connected to the French verb gargariser, which shares a Latin root with the verb "gargle"and is likely imitative in origin.[5] The Italian word for gargoyle is doccione or gronda sporgente, (but also gargolla o garguglia, when it has a grotesque shape) an architecturally precise phrase which means "protruding gutter."
When not constructed as a waterspout and only serving an ornamental or artistic function, the correct term for such a sculpture is a grotesque, chimera, or boss. Just as with bosses and chimeras, gargoyles are said to frighten off and protect those that it guards, such as a church, from any evil or harmful spirits.
A French legend that sprang up around the name of St. Romanus ("Romain") (AD 631–641), the former chancellor of theMerovingian king Clotaire II who was made bishop of Rouen, relates how he delivered the country around Rouen from a monster called Gargouille or Goji. La Gargouille is said to have been the typical dragon with batlike wings, a long neck, and the ability to breathe fire from its mouth. There are multiple versions of the story, either that St. Romanus subdued the creature with a crucifix, or he captured the creature with the help of the only volunteer, a condemned man. In each, the monster is led back toRouen and burned, but its head and neck would not burn due to being tempered by its own fire breath. The head was then mounted on the walls of the newly built church to scare off evil spirits, and used for protection.[6] In commemoration of St. Romain, the Archbishops of Rouen were granted the right to set a prisoner free on the day that the reliquary of the saint was carried in procession .
More Crete here : www.flickr.com/photos/23502939@N02/albums/72157623607398252
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Borgonotta (1570) - steel (engraved, embossed, bronzed, gilded) - weight 1783 grams armoury department - Poldi Pezzoli Museum, Milan
Questa borgognotta (un tipo di elmo munito di tesa, gronda e orecchiette incernierate che lascia il viso scoperto), eseguita a Milano verso il 1570, è interamente lavorata a sbalzo, cesellata, punzonata, dorata e argentata. Sui lati sono raffigurate la Vittoria, con in mano la palma, e la Fama, con la tromba; entrambe le figure sono vestite all’antica e accompagnate da un fanciullo. Sulla fronte dell’elmo è raffigurata una testa di medusa con un gioiello al centro della chioma e i serpenti intrecciati ai capelli. I fondi sono puntinati e dorati (la doratura, eseguita a fuoco, è in gran parte scomparsa). La borgognotta, di notevole qualità, è uno dei pochi pezzi a mantenere nella seconda metà del Cinquecento la tradizione di Filippo e Francesco Negroli e a presentare ancora in quel periodo soggetti mitologici.
This borgognotta (a type of helmet with a brim, eaves and hinged ears that leaves the face uncovered), made in Milan around 1570, is entirely embossed, chiseled, punched, gilded and silvered. On the sides are represented the Victory, with the palm in her hand, and the Fame, with the trumpet; both figures are dressed in the ancient style and accompanied by a child. On the front of the helmet is depicted a jellyfish head with a jewel in the center of the hair and snakes entwined in the hair. The bottoms are dotted and gilded (the gilding, performed by fire, has largely disappeared). The borgognotta, of remarkable quality, is one of the few pieces to maintain in the second half of the sixteenth century the tradition of Filippo and Francesco Negroli and to present still in that period mythological subjects.
UNO SGUARDO DAL PONTE.
Chioggia è una popolosa e vivace città marinara, che gronda di storia da ogni sua pietra. Presenta una struttura originalissima: tagliata a fette dai canali, cucita dai ponti. Le sue calli, tutte perpendicolari alla piazza, suggeriscono la classica immagine della lisca di pesce.
Passeggiando tra le calli e i ponti è possibile ammirare tutto il fascino e l’eleganza che la città trasmette: i palazzi in stile veneziano che si affacciano sui canali, le caratteristiche imbarcazioni chioggiotte denominate “Bragozzi” con le loro vele variopinte, la pescheria, il Corso del Popolo, Chiese, Musei e Monumenti, Piazza Vigo con il suo bellissimo ponte…
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A VIEW FROM THE BRIDGE.
Chioggia is a populous and lively seaside city, which drips with history from every stone. It has a very original structure: cut into slices by the canals, stitched by the bridges. Its streets, all perpendicular to the square, suggest the classic image of the fishbone.
Walking through the streets and bridges it is possible to admire all the charm and elegance that the city transmits: the Venetian-style buildings overlooking the canals, the characteristic Chioggia boats called "Bragozzi" with their colorful sails, the fish market, the Corso del Popolo, Churches, Museums and Monuments, Piazza Vigo with its beautiful bridge…
FOTOCOMPOSIZIONE di 16 IMMAGINI.
CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM
DA VEDERE ASSOLUTAMENTE IN LARGE.
Sea pottery shard found today (sea worn pieces of pottery found while beachcombing)
I almost passed by this little wonder. It was slightly covered with sand and it was almost of the same color, but it was the little house that called my attention.
Beautiful, so beautiful voice... really beautiful
Robertino Loretti - Rondine al nido
From album "Golden Hits" 1960
"Rondine al nido"
music: Vincenzo De Crescenzo,
lyrics: Vincenzo De Crescenzo
year: 1920
Text:
Sotto la gronda della torre antica
Una rondine amica,
Allo sbocciar del mandorlo è tornata.
Ritorna tutti gli anni,
Sempre alla stessa data,
Monti e mare essa varca per tornar.
Solo amore
Quando fugge e va lontano
Speri invano
Ma non torna più,
Speri invano
Ma non torna più.
Nella penombra dolce della sera
Passa la primavera.
Cinguettano le rondini nel volo,
Ebbre di luce e d'aria.
Ed io son triste e solo;
Monti e mare tu non varchi per tornar.
Mia piccina,
Fosti tutta la mia vita;
Sei fuggita
E non torni più.
Sei fuggita
E non torni più.
Перевод слов песни - Natalie Cernega
"Гнездо ласточки"
Под крышей старинной башни,
Живёт милая ласточка.
И когда цветёт миндаль, она прилетает сюда,
Она возвращается каждый год
Всегда в один и тот же день,
Она пролетает горы и море, чтобы вернуться сюда.
Но когда единственная любовь
Исчезает и уходит далеко,
Напрасно надеяться;
Она больше не вернётся.
Напрасно надеяться;
Она больше не вернётся.
В тихом полумраке вечера
Проходит весна.
Летая, щебечут ласточки,
Радуясь свету и просторному небу.
А мне так грустно и одиноко,
И ты не пролетишь через горы и море, чтобы вернуться сюда.
Дорогая моя,
Ты была моей жизнью,
Но ты исчезла,
И больше не вернёшься.
Ты исчезла,
И больше не вернёшься.
CANOTTAGGIO IN RELAX
La navigazione a remi (kayak, canoe, ecc.) è consentita lungo tutto il corso del Sile fino all'immissione del canale di Gronda, nel sistema d'acque di Treviso e nel Siletto fino alla località Settimo.
La sinuosa strada verde affollata di germani reali, folaghe, tuffetti e cicogne, alterna frondose piante, canneti e antiche ville venete a borghi, porti fluviali e contrade che testimoniano un passato laborioso, ricco di storia e tradizione.
Note tratte dal sito:
www.parcosile.it/pagina.php?id=121
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RELAXING ROWING
Rowing (kayaks, canoes, etc.) is permitted along the entire course of the Sile up to the entrance of the Gronda canal, into the Treviso water system and in the Siletto up to the Settimo locality.
The sinuous green road crowded with mallards, coots, little grebes and storks alternates leafy plants, reed thickets and ancient Venetian villas with villages, river ports and districts that bear witness to an industrious past, rich in history and tradition.
CANON EOS 6D Mark II con ob. CANON EF 24-70 f./2,8 L USM
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 225 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/8557
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.
Cappella palatina di Santa Maria del Regno,
Dettaglio dell'abside e della parte posteriore della chiesa.
- L'Abside semicircolare:
In basso a destra si nota la curvatura dell'unica abside della chiesa. La superficie è scandita verticalmente da sottili lesene e coronata superiormente da una serie di archetti pensili poggianti su piccoli peducci decorati, elementi tipici del romanico.
- Il frontone e le decorazioni:
Nella parte superiore della facciata absidale si osserva il profilo a capanna del tetto.
Lungo le linee di gronda corrono motivi ornamentali ad archetti ciechi binati, che testimoniano l'influenza del romanico pisano e lombardo.
- Le Finestre:
Sono visibili delle strette monofore ad arco a tutto sesto, pensate per illuminare l'ambiente interno riducendo al minimo la dispersione della luce e mantenendo l'aspetto solido della muratura.
Palatine Chapel of Santa Maria del Regno,
Detail of the apse and the rear section of the church.
- The semicircular apse:
At the bottom right, you can see the curvature of the church's single apse. The surface is vertically punctuated by thin pilasters and crowned at the top by a series of small hanging arches resting on small decorated corbels, typical Romanesque elements.
- The pediment and decorations:
At the top of the apse façade, you can see the gabled profile of the roof.
Ornamental motifs of paired blind arches run along the eaves, demonstrating the influence of Pisan and Lombard Romanesque architecture.
- The Windows:
Narrow single-lancet windows with rounded arches are visible, designed to illuminate the interior while minimizing light dispersion and maintaining the solid appearance of the masonry.
IMG20260531110449m
Palazzo Changdeokgung.
Gli affascinanti tetti coreani.
La serie di mensole, denominata Gongpo, che sostengono il tetto, è importante sia dal punto di vista strutturale che visivo.
Il tetto, sia in tegole, sia in paglia, domina e caratterizza l'edificio, contraddistinto da linee curvilinee naturali nel colmo e nella gronda.
Changdeokgung Palace.
The fascinating Korean rooftops.
The series of brackets, called Gongpo, which support the roof, are important both structurally and visually.
The roof, both in tiles and in straw, dominates and characterizes the building, characterized by natural curvilinear lines in the ridge and in the eaves.
IMG_1005m
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 236 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/8557
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 243 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/8557
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 515 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/8557
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 150 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/498312
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/research-collections
You are free to use this image without permission. Please attribute State Library of Queensland.
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 263 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/498437
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/research-collections
You are free to use this image without permission. Please attribute State Library of Queensland.
Creator: Harriett Pettifore Brims 1864-1939.
Location: Mareeba, Queensland.
Description: Collection reference: 31054 Harriett Brims collection 1890-1930. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/498579
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/research-collections
You are free to use this image without permission. Please attribute State Library of Queensland.
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 608 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/8557
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.
Creator: Harriett Pettifore Brims 1864-1939.
Location: Queensland.
Description: Image 265 Harriett Brims Collection. Harriett Brims was born Harriet Elliot in 1864, at either Yandilla or Toowoomba, Queensland. Her parents were Walter Elliott, and her mother was Ann Jane Elliot (nee Faulks). They were early pioneers of the district and owned a station in the Barcoo district. Harriet attended the Blackall School. In November 1881 Harriet married Donald Gray Brims in Blackall, Queensland. Brims was an engineer from Caithness, Scotland, who worked as a contractor and coach builder. They had five children over a period of eight years (1882-1890). Initially the couple moved to Townsville and then travelled north to Cardwell, where they were said to be 'the first white settlers in the Herbert River district' (The Telegraph 1939). By 1894 they moved to Ingham and it is there that Harriett Brims began her photographic career. It is unclear what inspired her to take up photography, nor is it known where she trained. Harriett Brims set up her own photographic studio, the Britannia Studio, which operated for six years and appeared in the listings of the Pugh's Trade Directory in 1902. By c.1903 she had moved her business to Mareeba, where she operated a studio for ten years. She also worked at 'visiting studios' in other Queensland towns, including Chillagoe during 1904-1905, Irvinebank as well as Watsonville, both located near Herberton in 1907.She worked as a professional photographer for 16 years, becoming quite skilled and well known for her work. Brims was highly regarded for the time and care she put into producing her photographs: 'many interesting accounts of the labour involved [in] producing photographic plates, [and] devising schemes of processing, etc [sic] give ample evidence of her skill' (The Telegraph 1938). Her husband, who was also a keen operator, made the dry-plate cameras she used out of maple wood, the carrying cases out of cow hide and the camera shutters out of sheet brass that he salvaged from discarded opium tins. Brims documented the reality of everyday life in these Queensland towns, capturing early forms of transportation (airplanes and bullock teams), the copper smelters of Chillagoe, local events such as the aftermath of a cyclone, the activities of Melanesian labourers (who both worked and lived in the North Queensland cane fields), social gatherings, local landmarks, as well as some portraiture..... By 1914 the family moved to Brisbane, at which stage she gave up her work as a professional photographer, instead focusing her time on photographing her family, friends and her local neighbourhood. Harriett Brims died in Brisbane on 25 October 1939, aged 75.' --[Information taken from The Australian Women's Register, (Anne Maxwell (with Morfia Grondas and Lucy Van) retrieved on 22 March 2018 from www.womenaustralia.info/biogs/AWE6006b.htm].
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/8557
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.