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Isa Fontaine for EMA Models.
Isa Fontaine for EMA Models.
on thrifting jaunts, i'll sometimes stumble upon a perfect treasure. this child-sized geta was such a find. it is simultaneously beautiful and cute (being miniature, that is).
the red velvet straps feature a checkerboard pattern in silver thread embroidery -- and the shape?! the shape just kills me. part of set i gifted to my niece isa.
// blogged
Isa Fontaine for EMA Models.
Isa Fontaine for EMA Models.
The tomb of Isa Khan, near Humayun's Tomb in Delhi. The Mughal Empire in India was responsible for the creation of many architectural marvels - some famous, such as Shah Jahan's monument to his deceased wife - and others not as famous but no less magnificent, such as this small tomb of Isa Khan.
TF-ISA - McDonnell Douglas DC-8-61 -
United Aviation Services (UAS) -
in basic Air Canada colours
at Luxembourg-Findel Airport (LUX) in 1987
c/n 45.980 - built in 1968 for Air Canada- operated as CF-TJZ/C-FTJZ - stored MZJ 01/1983
to TF-ISA - United Aviation Services (UAS) 07/1985 - leased to TF-ISA - Eagle Air 07/1985
sub-leased to Air Algerie 07/1985 -
ret. to UAS - reg. N48UA in 1987
to N161DB - Buffalo Airways 09/1992 - leased to Translift Airways 06/1993 -
ret. to Buffalo Airways 10/1993 - converted to freighter in 1994
to N161DB - Florida West Airlines 06/1996
to XA-MAA - Mas Air Cargo 01/2000
to PR-ABA - ABSA Cargo 06/2001
to PR-ABA - Air Brasil 03/2005 - stored Sao Paulo (VCP)
scanned from Kodachrome-slide
TOUS DROITS RÉSERVÉS
Le contenu de ma galerie ne peut pas être reproduit, téléchargé, publié ou modifié sans ma permission.
Instagram : www.instagram.com/christian_gueirard/
Isa Dress is made up of one piece, with 10 textures.
Fitted for:
Legacy
Waifus
Reborn
Lara X
To purchase in Mainstore:
maps.secondlife.com/secondlife/Paradise%20Isla/69/248/801
Check more from Boldbae:
In giro con Franco,Nadia e Valerio con l'esperta guida di Isa Abate del www.guideparcoappenninolucano.it/
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L' oasi naturale Bosco Faggeto, riconosciuta Sito di interesse Comunitario (SIC), è una piccola area protetta istituita dal Comune di Moliterno. Ubicata sulla dorsale montuosa che separa la Val D' Agri dal Vallo di Diano e con un' estensione superiore ai 300 ettari, la riserva riassume il biotopo forestale montano di questa zona della Basilicata. La riserva, per morfologia e clima, rappresenta il luogo ideale per favorire la biodiversità floristica: elevata umidità e temperatura bassa infatti, consentono alla vegetazione di proliferare (basti pensare che alcune tipologie di faggio all' interno della riserva, svettano oltre 40 metri di altezza). L' Oasi, oltre al faggio, ospita anche altre specie arboree: l' acero, il tiglio, il cerro, la quercia, il carpino nero, il leccio, mentre rende veramente interessante il luogo, la rara associazione del faggio con l' agrifoglio. Da uno studio effettuato dall' Università degli Studi della Basilicata, sono state censite ben 790 specie floristiche di cui 70 sono quelle rare, fra le quali spiccano un' infinità di orchidee di incantevole bellezza. In questo habitat, oggi oasi del WWF, trovano degno riparo la volpe, il tasso, la lepre, il cinghiale, l' istrice, il riccio, il gatto selvatico, ed è stato segnalato anche il transito del lupo. Fra i rami degli alberi e sulle rocce nidificano una miriade di uccelli fra i quali ricordiamo il nibbio reale ed il nibbio bruno, il picchio, il cuculo, la civetta, il barbagianni, ed il gufo reale e l' upupa.
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25 Powerfull Black & White Portrait Photos
© Fortimbras (Safe Creative 0909184554173)
EXPLORE 25 Mzo 2009 #288
Another from the Archives.
The Isa,,Gateway to the outback
I don't normally place verse with with my images however This old song kept reverberating in my head as I prepared it, A few with the wisdom of age will recall it :-)
When the deep purple falls over sleepy garden walls
And the stars begin to twinkle in the sky—
In the mist of a memory you wander back to me
Breathing my name with a sigh...
Isa Fontaine for EMA Models.
Italian postcard by Rizzoli, Milano, 1937-XV.
Isa Miranda (1905–1982) was the only international film star produced by the Italian fascist cinema. In Hollywood, she was billed as the ‘Italian Marlene Dietrich’ and played femme fatale roles. Later, she became one of the most significant European film actresses during the 1940s and early 1950s.
For more postcards, a bio and clip,s check out our blog European Film Star Postcards Already over 3 million views! Or follow us at Tumblr or
Italian postcards by Edizioni Artistiche Alberani. Portrait by Nanni.
Isa Miranda (1905–1982) was the only international film star produced by the Italian fascist cinema. In Hollywood, she was billed as the ‘Italian Marlene Dietrich’ and played femme fatale roles. Later she became one of the most significant European film actresses during the 1940s and early 1950s.
Name: Isa
Designer: Davis Martinez
Folder: Alessandro Ceroni
Photo: Annamaria Colaccino
Parts: 30
Paper's size: 1:1
Joined with: nothing
Diagram: www.flickr.com/photos/david_paperfold/6314490221/in/photo...
More in my / Más en mi blog
no graphic comments please! (they will be deleted)
thanks for understanding
© IvanAntunez 2014
do not use without written permission from IvanAntunez
EI-ISA
Boeing 777-243ER
Alitalia
Heathrow
Runway 09R
31/05/2020
arriving through heat haze as
AZ202 from Rome
I've been waiting to work with Isa for over a year. She is a San Jose native with a successful international modeling career. More information about this picture can be found here.
Location: Sunnyvale, CA. Erwin's studio.
Strobist information:
- AB800 + octa as key light; camera right, above.
- 2 x AB800 on background.
- Triggered with PW.
Model: Isa.
MUA: Nina Duong (Model Mayhem #2131735).
Ashton Drake Blythe girls are supposedly made using the original Kenner Blythe molds.. The plastic they used is very different than the original Kenners, so the dolls have a different look. An ADG's facial features are much sharper than a Kenner's. I wanted to see if I could soften Isa's features with some Lightroom presets. I think she looks a tad more Kenner-ish than usual, lol.
Italian postcard in the Cines Pittaluga series by Casa Edit. Ballerini & Fratini, Firenze, no. 2574. Photo: Cines Pittaluga.
Isa Pola (1909-1984) was an Italian stage, film and television actress. In the 1930s and 1940s she was a big star in Italian cinema, in films such as La canzone dell'amore (1930), La telefonista (1932) and Vittorio De Sica's I bambini ci guardano/The Children Are Watching Us (1943).
Born Maria Luisa Betti di Montesano on 19 December 1909 in Bologna, Isa Pola had a passion for acting and cinema at an early stage. She was beautiful, photogenic, had something captivating and almost perverse, and picked her stage name Pola. She debuted in film in 1927 in a small part in Martiri d'Italia by Domenico Gaido. Other small parts followed in which she was type-casted as the evil adventuress, which eventually lead to her first major part in Myriam (1928) by Enrico Guazzoni. It was only in sound film, though, that Isa Pola’s career really took off. She played the antagonist of Dria Pola in the first Italian sound film La canzone dell’amore (Gennaro Righelli, 1930). From that film on Pola became a true diva of Italian sound cinema. With her photogenic qualities, her frankness and pleasant voice she broke with the tradition of the languid divas of the silent era. Isa Pola continued her success in the 1930s with films such as Terra madre (1931) by Alessandro Blasetti, La Wally (1931) by Guido Brignone, L'ultima avventura (1932) by Mario Camerini, La telefonista (1932) by Nunzio Malasomma, Acciaio (1933) by Walther Ruttmann and L'anonima Roylott (1936) by Raffaello Matarazzo. La telefonista gave her imago a new twist as a serious and streetwise telephonist, contrasting with her previous vamp roles.
Isa Pola's career quickly marched forward and she became a popular diva of the Italian screens, thanks to her versatility, acting together with the big male stars of those years: Fosco Giachetti, Gino Cervi, Rossano Brazzi and Antonio Centa, alternating the type of the perfidious, insatiable woman with the honest and pious wife, and the defenseless girl with the adulterous bourgeois lady. She e.g. played Santuzza in Cavalleria rusticana (Amleto Palermi 1939) opposite Leonardo Cortese as Turiddu, she performed the title role in Lucrezia Borgia (Hans Hinrich, 1940), and did the female lead of Arianna in the now lost western Una signora dell’ovest (Carl Koch, 1942), with Michel Simon, Rossano Brazzi and Valentina Cortese. Memorable was her part of the wife of Emilio Cigoli who betrays her husband with Adriano Rimoldi in Vittorio De Sica’s realist melodrama I bambini ci guardano/Children Are Watching Us (1943). In the postwar era Isa Pola returned to the cliché of the perfidious and adulterous woman in Furia (Goffredo Alessandrini, 1947) with Gino Cervi, Ombre sul Canal Grande (Glauco Pellegrini, 1951) with Antonio Centa and Tre storie proibite (Augusto Genina, 1952) with Gabriele Ferzetti. Until the late 1950s Isa Pola was active in cinema, while pursuing a modest career on television on the side in the years 1957-1959.
After having started as companion on stage with revues with Nino Besozzi, Antonio Gandusio and Enrico Viarisio, Isa Pola turned towards prose theatre. Thanks to her clear voice and her perfect mastering of Venetian dialect, she excelled on stage with the Compagnia del Teatro Veneto, in particular in 1936 with La vedova and in 1947 alongside Cesco Baseggio in Il bugiardo. In addition to comedies by Carlo Goldoni, she also performed in texts by Giacinto Gallina, George Bernard Shaw (Non si sa mai/You Never Can Tell), Alberto Moravia (Gli indifferenti), Torquato Tasso (Intrighi d'amore), Gabriele D'Annunzio (La fiaccola sotto il moggio) andLuigi Pirandello. She was also striking in comical theatre alongside Alberto Bonucci in 1958. After having retired to a private life, Isa Pola died on Milan in 1984, at the age of almost 75 years.
Sources: www.cineartistes.com/fiche-Isa+Pola.html (French), Wikipedia (Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
de David_paperfold. Para diagramas ir a neorigami.com/neo/index.php/es/geometricos-y-abstractos/i...
Italian postcard by Rizzoli, Milano, 1941.
Isa Pola (1909-1984) was an Italian stage, film and television actress. In the 1930s and 1940s she was a big star in Italian cinema, in films such as La canzone dell'amore (1930), La telefonista (1932) and Vittorio De Sica's I bambini ci guardano/The Children Are Watching Us (1943).
Born Maria Luisa Betti di Montesano on 19 December 1909 in Bologna, Isa Pola had a passion for acting and cinema at an early stage. She was beautiful, photogenic, had something captivating and almost perverse, and picked her stage name Pola. She debuted in film in 1927 in a small part in Martiri d'Italia by Domenico Gaido. Other small parts followed in which she was type-casted as the evil adventuress, which eventually lead to her first major part in Myriam (1928) by Enrico Guazzoni. It was only in sound film, though, that Isa Pola’s career really took off. She played the antagonist of Dria Pola in the first Italian sound film La canzone dell’amore (Gennaro Righelli, 1930). From that film on Pola became a true diva of Italian sound cinema. With her photogenic qualities, her frankness and pleasant voice she broke with the tradition of the languid divas of the silent era. Isa Pola continued her success in the 1930s with films such as Terra madre (1931) by Alessandro Blasetti, La Wally (1931) by Guido Brignone, L'ultima avventura (1932) by Mario Camerini, La telefonista (1932) by Nunzio Malasomma, Acciaio (1933) by Walther Ruttmann and L'anonima Roylott (1936) by Raffaello Matarazzo. La telefonista gave her imago a new twist as a serious and streetwise telephonist, contrasting with her previous vamp roles.
Isa Pola's career quickly marched forward and she became a popular diva of the Italian screens, thanks to her versatility, acting together with the big male stars of those years: Fosco Giachetti, Gino Cervi, Rossano Brazzi and Antonio Centa, alternating the type of the perfidious, insatiable woman with the honest and pious wife, and the defenseless girl with the adulterous bourgeois lady. She e.g. played Santuzza in Cavalleria rusticana (Amleto Palermi 1939) opposite Leonardo Cortese as Turiddu, she performed the title role in Lucrezia Borgia (Hans Hinrich, 1940), and did the female lead of Arianna in the now lost western Una signora dell’ovest (Carl Koch, 1942), with Michel Simon, Rossano Brazzi and Valentina Cortese. Memorable was her part of the wife of Emilio Cigoli who betrays her husband with Adriano Rimoldi in Vittorio De Sica’s realist melodrama I bambini ci guardano/Children Are Watching Us (1943). In the postwar era Isa Pola returned to the cliché of the perfidious and adulterous woman in Furia (Goffredo Alessandrini, 1947) with Gino Cervi, Ombre sul Canal Grande (Glauco Pellegrini, 1951) with Antonio Centa and Tre storie proibite (Augusto Genina, 1952) with Gabriele Ferzetti. Until the late 1950s Isa Pola was active in cinema, while pursuing a modest career on television on the side in the years 1957-1959.
After having started as companion on stage with revues with Nino Besozzi, Antonio Gandusio and Enrico Viarisio, Isa Pola turned towards prose theatre. Thanks to her clear voice and her perfect mastering of Venetian dialect, she excelled on stage with the Compagnia del Teatro Veneto, in particular in 1936 with La vedova and in 1947 alongside Cesco Baseggio in Il bugiardo. In addition to comedies by Carlo Goldoni, she also performed in texts by Giacinto Gallina, George Bernard Shaw (Non si sa mai/You Never Can Tell), Alberto Moravia (Gli indifferenti), Torquato Tasso (Intrighi d'amore), Gabriele D'Annunzio (La fiaccola sotto il moggio) andLuigi Pirandello. She was also striking in comical theatre alongside Alberto Bonucci in 1958. After having retired to a private life, Isa Pola died on Milan in 1984, at the age of almost 75 years.
Sources: www.cineartistes.com/fiche-Isa+Pola.html (French), Wikipedia (Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
I'm glad for the time we share, the times you let me be me. I love you more than words can say. I hope my actions in time will tell you how much you mean to me. I love you Isa!
June 6, 2244.
D-Day.
The ISA begin the grand amphibious assault on the shores of the Helghan.
Link to main photo
Here we have a silent attack on a Helghast trooper.
Italian postcard by Rotalfoto, Milano, no. 233. Photo: Lux Film.
Isa Barzizza (1929) is an Italian actress, who is considered one of the most important interpreters of the Italian revue, cinema, and television.
Luisita "Isa" Barzizza was born in 1929 in San Remo in Italy. She is the daughter of the famous orchestra conductor and musician Pippo Barzizza and of Tatina Salesi. She studied at the Liceo Classico Vincenzo Gioberti in Turin and at the same time began to participate in prose theatre performances in secondary roles next to actors such as Ruggero Ruggeri, Elsa Merlini, and Eduardo De Filippo. At first, Pippo Barzizza was against his daughter's theatrical activity. It was Erminio Macario who launched her into the theatre world after Barzizza had finished her high school studies. The great actor personally asked Isa's father to let her make her debut in one of his revues. The father agreed on the condition that Isa was always looked after by a governess, and this was the case. Isa Barzizza made her debut with 'Le educande di San Babila' in 1947, followed by 'Follie di Amleto' in 1947-48. Gifted with a handsome physique and a light-hearted irony, she soon became one of the darlings of post-war Italian light and musical theatre.
Isa Barzizza's second godfather was Totò, from whom she learned all the secrets of the trade: from his direct relationship with the audience to his comic timing, from mimicry to the use of space on stage. In the theatrical field, she starred in two plays with Totò: 'C'era una volta il mondo' (1948) and 'Bada che ti mangio' (1949). In this last comedy, the gag of the sleeping car was born, also proposed in the film Totò a colori (Steno, 1952). Barzizza also made her film debut with Totò in the 1947 film I due orfanelli (The Two Orphans, Mario Mattoli 1947) and made 11 films with him, including Fifa e arena (Mattoli, 1948) and Totò al giro d'Italia (Mattoli, 1948), and, as can be suspected here, often directed by Mario Mattoli. Barzizza was most active as a film actress in the late 1940s and early 1950s and was often paired with popular male comedians (of whom some she already worked with on stage), such as Nino Taranto, Macario, Aldo Fabrizi, Carlo Dapporto, Tino Scotti, Walter Chiari, and the French comedian Fernandel, but above all Totò. She also starred herself in a few films, such as the comedies Porca miseria (Giorgi Bianchi, 1951) and Bellezze in moto-scooter (Carlo Campogalliani, 1952), while she less often also acted in dramas such as the Christmas Carol-inspired Non è mai troppo tardi (Filippo Walter Ratti, 1953), starring Paolo Stoppa. Thus between 1947 and 1956 Barzizza acted in some 35 films, including the Italo-German coproduction Senza veli/ Wir tanzen auf dem Regenbogen (1953/1952), a musical melodrama shot in both a German and an Italian version at Cinecittà, plus another Italo-German film shot in two versions: Die Tochter der Kompanie/ La figlia del reggimento (Géza von Bolváry, Goffredo Alessandrini, Tullio Cova, 1953). The last film of this avalanche of mostly (partly musical) comedies was I pinguini ci guardano (1956) by Guido Leoni, which included many famous names such as Barzizza, Isa Miranda, Ave Ninchi, and the singers Renato Rascel and Domenico Modugno.
In the 1951-52 stage season Isa Barzizza worked with Garinei and Giovannini, who paid homage to her great beauty and sense of humour in revues such as 'Gran baldoria', which was a great success with the public. In the same years, she also tried his hand at prose theatre, playing in William Shakespeare's The Twelfth Night directed by Renato Castellani. On 3 January 1954, the day the official Italian television programmes began, RAI broadcast Carlo Goldoni's one-act play 'Osteria della posta' in which Barzizza was the leading actress. Numerous other comedies followed. In 1955-56 she had another success with the musical comedy Valentina, the love story of two fiancés who take a leap forward in time. In 1960, when she was only 31 years old, she decided to interrupt her career in brilliant theatre following the death of her husband in 1953, the television director Carlo Alberto Chiesa, in a car accident on 3 June 1960 on the Via Aurelia. For a few years, she devoted herself entirely to her only daughter; she then became romantically involved with the builder Enzo Villoresi.
Following a suggestion at the beginning of the 1960s, Isa Barzizza founded a dubbing company and devoted herself to this activity, both as a businesswoman and as an artistic director. In the 1970s she returned to the film sets for supporting parts in Ettore Scola's famous C'eravamo tanto amati (1974) but also the lesser known Il garofano rosso (Luigi Faccini, 1976), based on a novel by Elio Vittorini and starring Miguel Bosé. Barzizza only returned to the theatre in the early nineties, again in comedies such as La pulce nell'orecchio directed by Gigi Proietti, and Arsenico e vecchi merletti/ Arsenic and Old lace directed by Mario Monicelli. In 1995 she took part in the Spoleto Festival with L'ultimo Yankee by Arthur Miller and in 1999 she starred in a version of the theatrical reduction of Aldo Palazzeschi's novel Sorelle Materassi, alongside Lauretta Masiero. In the same period, she also returned to work in film and television. She acted e.g. in Luca Barbareschi's coming of age film Ardena (1997). She hosted the TV show Mai dire mai on Raitre in 1989 with Fabio Fazio and Giampiero Mughini, and took part in the two series of the Raiuno fiction Non lasciamoci più (1999 and 2001). In the film 7 km da Gerusalemme (Claudio Malaponti, 2007), she plays a rich old lady willing to "buy luck" for her grandchildren at the Church of the Holy Sepulchre. In the autumn of her love, Barzizza played various grandmothers in films, such as the one in Maledimiele (Marco Pozzi, 2011 ), while she played Marisa, an elderly woman in a hospital, in the bittersweet comedy Viva Italia! (2012) by Massimiliano Bruno, starring Michele Placido, Raul Bova, Alessandro Gassman, and Ambra Angiolini. Barzizza's last film role was that of grandmother Emma in the comedy Indovina chi viene a Natale? (Fausto Brizzi, 2013), with Diego Abatantuono and Bova.
Sources: Wikipedia (Italian and English), and IMDb.
And, please check out our blog European Film Star Postcards.
More in my / Más en mi blog
no graphic comments please! (they will be deleted)
thanks for understanding
© IvanAntunez 2014
do not use without written permission from IvanAntunez