Panorama Maker
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Shot @ a hand made brick factory near Namakkal - Trichy highway , Tamil Nadu , India.
Really those Cement storage silos are black but Golden tone in sunny days.
Sun that make building site colourful and golden.. Really! when new buildings are ready, price will reaches as new golden city.
A pattern-welded blade by Pete Mattila of Hobart.
This particular blade is one of a trio of such hand-forged pieces created by Pete, artist, designer and blacksmith.
Pattern-welded steel is often mistakenly referred to as 'Damascus steel' but there are notable differences in production techniques, chemical composition and metallurgy in a historical sense. Sufficient differences in fact to start whole wars on blade smithing forums so not going there... :-)
This particular blade is made from railway steel and another, higher carbon steel being forced together under extreme temperature and pressure - either by press or hammer.
The unique banding in this one-piece blade comes from the many layers being twisted very tightly together at the end of the welding process and when close to white hot. The blade shape has then been hammer forged out of the circular blank. The twisting is visible in the handle.
They are a very pretty blade after pickling in acid then strong coffee :-)
Nikon Z 6, Nikkor Z 24-200/4-6.3, 1/160th sec at f/6.3, ISO 400.
The butcher, the baker, the candlestick maker,
and all of them going to the fair.
The Dicken's Christmas Fair to be exact. It's a Victorian visual feast between now and Christmas at the Cow Palace in Daly City. It's well worth a visit if you're local.
This lady is technically a candle maker and not a candlestick maker, I guess.
This photo is licensed under a Creative Commons license. If you use this photo, please list the photo credit as "Scott Beale / Laughing Squid" and link the credit to laughingsquid.com.
This photo is licensed under a Creative Commons license. If you use this photo, please list the photo credit as "Scott Beale / Laughing Squid" and link the credit to laughingsquid.com.
Photo of this bread maker was taken on the West Bank of the Nile in Luxor during one of my trips to Egypt during the 1990s. Again, is a scanned image.
An abandoned tool maker for shoes
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Shot with Canon 5Diii Body, Canon 16-35mm 2.8ii
Available as Limited Edition Signed Prints, Please message me for more information Available in small size in editions of 15, medium size in editions of 10 and large size in editions of 5, printed on art paper and all come with a hologram certificate of authenticity.
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Body Flowers: !Body Expression! Cherry Blossom - (WAS @Tokyo Zero Event) maps.secondlife.com/secondlife/TOKYO%20ZERO/7/127/2500
main store - maps.secondlife.com/secondlife/Country%20Hideaway/66/46/3588
Outfit & Scepter: Cherry Bunny~Crystal Tokki Set - (WAS @Tokyo Zero Event)- maps.secondlife.com/secondlife/TOKYO%20ZERO/7/127/2500
main store - maps.secondlife.com/secondlife/Lucia/45/198/27
Nails: Vixen Unicorn Nails - Pink (fingers & toes) - main store - maps.secondlife.com/secondlife/Super%20Island/96/81/501
The new Design Museum on Kensington High Street. Maybe a few too many people but it's always difficult with London's landmark buildings
<3 This was a while ago, I've been gone for 2 weeks and this is my first chance to upload in a while. This is from the Maker Faire, and it's a Fucking. 3d-printed. MASTER CHEIF HELMET. <3333333333
This 18th century house was designed for stocking makers; the long first-floor window giving maximum light onto their work. The weavers worked on frames often rented from a hosier. The carding and spinning was traditionally done by women and children.
In the 18th century when cotton replaced wool, the Tewkesbury makers used two ply locally spun yarn. Nottingham makers, who used three ply Indian yarn, sponsored “The Tewkesbury Act” to enforce labelling of “superior” three ply stockings. Nevertheless, Tewkesbury in Gloucestershire remained a centre of the trade until mechanisation ended it.
Information provided by Tewkesbury Civil Centre which has recognised the importance of this building with a special plaque.
The Maker: Our hardworking rural women are the symbol of our women empowerment with a lot of difficulties. They are the real heroes for their family and us. The unseen heroes.
4 years back it was a nice photo journey at Manikganj .
silvercrest yoghurt maker is my latest buy from a charity shop £10
i love it!! very easy to use. nothing fancy. it's simply a warmer with an on and off switch, a pink pot, a white pot, two lids and a strainer. that's all i need.
you tube video is to show the parts of the yoghurt maker not the 'advice' given by the gentleman www.youtube.com/watch?v=50Lxg9Q3o1w (from 01.22 to 02.05)
i followed this yoghurt making you tube recipe www.youtube.com/watch?v=6laRiO7iaOU having used this recipe when learning how to make yoghurt during covid lockdown.
please note
the milk must always be boiled first, then removed from the heat and only added to the pink container each time when the temperature has dropped from boiling to 110fah www.youtube.com/watch?v=6laRiO7iaOU
1. i made my own yoghurt culture using chillies placed at the bottom of the pink container and 110fah whole milk poured into the pink container just covering the chillies, placed the filled pink container in the yoghurt maker, replaced the lid and switched on flic.kr/p/2kzNqmg i left the milk and chillies to process for a few hours, until set
(see video www.youtube.com/watch?v=6laRiO7iaOU from 00.32)
2. i removed and discarded the chillies from the set yoghurt culture (1) and gradually poured 110fah whole milk into the yoghurt culture in the pink container to about halfway up the container, gradually stirring to prevent lumps, placed the filled pink container in the yoghurt maker, replaced the lid and switched on flic.kr/p/2kA7gKN i left the blended milk to process for a few hours until set
(see video www.youtube.com/watch?v=6laRiO7iaOU from 01.47)
3. when set, for the final time (2) i repeated the procedure by gradually pouring extra 110fah whole milk into the blended milk of procedure (2) this time to fill the pink container, stirring to prevent lumps, placed the filled pink container in the yoghurt maker, switched on and left it for a few hours, until set
(see video www.youtube.com/watch?v=6laRiO7iaOU from 03.50)
4. i decided to strain the final set yoghurt of (3) though it can be eaten unstrained
the yoghurt maker is switched off. i poured the set yoghurt from the pink container into the meshed strainer and placed the filled mesh strainer inside the white container to collect the whey, the watery liquid, from the strained yoghurt and covered with the lid
every so often i removed the whey from the white container and then returned the yoghurt filled strainer into the white container to continue straining the yoghurt
once i was happy with the texture the strained yoghurt was ready.
notes
by adding salt to the yoghurt in stage (3) and removing all the whey in the final stage (4) the set yoghurt would become creamy soft cheese
(see video www.youtube.com/watch?v=X6Z01S3GIGI&t=0s )
i'll make soft cheese another day :) flic.kr/p/2oqw3Q5
in the past to make the yoghurt i would have wrapped a lidded saucepan of warm milk in an electric blanket switched on to a low setting and safely placed both upstairs in a bedroom for hours.
a welcome tip to keep the milk at a constant warm temperature at each stage of the process sent from John Freshney www.flickr.com/photos/139753516@N02/
that method worked well for me when learning yoghurt making but this yoghurt maker placed on the kitchen work surface quietly processing is a game changer. simple, fun, much quicker and very happy with the result :)
ps i'm not recommending any of these cookery adventures. they suit my taste. photographing to encourage myself to eat more healthily
www.flickr.com/groups/cooking_is_my_hobby/ helps to gather ideas and encourages me to continue with healthy eating by learning from others if you're interested in cooking, sometimes or a lot, or enjoy the cooking of others, you're always welcome ...
In Cairo, Egypt there is a whole road designated for the tent makers. These people are highly skilled and very artistic. We were amazed at the level of detail in these pieces as they are hand made. We ended up buying the brown reddish one in the middle of the image.. It now hangs in our house as a reminder of this trip.
Himal Viraj leads a team of boiler makers in the Sri Lanka Railways vast workshops at Rathmalana, in the southern suburbs of Colombo. He was hoping to retire this year.
Sri Lanka, February 2020. © David Hill
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not in Lettice’s flat. Instead, we have followed Lettice south-west, through the neighbouring borough of Belgravia to the smart London suburb of Pimlico and its rows of cream and white painted Regency terraces. There, in a smart red brick Edwardian set of three storey flats on Rochester Row, is the residence of Lettice’s client, recently arrived American film actress Wanetta Ward.
Now that the flat is completely redecorated under Lettice’s deft hands, Miss Ward has vacated her suite at the Metropole Hotel* and has been living at her Pimlico address for a few weeks now. As a thank you to Lettice, the American has invited her to afternoon tea. And so, we find ourselves in the beautifully appointed, spacious drawing room.
“Now, darling girl!” Miss Ward says as she sweeps into the drawing room through the green baize door that leads from the service area of the flat. “You must try my own brew of coffee!” She enthusiastically hoists a beautiful china coffee pot decorated with cherry blossoms in the air. “I promise you that you’ll never go back to that sludge you British call coffee after you’ve had this.”
Lettice smells the rich aroma from the pot’s spout as Miss Ward places it with an appropriately theatrical swoop, enhanced by the brightly coloured Spanish shawl draped over her bare shoulders, onto the silver tray on the cherrywood table between the Queen Anne style settee and the matching pair of Chinese armchairs. “It smells divine, Miss Ward.”
“Darling!” Miss Ward enthuses. “Divine isn’t the word for this!”
“I look forward to tasting it, then.” Lettice replies with a bemused smile. “And afternoon tea, Miss Ward?”
“I know! I know!” the American brandishes her hands in the air. “I admit I said it was a quaint observance, but it’s one that I’ve come to enjoy since living here in England. We might not have petit fours like they do at the Metropole, but trust me, Harriet has found the most wonderful little local bakery that makes an amazing selection of cookies. Try one!” She indicates to the plate piled generously with an assortment of brightly coloured and delicious looking biscuits.
“Harriet, Miss Ward?”
The American picks up a biscuit as she speaks and then pauses with it to her lips. “My new maid, Miss Chetwynd.”
Lettice considers the woman with a rather angular face in black silk moiré afternoon uniform and lace collar, cuffs, cap, apron and cap who answered the door. She didn’t strike her as having such a lovely name. She looked to be more of an Augusta or Bertha.
Miss Ward’s American voice interrupts Lettice’s contemplation. “Oh, I must thank you too, for the number of that domestics employment agency you gave me.”
“You can thank my mother, Miss Ward.” Lettice selects a small pink macaron and takes a ladylike bite from it before depositing the remainder on her plate. She feels the pastry and filling melt in her mouth. “She and I may not agree about a good many things, but Mater certainly knows the best agency In London for staff.”
“Well, Harriet is perfect!” Miss ward exclaims. “She fits in here so well, and she doesn’t throw a fit with all my comings and goings at all hours to and from the studio, taking telephone messages for me with the efficiency of a secretary, and she doesn’t even seem to mind the unannounced arrivals when friends come to pay call.”
“I do hope you told her about me coming today, Miss Ward.” Lettice remarks in alarm.
“Oh I did, Miss Chetwynd! It’s quite alright!” She stuffs the biscuit into her mouth, rubbing her fingers together to rid them of crumbs which tumble through the air and onto her lap where they disappear amidst the fuchsia coloured georgette of her dress. “Mind you,” she continues, speaking with her mouth full. “I don’t think Harriet likes it when I insist on making my own coffee.” She gulps loudly. “She doesn’t like it when I go onto the kitchen. She says it’s her domain.” She looks across at Lettice perched elegantly on the settee, dressed in a pretty pastel yellow frock that matches the trim of her straw hat. “I imagine your maid is the same.”
“I’m sure I haven’t asked Edith, Miss Ward.”
“Well, perhaps you should, Miss Chetwynd.”
“What a ridiculous notion!” Lettice laughs. “Of course she wouldn’t mind! It’s my flat. I can come and go where and when I please.”
“If you’ll pardon me, my dear girl,” Miss Ward picks up the coffee pot and pours the steaming, rich golden brown liquid first into Lettice’s cup and then her own. “But it’s a ridiculous notion that you don’t. If I may be so bold: it may be your flat, but you’re a lady, and even I, the egalitarian American in the room, knows that masters and servants don’t mix. You probably vex the poor little mouse when you swan into her domain, rather than ring the servant’s bell. Not that she would tell you that of course! Your maid is much to meek to speak her mind, whereas Harriet tells me that god invented servants’ bells, so I don’t have to go into her kitchen.” She smiles cheekily. “Mind you, I draw the line at her making coffee for me or my guests.” She indicates to the milk jug and sugar bowl. “Now, there is cream in the jug and sugar in the bowl Miss Chetwynd. Do help yourself.” She picks up the jug and glugs a dollop of cream into her coffee before scooping up two large heaped teaspoons of sugar.
After Lettice has added a small amount of cream and a flat teaspoon of sugar to her own coffee, she looks around the drawing room observantly whilst she stirs her cup’s contents. To her delight, and no little amount of surprise, the room remains as she designed it. She was quite sure that Wanetta would rearrange her well thought out designs as soon as she moved in, yet against her predictions the furniture remains where she had them placed, the gold and yellow Murano glass comport still standing in the centre of the mantelpiece, the yellow celadon vase with gold bamboo in place on the console table. Even the small white vase, the only piece left over from the former occupier’s décor, remains next to the comport on the mantle. The American was ready to throw it into the dustbin at every opportunity, yet it happily nestles between the comport and a large white china vase of vibrant yellow roses and lilies. It is as she notices the celadon vase that she sees the painting of Wanetta, which only arrived at the flat when its sitter did.
“So that’s the famous yellow portrait, Miss Ward,” Lettice remarks, admiring the likeness of the dark haired American, draped in a golden yellow oriental shawl, sitting languidly in a chair.
“Oh yes!” gasps Miss Ward as she turns around in her armchair to look at the painting hanging to the right of the fireplace, above a black console table. “You haven’t seen it, have you? Do you like it?”
“Yes I do,” acknowledges Lettice. “It’s a remarkable likeness, and the artist has captured the light in your eyes so well.”
“Thank you, darling girl! I think it’s beautiful.”
“So is your coffee!” Lettice remarks. “It’s quite delicious, and not at all what Bramley makes for me at Glynes**.”
“I told you, you British drink sludge.” She takes an appreciative, if overly large, gulp of her own coffee. “Now this, is real coffee.”
“So, have you christened your cocktail cabinet, yet?”
“Yes I have. I threw a cocktail party for the actors, actresses, director and crew when we wrapped up ‘After the Ball is Over’. It was quite the occasion!”
“Oh I could well imagine, Miss Ward.”
“Of course,” the American quickly adds. “I’m sure it wasn’t anywhere near as extravagant as your cocktail party that you threw for Mr. and Mrs. Channon.”
“You heard about that then, Miss Ward?”
“Heard about it? My darling girl,” Her eyes widen and sparkle with excitement. “I immersed myself in the article published by the Tattler, drinking in every little detail of your fabulous soiree. You looked stunning, darling!”
Lettice blushes and shuffles awkwardly in her seat on the settee at the brazen compliment. “Thank you, Miss Ward.”
“So did Mrs. Channon, of course! And wasn’t Lady Diana Cooper’s*** robe de style**** to die for?”
“Err, yes… quite, Miss Ward.” Lettice replies awkwardly. Anxious to change the subject and move away from her own private life, and thereby avoid the American’s potential attempts to try and gather some gossip to share with her fellow actors and actresses at Islington Studios*****, Lettice asks. “And what’s the next moving picture you will be making, Miss Ward? Another villainess role in a historical romance?”
“Oh, the studio is shutting for Christmas, so I’m sailing on the Aquitania****** on Monday, back to the States to visit my parents. I haven’t seen them in an age, and, well, they aren’t getting any younger. Besides, Islington Studios are paying for the journey and are organising for me to promote ‘After the Ball is Over’ at a few functions whilst I’m back home.”
“That will be lovely for you, Miss Ward.”
“Oh don’t worry, I’ll be back in the new year, when we start filming ‘Skating and Sinning’.”
“’Skating and Sinning’, Miss Ward?”
“Yes!” the American gushes as she picks up the coffee pot which she proffers to Lettice, who declines, and then proceeds to fill her own cup. “It’s the first picture planned for 1922. Another historical drama, set in London in the Seventeenth Century, when the Thames froze over.”
“Yes, 1607 I believe.”
“You’re a font of knowledge, Miss Chetwynd!” Miss Ward exclaims, clapping her ring decorated hands in delight. “You never cease to amaze me! A first-class interior designer and a historian!”
“Knowing trivial historical facts is just part and parcel of an education in a family as old as mine, Miss Ward.” Lettice deflects, taking another sip of her coffee. “And the sinning?”
“The sinning, Miss Chetwynd?” the American woman queries.
“Well, I assume the frozen Thames explains the skating part of the film’s title, Miss Ward.”
“Oh, the sinning!” Miss Ward settles back in her armchair with a knowing smile, placing her coffee cup on the black japanned table between the two Chinese chairs. “Well, that’s me, darling!” She raises both her arms dramatically, the Spanish shawl gathering about her shoulders as she does. “I will be playing a merry young, recently widowed, Duchess, with her eyes on our heroine’s young betrothed!”
“And do you succeed, Miss Ward?”
“Ah-ah! That,” She wags her finger playfully at Lettice. “Would be telling, darling girl. I can’t go giving away the ending, or you won’t come see the film.”
Lettice smiles at the actress. “Well, I’m glad that London has entranced you enough to return from the delights of America.”
“Well of course it has! And anyway, I have to come back to enjoy and show off my beautiful new home!”
Lettice blushes at the compliment.
“I’ll have you know Miss Chetwynd, that at my cocktail party, I had so many compliments about this beautiful room, the furnishings and the décor. You’ll be hearing from directors and future starlets in the new year, I’ll guarantee!”
“I shall have to see whether I can accommodate them, Miss Ward.” Lettice replies. “As you know, I will be decorating some of the principal rooms of Mr. and Mrs. Channon’s country house in the new year, and I have a few other potential commissions currently under negotiation.”
“Oh, I’m sure you’ll be able to squeeze them in, darling! When the moving pictures come knocking, you just won’t be able to say no.”
“Well…” Lettice begins, imagining her mother’s face drained of colour, and her father’s flushed with anger, if she takes on another commission from a moving picture actress.
“Oh, and thinking of my flat. The other reason why I asked you here.” Miss Ward interrupts, standing up and walking over to the console table beneath her portrait, where some papers sit beneath the base of one of the Murano glass bottles. She fumbles through them and withdraws a small slip of paper. Walking over to Lettice she hands it to her. “A cheque to settle my bill before I set sail for home, darling girl.”
“Thank you, Miss Ward.” Lettice replies, opening her lemon yellow handbag sitting between her and her black and yellow straw hat on the settee and depositing the cheque safely inside. “I appreciate your prompt payment.”
“It’s my pleasure, Miss Chetwynd.” the American replies. “And thank you again for all that you have done.” Her glittering eyes flit about the room. “I just love being here! It’s so perfect! It’s so, so me! A mixture of the old, and the new, the oriental and the European, all of which I love.”
“I’m so pleased you approve, Miss Ward. It is your home, after all.”
“I even have to concede that you were right about having touches of white in here. It adds a touch of class. And that wonderful wallpaper you suggested,” She indicates to the walls. “Well, it is the pièce de résistance of this room’s décor!” Stepping over to the fireplace, she picks up the small white vase. “This puzzles me though.” Her face crumples. “Why were you so anxious that I keep this vase?”
“Well, “ Lettice explains. “Call me sentimental, but I felt that it is part of your home’s story and coming from an old family home surrounded by history, I thought it would be a shame to see it just tossed away. I hope you don’t disagree.”
Miss Ward considers the small Parian vase in her manicured hands for a moment before replacing it. “Not at all, you sentimental girl you!”
The pair smile at one another, happily.
*Now known as the Corinthia Hotel, the Metropole Hotel is located at the corner of Northumberland Avenue and Whitehall Place in central London on a triangular site between the Thames Embankment and Trafalgar Square. Built in 1883 it functioned as an hotel between 1885 until World War I when, located so close to the Palace of Westminster and Whitehall, it was requisitioned by the government. It reopened after the war with a luxurious new interior and continued to operate until 1936 when the government requisitioned it again whilst they redeveloped buildings at Whitehall Gardens. They kept using it in the lead up to the Second World War. After the war it continued to be used by government departments until 2004. In 2007 it reopened as the luxurious Corinthia Hotel.
**Glynes is the grand Georgian family seat of the Chetwynds in Wiltshire, and the home of Lettice’s parents, the presiding Viscount and Countess of Wrexham and the heir, their eldest son Leslie.
***Born Lady Diana Manners, Diana Olivia Winifred Maud Cooper, Viscountess Norwich was an English aristocrat who was a famously glamorous social figure in London and Paris. As a young woman, she moved in a celebrated group of intellectuals known as the Coterie, most of whom were killed in the First World War. She married Duff Cooper in 1919. In her prime, she had the widespread reputation as the most beautiful young woman in England, and appeared in countless profiles, photographs and articles in newspapers and magazines. She was a film actress in the early 1920s and both she and her husband were very good friends with Edward VIII and were guests of his on a 1936 yacht cruise of the Adriatic which famously caused his affair with Wallis Simpson to become public knowledge.
****The ‘robe de style’ was introduced by French couturier Jeanne Lanvin around 1915. It consisted of a basque bodice with a broad neckline and an oval bouffant skirt supported by built in wire hoops. Reminiscent of the Spanish infanta-style dresses of the Seventeenth Century and the panniered robe à la française of the Eighteenth Century they were made of fabric in a solid colour, particularly a deep shade of robin’s egg blue which became known as Lanvin blue, and were ornamented with concentrated bursts of embroidery, ribbons or ornamental silk flowers.
*****Islington Studios, often known as Gainsborough Studios, were a British film studio located on the south bank of the Regent's Canal, in Poole Street, Hoxton in Shoreditch, London which began operation in 1919. By 1920 they had a two stage studio. It is here that Alfred Hitchcock made his entrée into films.
******The RMS Aquitania was a British ocean liner of the Cunard Line in service from 1914 to 1950. She was designed by Leonard Peskett and built by John Brown and Company in Clydebank, Scotland. She was launched on the 21st of April 1913 and sailed on her maiden voyage from Liverpool to New York on the 30th of May 1914. Like her sister ships the ill fated Lusitania and the renown Mauritania, she was beautifully appointed and was a luxurious way for first and second-class passengers to travel across the Atlantic between Britain and America.
This upper-class 1920s Art Deco drawing room scene may be different to how it may appear, for the whole scene is made up entirely with pieces from my 1:12 miniatures collection, including pieces I have had since I was a teenager and others that I have collected on my travels around the world.
Fun things to look for in this tableau include:
The cherry blossom patterned tea set, which if you look closely at the blossoms, you will see they have gilt centres, I acquired from an online stockist on E-Bay. It stands on a silver tray that is part of tea set that comes from Smallskale Miniatures in England. To see the whole set, please click on this link: www.flickr.com/photos/40262251@N03/51111056404/in/photost.... The wonderful selection of biscuits on offer were made by Beautifully Handmade Miniatures in Kettering.
The wooden Chinese dragon chairs and their matching low table ,that serves as Wanetta’s tea table, I found in a little shop in Singapore whilst I was holiday there. They are beautifully carved from cherrywood.
The Queen Anne settee made by the high-end miniature furniture maker, JBM with great attention to detail.
The black japanned cocktail cabinet with its gilded handles was made by the high-end miniature furniture maker, Bespaq.
All the glass comport on the mantlepiece has been blown and decorated and tinted by hand by Beautifully Handmade Miniatures in Kettering. The white and gold Georgian Revival clock next to it is a 1:12 artisan miniature made by Hall’s Miniature Clocks, supplied through Doreen Jeffries Small Wonders Miniatures in England. The ginger jar to the right of the clock is hand painted. It is an item that I bought from a high street doll house stockist when I was a teenager.
The yellow celadon vase with gold bamboo painted on it, I bought as part of a job lot of small oriental vases from an auction many years ago. The soapstone lidded jar in the foreground came from the same auction house, but from a different job lot of oriental miniature pieces.
Lettice’s black straw hat with yellow trimming and a yellow rose, which sits on the settee is made by Mrs. Denton of Muffin Lodge. It is an artisan miniature made just like a real hat! 1:12 size miniature hats made to such exacting standards of quality and realism are often far more expensive than real hats are. When you think that it would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, it is an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. Lettice’s lemon yellow purse is also an artisan piece and is made of kid leather which is so soft. It is trimmed with very fine braid and the purse has a clasp made from a piece of earring. It come from Doreen Jeffries’ Small Wonders Miniatures in the United Kingdom. Lettice’s furled Art Deco umbrella is also a 1:12 artisan piece made of silk, acquired through an online stockist on E-Bay.
The vases of flowers on the mantle piece and side table are beautifully made by hand by the Doll House Emporium.
The stylised Art Deco fire screen is made using thinly laser cut wood, made by Pat’s Miniatures in England.
The black Bakelite and silver telephone is a 1:12 miniature of a model introduced around 1919. It is two centimetres wide and two centimetres high. The receiver can be removed from the cradle, and the curling chord does stretch out.
Wanetta’s paintings, including the yellow portrait, were made in America by Amber’s Miniatures.
The miniature Oriental rug on the floor was made by hand by Mackay and Gerrish in Sydney
The Georgian style fireplace I have had since I was a teenager and is made from moulded plaster.
The striking wallpaper is an art deco design that was very popular during the 1920s.
🇫🇷 S’appuyant sur un verset du Coran rejetant les statues des idoles et sur un hadîth accusant les faiseurs d’images de vouloir rivaliser avec Dieu, seul créateur et insuffleur de vie, certains théologiens musulmans ont condamné formellement la représentation des êtres animés. Cet interdit de la figuration, strictement appliqué pour le Coran et les ouvrages de hadîths ou de fiqh, a favorisé l’émergence des arts de la calligraphie et d’une ornementation fondée uniquement sur l’arabesque et la géométrie. Cette règle est généralement suivie , sauf exception....
.(essentiels.bnf.fr/fr/societe/spiritualites/c9241816-9f5b-...)
🇬🇧 Based on a Qur'anic verse rejecting idol statues and a hadîth accusing image-makers of competing with God, the sole Creator and Breather of life, certain Muslim theologians formally condemned the depiction of animate beings. This ban on figuration, strictly applied to the Qur'an and hadîth or fiqh works, encouraged the emergence of the art of calligraphy and ornamentation, based solely on arabesque and geometry. This rule is generally followed, with some exceptions....
🇩🇪 Gestützt auf einen Koranvers, der Götzenstatuen ablehnt, und einen Hadith, der die Bildhauer beschuldigt, Gott, dem einzigen Schöpfer und Lebensspender, Konkurrenz machen zu wollen, haben einige muslimische Theologen die Darstellung von Lebewesen ausdrücklich verurteilt. Dieses Bilderverbot, das im Koran, in den Hadithen und in den Werken des Fiqh strikt eingehalten wird, hat die Entwicklung der Kalligraphie und der Ornamentik begünstigt, die ausschließlich auf Arabesken und Geometrie beruhen. Diese Regel wird im Allgemeinen befolgt, mit einigen Ausnahmen. ....
🇪🇸 Basándose en una aleya del Corán que rechaza las estatuas de ídolos y en un hadiz que acusa a los creadores de imágenes de querer competir con Dios, único creador e insuflador de vida, ciertos teólogos musulmanes condenaron formalmente la representación de seres animados. Esta prohibición de la figuración, aplicada estrictamente al Corán y a las obras del hadiz o del fiqh, favoreció la aparición de las artes de la caligrafía y la ornamentación basadas únicamente en el arabesco y la geometría. Esta norma se sigue en general, con algunas excepciones.
🇮🇹 Basandosi su un versetto del Corano che condanna le statue degli idoli e su un hadîth che accusa i creatori di immagini di voler competere con Dio, unico creatore e ispiratore della vita, alcuni teologi musulmani condannarono formalmente la rappresentazione di esseri animati. Questo divieto di figurazione, applicato rigorosamente al Corano e alle opere hadîth o fiqh, ha favorito la nascita delle arti della calligrafia e dell'ornamento basate esclusivamente sull'arabesco e sulla geometria. Questa regola è generalmente seguita, con alcune eccezioni.
Maker: Achille Melandri (1845-1905)
Born: France
Active: France
Medium: woodburytype
Size: 4 5/8 in x 3 1/8 in
Location: France
Object No. 2015.747a
Shelf: D-25
Publication: David A. Hanson and Sidney Tillum, Photographs in Ink, University College Art Gallery, Fairleigh Dickinson University, Teaneck, 1996, pl 15
Michel Frizot, A New History of Photography, Konemann, Koln, 1998, pg 11
Alan Thomas, Time in a Frame, Shocken Books, New York, 1977, pg 101
Helmut Gernsheim, The Rise of Photography 1850-1880, The Age of Collodion, Thames and Hudson, London, 1988, pg 233
Other Collections: Gernsheim Collection, Austin
Notes: published by Wyman & Sons, June 1879. A shameless self-publicist throughout her long career, Sarah Bernard was photographed time and again by all the best photographers in the world, invariably demanding to be paid up front, rather than accepting a percentage of the profits. At the same time, of course, she was wielding photography to foster her fame, skilfully manipulating her public image. As famous a personality as she was an actress, the public were avid for details of her temper tantrums and her violent feuds, not to mention her many love affairs
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Umbrella maker
[ca. 1890]
1 photographic print : albumen, hand-colored with watercolor ; 20.7 x 27 cm (image), 30.6 x 39 cm (mount)
Notes:
Photograph shows a man and a young boy making parasols. Watercolor drawings on the mount depict flowers in the upper right and a kimono drying on a wooden frame in the lower left.
Title from item.
No. B1097.
Illus. in album: Japanese people and views, B1097.
Subjects:
Umbrellas--Japan--1880-1900.
Men--Employment--Japan--1880-1900.
Boys--Employment--Japan--1880-1900.
Kimonos--Japan--1880-1900.
Flowers--Japan--1880-1900.
Format: Remarques--Hand-colored--1880-1900.
Watercolors--Color--1880-1900.
Albumen prints--Hand-colored--1880-1900.
Rights Info: No known restrictions on publication in the U.S. Use elsewhere may be restricted by other countries' laws. For general information see "Copyright and Other Restrictions ...," www.loc.gov/rr/print/195_copr.html.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/cph.3g14288
Call Number: LOT 9648 [item]
An event to celebrate crafts, engineering, science projects, etc. For and by all ages.All of these “makers” come to Maker Faire to show what they have made and to share what they have learned. Maker Faire is primarily designed to be forward-looking, showcasing makers who are exploring new forms and new technologies.