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💗 Katia Set by WellMade 💗
The Katia Set is a little slice of fashion history rewritten for today’s daring mood. At first glance, its silky bandeau top and playful skirt bring to mind the flirtatious spirit of 1950s pin-up lingerie—those satin bandeaus and high-cut garters that hugged movie starlets in smoky boudoirs. But unlike the demure restraint of that era, Katia dares to push further: shorter hemlines, thinner straps, and a bolder silhouette that turns every movement into a promise.
The bandeau, with its delicate ties, is a wink to the bandeau bras of the roaring 1920s—cut simple, but charged with sensual rebellion. The garters, meanwhile, hold onto a lineage from burlesque and cabaret, when women first wore stockings as both necessity and seduction. Katia borrows these timeless cues and strips them down into something modern, playful, and irresistibly cheeky.
The way the satin clings is pure vintage glamour—but the transparency options turn it into something that no Hollywood starlet could have dared to wear on stage. It hugs my body like a second skin, its straps caressing, the tiny bows adding that perfect whisper of innocence against the daring cut. It’s fashion history—pin-up meets high-gloss modern couture—rewoven around my curves.
🌸 highlights 🌸
• Designed for LaraX, Legacy, Reborn, and Waifus bodies
• HUD with 25 colors, from sweet pastel satin to bold transparent shades
• Historic nods: 1920s bandeaus, 1950s pin-up garters, cabaret-inspired flirtation
When I slip into Katia, I feel both timeless and daring—like a vintage muse dressed for a future that’s a little brighter, bolder, and much naughtier.
💋 find Katia at District69:
Reproduction of a Couch originally made by Jean-Baptiste Tillard in 1778 to the designs of the luxury merchant ( Merchand-mercier) Darnault.
Covered in a reconstitution of what was once the fabric chosen for its upholstery,"La Bouquetière et le Jardinier", one of the most expensive and elaborate silk lampas designed by Philippe de Lasalle at the end of the 18th century.
Silk lampas currently in the process of being rewoven for replacement at the Palace of Versailles. Paris.
CHINA & GOODIES
Le grand salon est aménagé au milieu du XIXème siècle dans le goût historicisant inspiré du Château royal de Blois (cheminée polychrome avec la représentation du porc-épic). Le mobilier (tables, chaises, tabourets, buffet à deux corps, confident, table à thé, fumeuse) date de l’époque Napoléon III ou de la fin du XIXème siècle. La brocatelle de soie jaune à grands motifs floraux garnissant l’ensemble des murs a été retissée en 2007 d’après les cartons originels de la fin du XIXème siècle. De nombreux achats et dépôts récents ont permis de reconstituer l’atmosphère raffinée du salon de la Princesse de Broglie.
The large living room was built in the middle of the nineteenth century in the historicizing taste inspired by the Royal Castle of Blois (polychrome fireplace with the representation of the porcupine). The furniture (tables, chairs, stools, buffet body, confidant, tea table, smoker) dates from the Napoleon III or late nineteenth century. The yellow silk brocatelle with large floral motifs filling all the walls was rewoven in 2007 according to the original cartons of the end of the 19th century. Numerous purchases and recent deposits have helped to restore the refined atmosphere of the Princess de Broglie salon.
Le grand salon est aménagé au milieu du XIXème siècle dans le goût historicisant inspiré du Château royal de Blois (cheminée polychrome avec la représentation du porc-épic). Le mobilier (tables, chaises, tabourets, buffet à deux corps, confident, table à thé, fumeuse) date de l’époque Napoléon III ou de la fin du XIXème siècle. La brocatelle de soie jaune à grands motifs floraux garnissant l’ensemble des murs a été retissée en 2007 d’après les cartons originels de la fin du XIXème siècle. De nombreux achats et dépôts récents ont permis de reconstituer l’atmosphère raffinée du salon de la Princesse de Broglie.
The large living room was built in the middle of the nineteenth century in the historicizing taste inspired by the Royal Castle of Blois (polychrome fireplace with the representation of the porcupine). The furniture (tables, chairs, stools, buffet body, confidant, tea table, smoker) dates from the Napoleon III or late nineteenth century. The yellow silk brocatelle with large floral motifs filling all the walls was rewoven in 2007 according to the original cartons of the end of the 19th century. Numerous purchases and recent deposits have helped to restore the refined atmosphere of the Princess de Broglie salon.
Aus konservatorischen Gründen gibt es in diesem Raum nur sehr gedämpftes Licht, der Raumeindruck ist daher deutlich dunkler als auf den Fotos, die ich zur besseren Erkennbarkeit der Einzelheiten etwas aufgehellt habe.
For conservation reasons, there is only very subdued light in this room, so the impression of the room is much darker than in the photos, which I have brightened up a little to make the details easier to recognise.
Das Sofa und der dazugehörige Armsessel sind die beiden einzigen Möbel im Schloss, die mit Sicherheit Teil der Originalausstattung waren. Die Wandbespannung aus Seidendamast ist nach erhaltenen Resten nachgewebt worden. Ein Stück des Originalmaterials wurde über der Tür zum Nebenraum eingesetzt.
The sofa and the matching armchair are the only two pieces of furniture in the palace that were definitely part of the original furnishings. The silk damask wall covering has been rewoven from surviving remnants. A piece of the original material was used above the door to the adjoining room.
Schloss Mirow wurde ab etwa 1709 als Witwensitz für Herzogin Christiane Aemilie Anthonie von Mecklenburg-Strelitz errichtet. Baumeister war Joachim Borchmann. Im Herzen des Baus hat sich der hochbarocke Festsaal des italienischen Stuckateurs Giovanni Battista Clerici in seiner ganzen Pracht erhalten. Kaum ein Besucher würde bei der äußeren Bescheidenheit des Schlosses solch einen fulminanten Saal erwarten. Zu den unerwartet prachtvollen Raumkunstwerken gehören auch jene des friderizianischen Rokokos. Der Eintritt Preußens in den Siebenjährigen Krieg verursachte in dem benachbarten Königreich einen fast völligen Stillstand der baulichen Aktivitäten. Die Künstler suchten nun anderswo nach neuen Aufträgen. Dieser historische Umstand führte dazu, dass in Mirow eine zweite Umgestaltungsphase unter Herzogin Elisabeth Albertine begann, die von 1756 bis 1761 ihr Appartement mit originären friderizianischen Innenraumdekorationen von höchster Qualität ausstatten ließ.
Für die Kulturgeschichte ist das Gebäude ein Schatz von unersetzlichem Wert. Die Region des ehemaligen Herzogtums Mecklenburg-Strelitz hat nämlich dramatische Verluste im 20. Jahrhundert erlitten: Das Residenzschloss in Neustrelitz wurde im Jahr 1945 ausradiert. Im selben Jahr fiel auch das Neubrandenburger Palais der Zerstörung anheim. Die ehemalige Sommerresidenz Hohenzieritz hat kriegsbedingt im Inneren bis auf wenige Überbleibsel ihren fürstlichen Glanz verloren. Das Untere Schloss in Mirow brannte schon im 19. Jahrhundert vollständig aus. Somit ist das Obere Schloss das letzte und einzige Denkmal überhaupt, in dem sich die herzogliche Wohnkultur der Mecklenburg-Strelitzer Dynastie erhalten hat.
Trotz der idyllischen Abgeschiedenheit reicht die Bedeutung des Schlosses weit über Mecklenburg-Vorpommern hinaus – bis in die ganze Welt hinein. Die berühmteste Schlossbewohnerin ist Queen Charlotte, die von ihrem Gemahl König Georg III. von Großbritannien „mein Schatz aus Strelitz“ genannt wurde. Nach ihr wurden die Millionenstadt Charlotte in den USA und viele Landmarken weltweit benannt. Aber auch die beliebte Paradiesvogelblume, die Strelitzie, verdankt ihren Namen dem einstigen Mirower Lottchen. Ihr Bruder Adolph Friedrich IV. kam als Fritz Reuters schräger Herzog „Dörchläuchting“ zu zweifelhaftem Ruhm und ihre Nichte Luise sollte die berühmteste aller preußischen Königinnen werden Nach 1761, dem Tod von Herzogin Elisabeth Albertine, kam der Hof nur noch zu Beerdigungen nach Mirow. Nach dem ersten Weltkrieg und der Enteignung der herzoglichen Familie wurde der Bau museal genutzt, später wurde das Schloss Dienststelle der Wehrmacht. Eine erste Renovierung des langsam verfallenden Schlosses gab es 1953, als es zu einem Altersheim umgewandelt wurde, das bis Ende der 1970-er Jahre bestand. Von der Geschichte des Hauses, seiner Bewohners und seiner Rettung nach der Wende von 1989 erzählt eine moderne Ausstellung.im Erdgeschoss
Nach dem Schlossbesuch lockt die Ruhe im Park. Auf geschwungenen Wegen, am Ufer des Sees, in barocken Alleen oder auf der Liebesinsel lässt es sich herrlich lustwandeln. Hier verbindet sich das Naturerlebnis mit den Spuren der Vergangenheit auf idyllische Art und Weise. Schloss und Park Mirow sind Teil eines ganzen Ensembles auf der Schlossinsel. Hier gibt es noch zwei weitere architektonische Höhepunkte: das Renaissancetorhaus und die Johanniterkirche, zu der auch die Familiengruft des Strelitzer Herzogshauses gehört. Im barocken Kavalierhaus gegenüber dem Schloss befinden sich ein Welcome Center und ein Café.
www.mv-schloesser.de/de/willkommen-auf-schloss-mirow/
Mirow Palace was built from around 1709 as a widow's residence for Duchess Christiane Aemilie Anthonie of Mecklenburg-Strelitz. The architect was Joachim Borchmann. At the heart of the building, the Baroque banqueting hall by Italian stucco artist Giovanni Battista Clerici has been preserved in all its splendour. Given the outward modesty of the palace, hardly any visitor would expect such a magnificent hall. The unexpectedly splendid works of interior art include those of the Frederician Rococo period. Prussia's entry into the Seven Years' War brought building activities in the neighbouring kingdom to an almost complete standstill. Artists now looked elsewhere for new commissions. This historical circumstance led to the beginning of a second remodelling phase in Mirow under Duchess Elisabeth Albertine, who had her flat furnished with original Frederician interior decorations of the highest quality from 1756 to 1761.
The building is a treasure of irreplaceable value for cultural history. The region of the former Duchy of Mecklenburg-Strelitz suffered dramatic losses in the 20th century: The residential palace in Neustrelitz was wiped out in 1945. In the same year, the palace in Neubrandenburg was also destroyed. The former summer residence in Hohenzieritz lost all but a few remnants of its princely splendour during the war. The Lower Palace in Mirow burnt down completely in the 19th century. This makes the Upper Palace the last and only monument to the ducal residential culture of the Mecklenburg-Strelitz dynasty.
Despite its idyllic seclusion, the castle's significance extends far beyond todays state of Mecklenburg-Western Pomerania - all over the world. The most famous resident of the castle was Queen Charlotte, who was called "my treasure from Strelitz" by her husband King George III of Great Britain. The metropolis of Charlotte in the USA and many landmarks around the world were named after her. The popular bird of paradise flower, the Strelitzia, also owes its name to the former Charlotte from Mirow. Her brother Adolph Friedrich IV achieved dubious fame as Fritz Reuter's (a 19th century novelist writing in the Low German language) quirky duke "Dörchläuchting " (a half affectionate, half mocking Low German way of saying Serene Highness) and her niece Luise was to become the most famous of all Prussian queens. After 1761, the death of Duchess Elisabeth Albertine, the court only came to Mirow for funerals. After the First World War and the expropriation of the ducal family, the building was used as a museum and later became a Wehrmacht office. The slowly decaying palace underwent its first renovation in 1953 when it was converted into a retirement home, which remained in existence until 1978. A modern exhibition on the ground floor tells the story of the house, its residents and its rescue after the fall of communism in 1989.
After visiting the palace, the tranquillity of the park beckons. Take a leisurely stroll along the winding paths, along the shores of the lake, along Baroque avenues or on the Island of Love. Here, the experience of nature is combined with traces of the past in an idyllic way. Mirow Palace and Park are part of a whole ensemble on Palace Island. There are two other architectural highlights here: the Renaissance gatehouse and the Church of the Order of St. John, which also houses the family crypt of the Mecklenburg-Strelitz ducal family. The Baroque Cavalier house opposite the Palace houses a Welcome Centre and a café.
Le grand salon est aménagé au milieu du XIXème siècle dans le goût historicisant inspiré du Château royal de Blois (cheminée polychrome avec la représentation du porc-épic). Le mobilier (tables, chaises, tabourets, buffet à deux corps, confident, table à thé, fumeuse) date de l’époque Napoléon III ou de la fin du XIXème siècle. La brocatelle de soie jaune à grands motifs floraux garnissant l’ensemble des murs a été retissée en 2007 d’après les cartons originels de la fin du XIXème siècle. De nombreux achats et dépôts récents ont permis de reconstituer l’atmosphère raffinée du salon de la Princesse de Broglie.
The large living room was built in the middle of the nineteenth century in the historicizing taste inspired by the Royal Castle of Blois (polychrome fireplace with the representation of the porcupine). The furniture (tables, chairs, stools, buffet body, confidant, tea table, smoker) dates from the Napoleon III or late nineteenth century. The yellow silk brocatelle with large floral motifs filling all the walls was rewoven in 2007 according to the original cartons of the end of the 19th century. Numerous purchases and recent deposits have helped to restore the refined atmosphere of the Princess de Broglie salon.
Le grand salon est aménagé au milieu du XIXème siècle dans le goût historicisant inspiré du Château royal de Blois (cheminée polychrome avec la représentation du porc-épic). Le mobilier (tables, chaises, tabourets, buffet à deux corps, confident, table à thé, fumeuse) date de l’époque Napoléon III ou de la fin du XIXème siècle. La brocatelle de soie jaune à grands motifs floraux garnissant l’ensemble des murs a été retissée en 2007 d’après les cartons originels de la fin du XIXème siècle. De nombreux achats et dépôts récents ont permis de reconstituer l’atmosphère raffinée du salon de la Princesse de Broglie.
The large living room was built in the middle of the nineteenth century in the historicizing taste inspired by the Royal Castle of Blois (polychrome fireplace with the representation of the porcupine). The furniture (tables, chairs, stools, buffet body, confidant, tea table, smoker) dates from the Napoleon III or late nineteenth century. The yellow silk brocatelle with large floral motifs filling all the walls was rewoven in 2007 according to the original cartons of the end of the 19th century. Numerous purchases and recent deposits have helped to restore the refined atmosphere of the Princess de Broglie salon.
I noticed him sitting quietly on a chair by the front counter of the Tucson fabrics store, (www.fabricsthatgo.com) his walker in front of him and his eyes gazing into the distance. I wasn't sure how he would respond to being spoken to but I commented that he seems to have the best seat in the house, with a view of everything that is going on. He smiled and reached out to shake hands. And so began a fascinating and entertaining encounter. Meet Herman.
At 93, I'm sure Herman has seen all there is to see in the fabrics business. Sitting, surrounded by more than 10,000 bolts of colorful fabric in his shop in Tucson Arizona, Herman explained that he and his wife Claire moved to Tucson in 1978 with the intention of retiring after many years of working 7 days per week in their fabrics business in New Jersey. Within a month they were both bored out of their minds and opened this business which has moved twice but has remained on Campbell Ave.
I commented that he looked in very good shape for 93 and Herman lifted an eyebrow and said "Just ask my wife. She might not agree." So began my introduction to a man who has used the years to hone his wit. "I've been married 60 years. I got married in an operating room." When I asked "How is that possible?" he replied "I was under anaesthetic and couldn't do anything to prevent it." He went on to ask "Do you know why women live longer than men?" I said I wasn't sure. "It's because they kill their husbands." He said his wife Claire is 88 and pointed to a woman busily assisting a customer in the next aisle. I commented on how busy the store was and he shrugged, saying "I don't get it. We charge enough." Herman kept me on my toes with his quick wit.
He told me that the store has a huge collection of buttons and that people come just to buy buttons. He suggested I go behind the counter to the back room and see the inventory. "Are you sure?" I asked before going behind the counter. "Go ahead" he said. "I'm going to frisk you before you leave anyway." The collection of buttons was, in fact, impressive.
I noted that as customers came into the store they looked for Herman and greeted him like an old friend. One woman said "I was here window-shopping yesterday but I'm here to buy today." Herman’s response? "That's music to my ears. Go ahead and spend some money."
When I invited Herman to participate in my Human Family photo project he deferred to his wife saying she would make the decision. She, however, was busy. We continued to chat and when I explained I am a Canadian, I was introduced to an employee who is from Vancouver. Claire was brought over for me to meet and I told her about my project and she said it was fine and to go ahead with Herman and she would join us after serving her customer. Herman, however, wouldn't proceed without Claire. Herman continued with his one-liners. "Claire is quite wealthy. I just haven't figured out where she hides the money." When I commented on the impressive longevity of their marriage he said "Yes, it's like a life sentence. I've stayed with her so long because she hasn't stopped talking yet."
Eventually Claire returned to ask why I hadn't photographed Herman yet. I explained he wouldn't budge without her being present. She clucked and said "Ok, let's do it quickly because I have three customers on the go." The location I had in mind (in front of the store) was not possible due to Claire being so busy and Herman being quite slow with his walker so I quickly improvised in front of a window just next to the front door. Meanwhile, Claire told me "I wish you'd met Herman a few years ago. He could have been a comedian. Our friends would cancel dinner parties if he was sick and couldn't come." Herman quipped "I used to be quite good-looking, you know." An employee who was helping with his walker said affectionately "You're still good looking Herman." His response? "I'm not too old to know a lie when I hear one."
In positioning Herman close to Claire I had to coax him to get closer to be in the frame. I joked "You two look good together. You should consider getting married." We shared a laugh. Claire asked if I knew the meaning of her name. I guessed it meant "clear." She said "It also means brilliant." She told me they live in a seniors complex and are the only residents still working. She said their neighbors look forward to their daily return from work to hear the stories they tell about their day. I can understand how their friends vicariously enjoy Herman and Claire's day in the outside world. They have two sons, one of whom has been put in charge of the business but there was no question about Claire being in charge of serving the customers and Herman being in charge of keeping them charmed and entertained.
If you are ever in Tucson and in need of fabric or buttons, be sure to visit Fabrics That Go.
In parting I told Herman to take good care of himself because I want to chat again next time I am in Tucson. "When I did I'm not going to be embalmed" he said. "I'm going to be rewoven." Spoken like a man who has spent his life in the fabric business. His advice to the younger generation? "Don't go into the fabric business. It's too much work."
As I left, Herman said "I enjoyed meeting you. You're a very nice man. It's a good thing you're married or I would be asking you for your phone number." The store clerks were laughing and shaking their heads. Claire was busy with her customers on the other side of the store.
Thank you Herman and Claire for taking the time to meet and for participating in The Human Family Group on Flickr.
This is my 144th submission to The Human Family group.
You can view more street portraits and stories by visiting The Human Family.
Das halbrunde Sofa ist ein 1970 angefertigter Nachbau des Orinalentwurfs von Karl Friedrich Schinkel von 1825. Bezugsstoff und Sternenvorhang konnten 2015 in originaler Farbigkeit nachgewebt werden, nachdem in einem Archiv Stoffproben der Originalgewebe gefunden worden waren.
The semi-circular sofa is a replica of Karl Friedrich Schinkel's original design from 1825, made in 1970. The upholstery fabric and star curtain were rewoven in the original colours in 2015 after samples of the original fabrics were found in an archive.
1824/1825 ließ König Friedrich Wilhelm III. den Neuen Pavillon im Charlottenburger Schlossgarten nach Entwürfen von Karl Friedrich Schinkel errichten. Vorbild für das östlich des Neuen Flügels in unmittelbarer Nähe zur Spree gelegene Sommerhaus waren klassizistische italienische Villen. Das im Grundriss quadratische, zweigeschossige Gebäude nutzte der Monarch als sein privates Refugium.
Der Neue Pavillon vermittelt heute in drei Räumen des Erdgeschosses einen Eindruck von der Ausstattung des königlichen Sommerhauses bis 1840. Die Dauerausstellung ist außerdem dem vielseitigen Schaffen Schinkels – als Architekt, Maler und Gestalter von kunstgewerblichen Gegenständen – und dem Berliner Kunstschaffen seiner Zeit gewidmet. Darüber hinaus werden Skulpturen von Christian Daniel Rauch und eine herausragende Sammlung von Gemälden des frühen 19. Jahrhunderts präsentiert, darunter Meisterwerke von Caspar David Friedrich, Karl Blechen und Eduard Gaertner.
Der Neue Pavillon wurde im Zweiten Weltkrieg nahezu zerstört und 1960 wieder aufgebaut.
www.spsg.de/schloesser-gaerten/objekt/neuer-pavillon-im-s...
In 1824–25, King Frederick William III had the New Pavilion built in Charlottenburg’s palace gardens according to designs by Karl Friedrich Schinkel. Neoclassical Italian villas were the model for the summer house located to the east of the New Wing, in close proximity to the Spree River. The monarch used the cube-shaped, two-story building as his private retreat.
In three rooms on the ground floor, the New Pavilion conveys an impression of the interior design of this royal summer house until 1840. In addition, the permanent exhibition is dedicated to Schinkel’s multifaceted talents – as architect, painter and designer of arts and crafts objects – and to the art of his contemporaries in Berlin. Also presented are sculpture by Christian Daniel Rauch and an exceptional collection of early 19th century paintings, including masterworks by Caspar David Friedrich, Karl Blechen and Eduard Gaertner.
The New Pavilion was nearly destroyed in World War II and rebuilt in 1960.
www.spsg.de/en/palaces-gardens/object/new-pavilion-in-cha...
The collection "Boudoir de la Reine" (Queen's boudoir) contains all the furniture Marie Antoinette used in her boudoir, or "Cabinet with the moving mirrors" at château de Petit Trianon. It was in 1776 that Marie Antoinette ordered from Jean-Tobie Mercklein moving mirrors rising from the ground to close the two windows and obtain a boudoir with a double set of mirrors. In 1787, she ordered the Rousseau brothers new paneling in the arabesque style.
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The collection contains:
Armchair, Bergere, Sofa, Fireplace Chair and Taboret
Contains both PG and Adult versions
The furniture was ordered for the 'Cabinet with the moving mirrors' or boudoir, by Marie Antoinette in 1786 from Georges Jacob. Following the drawings by Jean-Démosthène Dugourc, George Jacob had provided the seats for this boudoir. The carved decoration mixes antique patterns and natural flower garlands, suitable for a private "country" residence, as Petit Trianon was. The seats are upholstered with "arabesque" silk material with blue background delivered by the house Reboul and Fontebrune of Lyon, and characterized by its cyclops motif, which has been rewoven identically for all the furniture in the room.
Thomire Table
The pedestal table, enriched with gilded bronzes by Pierre-Philippe Thomire, presents a rare detail: the sides of the feet , protected by a glass plate, are decorated with arabesques painted on paper by Jean-Jacques Lagrenée the Younger. At the top of the feet, medallions in Sèvres biscuit in the manner of Wedgwood reminds that the top was to receive a tray also in Sèvres porcelain, today replaced by a plate of veined white marble.
(The white marble on the top can be colored, or it can be replaced entirely by the marble of your choosing.
Fireplaces
Contains both versions
This magnificent yet elegant fireplace can be seen in the center of Queens boudoir. Made out of Carrara marble with gilt bronze decorations, it's adorned with two Ionic columns. In the middle of the columns we can observe the garlands of fruits and flowers. The middle part of the fireplace is decorated with the most exquisite neoclassical arabesque. In the middle is the Fleur-de-lis, religious, political, dynasty, artistic and emblematic symbol of monarchist France.
Fireplace screens
Contains both versions
Many pieces of furniture were commissioned by Marie Antoinette from Jean-Baptiste-Claude Sene (1748-1803), a member of an important dynasty of Parisian chair makers who received a royal appointment in 1784. Sene provided this beautiful fire screen for the Queen in 1788. The painted and gilt frame of the screen is embellished with floral motifs. The carver is not known, but Louis-François Chatard (ca. 1749-1819) was responsible for painting and gilding the frames. According to the 1789 inventory the screen was originally upholstered in a white-twilled cotton with rows of individual flowers embroidered by the queen herself. Marie Antoinette's interlaced initials, composed of blossoms embroidered in satin stitch, can be seen in the middle.
Mirror
This very simplistic rectangular mirror is located on all 4 walls of the Queens boudoir. Two of them (together with the entire portion of the wall) can be lowered down to let the daylight come form the windows, giving the name to the room - Cabinet with the moving mirrors. In this way the room achieves complete privacy.
Sconce
Beautiful gilt bronze three arm neoclassical sconce that stood above the fireplace in Queens Boudoir at Petit Trianon
Gilt bronze was used extensively for different types of lighting, ranging from freestanding candlesticks and candelabra to hanging chandeliers and lanterns. Sconces were usually placed on either side of a mirror so that the flames of their candles were reflected and multiplied in the glass.
Clock
Marie Antoinette owned a version of this clock in her boudoir. The original drawing was done by the sculptor Vion, who named the model "La Douleur" (The Pain). A young woman mourns the loss of her dead bird, placed on an ancient altar, while the Love presents her with another bird. This model is also known under the name of "La Pleureuse" (The Weeper), revealing a new sensibility that developed in late 18th century.
Mercurius Sculpture
Mercurius (or Mercury) is a major god in Roman religion and mythology, being one of the 12 Dii Consentes within the ancient Roman pantheon. He is the god of financial gain, commerce, eloquence, messages, communication (including divination), travelers, boundaries, luck, trickery and thieves.
The sculpture refers to the myth of Mercury, Argos and nymph Io, found in The Metamorphoses written by Ovid.
Jupiter falls in love with Io, a priestess of Hera, his wife, who quickly discovers the affair. Jupiter transforms himself into a bull and transforms Io into a beautiful, white heifer in order to hide from Hera's wrath. Hera understands his strategy and demands the heifer as a present. To end their affair, Hera puts Io under the guard of the giant Argos Panoptes, who has 100 eyes. Jupiter commands his son Mercurius to set Io free by lulling Argos to sleep with an enchanted flute. Mercurius, disguised as a shepherd, is invited by Argos to his camp. Mercurius charms him with lullabies and then cuts his head off.
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Available for purchase at the Louvre museum:
maps.secondlife.com/secondlife/Sapphos%20Garden/176/159/3198
strips of cloth rewoven as a new cloth to be used as an applique
spiritcloth.typepad.com/spirit_cloth/2008/03/lion-cloth.html
teak cleaned and oiled
seat rewoven with Danish paper cord
(this seat looks lighter in the photo than it really is)
Recycled/upcycled vintage ladder back chair, old rush caning removed and replaced/rewoven with thrifted western belts, leather belts and Gutemalan belts.
Origins of Consciousness and Language Acquisition.
Line map shewing the manner in which we acquire fixated consciousness through lingustic conditioning of child mind by surrounding cultural inputs.
Starting with non-linguistic sensory organisation and differentiation (top left) then moving into tone-meaning, basic tone-signature then 'word' association in sensory processes and acquisition of associative memory.. The basic building blocks.
The we move into acquisition of rudimentary grammar, action/reaction, mimickry, rudimentary causality and self awareness.
This followed by expanding vocabulary, symbol/reading skills and formal primary education.
Our conceptual frameworks derive from these early experiences AND the structure of the native language we inhabit.
in fundamental perception
there are events
occurences
without subject
or object
noun
or verb
yet in the parthogenesis
of naming
differentiation
separation
the illusion
the observer and the observed
arise
and persist
so long as the noise
the naming
persists
until reunion
when the dewdrop
rejoins the ocean
the rainbow rewoven
You will have to blow this photograph up ins size in order to make it remotely comprehensible.
'Seek ye first the Kingdom of Heaven, and al these things shall be added unto you...'
Appartement du roi: Chambre de Louis XIV - King's Bedchamber
The bedchamber was constructed in 1701 on the site of the former salon du roi (or State Drawing Room), which dated from the time of Louis XIII. This room underwent a number of modifications during the reign of Louis XIV, most notably in 1678 when the three western windows facing the terrace became archways opening into the Hall of Mirrors (constructed beginning that year), for which the room became a kind of appendage. A 3-storey avant-corps was added to the exterior of the eastern facade facing the Marble Court, with three bays opening onto a gilt wrought-iron balcony overlooking the courtyard, and the top part of the room corresponding to the attic storey of the avant-corps.
When in 1684 Louis XIV moved into the adjacent room to the south (the chambre du roi), this central room behind the facade of the avant-corps was designated as the salon du roi or the salon où le roi s’habille ("the room in which the king dresses"). For 17 years, it served as venue for the ceremonies that surrounded the life of the king, such as the lever and the coucher. When the chambre de Louis XIV was established in 1701, the archways to the Hall of Mirrors were sealed off, and the room became the ideological as well as physical focal point of the palace. The king died in this room on 1 September 1715. Later, Louis XV and Louis XVI would continue to use it for the lever and the coucher. On 6 October 1789, Louis XVI, Marie Antoinette, and the Dauphin appeared on the balcony before the mob that forced the royal family to move from Versailles to the Tuileries Palace in Paris.
As a measure of economy, Louis XIV retained much of the decor of the salon du roi in the decoration of the chambre de Louis XIV. The over-door paintings included The Portrait of Francisco de Moncada and a Self-portrait the two by Anthony van Dyck, Saint John the Baptist by Caravaggio, and Mary Magdalene by Guido Reni. Domenichino’s Saint Cecilia was placed in the cornice setting of the south wall above the fireplace and the artist’s King David playing the harp hung as pendant opposite on the north wall.
The western wall of the room became the wall of the alcove – the area of the room separated by a balustrade in which the bed was located. The decoration of the alcove, with the ornaments of the agrafe and volutes as well as the trelliswork sculpture, anticipate in many respects anticipates the style Régence that was in vogue between 1715-1723. Crowning the bed is Nicolas Coustou’s relief sculpture, France Triumphant, which is complemented by two relief sculptures of Fame by François Lespingola located in the pendentives of the arch.
The present brocade on the walls of the alcove and for the bed has been rewoven as part of the initiative of the Fifth Republic to restore Versailles. The original alcove and bed hangings were restored in 1736; and, in 1785, Louis XVI ordered the brocade burned from which he obtained over 60 kilograms of gold. The present hanging, while accurate for the period, are not a reproduction of the brocaded that originally hung in the chambre de Louis XIV. Owing to lack of archival information when the project was undertaken, it was decided to use the pattern for hangings of the tenture d’hiver for the queen’s bedroom. Only after the project was underway were the original designs found; as the part of the project had been completed, it was decided to use the queen’s tenture d’hiver.
The Stephen Joseph Theatre in Scarborough, formerly the Odeon Cinema. Box Office and rewoven 'Odeon' carpet.
The Odeon Cinema opened in March 1936, designed by Cecil Clavering from the Harry Weedon Practise. It was one of the most ornate of the original Odeons, and continued as a single screen cinema until closure in October 1988. After laying largely empty (a social club used the former café area), it was partially restored, partially rebuilt as the Stephen Joseph Theatre (architect Osbourne Christmas), and reopened in 1996. It is grade 2 listed.
Scarborough, North Yorkshire, England - Stephen Joseph Theatre (Odeon), Westborough / Northway
April 2009, image reworked 2024.
Die Wandbespannung aus Seidendamast ist nach erhaltenen Resten nachgewebt worden. Ein Stück des Originalmaterials wurde über dieser Tür zum Nebenraum eingesetzt.
The silk damask wall covering has been rewoven from surviving remnants. A piece of the original material was used above this door to the adjoining room.
Schloss Mirow wurde ab etwa 1709 als Witwensitz für Herzogin Christiane Aemilie Anthonie von Mecklenburg-Strelitz errichtet. Baumeister war Joachim Borchmann. Im Herzen des Baus hat sich der hochbarocke Festsaal des italienischen Stuckateurs Giovanni Battista Clerici in seiner ganzen Pracht erhalten. Kaum ein Besucher würde bei der äußeren Bescheidenheit des Schlosses solch einen fulminanten Saal erwarten. Zu den unerwartet prachtvollen Raumkunstwerken gehören auch jene des friderizianischen Rokokos. Der Eintritt Preußens in den Siebenjährigen Krieg verursachte in dem benachbarten Königreich einen fast völligen Stillstand der baulichen Aktivitäten. Die Künstler suchten nun anderswo nach neuen Aufträgen. Dieser historische Umstand führte dazu, dass in Mirow eine zweite Umgestaltungsphase unter Herzogin Elisabeth Albertine begann, die von 1756 bis 1761 ihr Appartement mit originären friderizianischen Innenraumdekorationen von höchster Qualität ausstatten ließ.
Für die Kulturgeschichte ist das Gebäude ein Schatz von unersetzlichem Wert. Die Region des ehemaligen Herzogtums Mecklenburg-Strelitz hat nämlich dramatische Verluste im 20. Jahrhundert erlitten: Das Residenzschloss in Neustrelitz wurde im Jahr 1945 ausradiert. Im selben Jahr fiel auch das Neubrandenburger Palais der Zerstörung anheim. Die ehemalige Sommerresidenz Hohenzieritz hat kriegsbedingt im Inneren bis auf wenige Überbleibsel ihren fürstlichen Glanz verloren. Das Untere Schloss in Mirow brannte schon im 19. Jahrhundert vollständig aus. Somit ist das Obere Schloss das letzte und einzige Denkmal überhaupt, in dem sich die herzogliche Wohnkultur der Mecklenburg-Strelitzer Dynastie erhalten hat.
Trotz der idyllischen Abgeschiedenheit reicht die Bedeutung des Schlosses weit über Mecklenburg-Vorpommern hinaus – bis in die ganze Welt hinein. Die berühmteste Schlossbewohnerin ist Queen Charlotte, die von ihrem Gemahl König Georg III. von Großbritannien „mein Schatz aus Strelitz“ genannt wurde. Nach ihr wurden die Millionenstadt Charlotte in den USA und viele Landmarken weltweit benannt. Aber auch die beliebte Paradiesvogelblume, die Strelitzie, verdankt ihren Namen dem einstigen Mirower Lottchen. Ihr Bruder Adolph Friedrich IV. kam als Fritz Reuters schräger Herzog „Dörchläuchting“ zu zweifelhaftem Ruhm und ihre Nichte Luise sollte die berühmteste aller preußischen Königinnen werden Nach 1761, dem Tod von Herzogin Elisabeth Albertine, kam der Hof nur noch zu Beerdigungen nach Mirow. Nach dem ersten Weltkrieg und der Enteignung der herzoglichen Familie wurde der Bau museal genutzt, später wurde das Schloss Dienststelle der Wehrmacht. Eine erste Renovierung des langsam verfallenden Schlosses gab es 1953, als es zu einem Altersheim umgewandelt wurde, das bis Ende der 1970-er Jahre bestand. Von der Geschichte des Hauses, seiner Bewohners und seiner Rettung nach der Wende von 1989 erzählt eine moderne Ausstellung.im Erdgeschoss
Nach dem Schlossbesuch lockt die Ruhe im Park. Auf geschwungenen Wegen, am Ufer des Sees, in barocken Alleen oder auf der Liebesinsel lässt es sich herrlich lustwandeln. Hier verbindet sich das Naturerlebnis mit den Spuren der Vergangenheit auf idyllische Art und Weise. Schloss und Park Mirow sind Teil eines ganzen Ensembles auf der Schlossinsel. Hier gibt es noch zwei weitere architektonische Höhepunkte: das Renaissancetorhaus und die Johanniterkirche, zu der auch die Familiengruft des Strelitzer Herzogshauses gehört. Im barocken Kavalierhaus gegenüber dem Schloss befinden sich ein Welcome Center und ein Café.
www.mv-schloesser.de/de/willkommen-auf-schloss-mirow/
Mirow Palace was built from around 1709 as a widow's residence for Duchess Christiane Aemilie Anthonie of Mecklenburg-Strelitz. The architect was Joachim Borchmann. At the heart of the building, the Baroque banqueting hall by Italian stucco artist Giovanni Battista Clerici has been preserved in all its splendour. Given the outward modesty of the palace, hardly any visitor would expect such a magnificent hall. The unexpectedly splendid works of interior art include those of the Frederician Rococo period. Prussia's entry into the Seven Years' War brought building activities in the neighbouring kingdom to an almost complete standstill. Artists now looked elsewhere for new commissions. This historical circumstance led to the beginning of a second remodelling phase in Mirow under Duchess Elisabeth Albertine, who had her flat furnished with original Frederician interior decorations of the highest quality from 1756 to 1761.
The building is a treasure of irreplaceable value for cultural history. The region of the former Duchy of Mecklenburg-Strelitz suffered dramatic losses in the 20th century: The residential palace in Neustrelitz was wiped out in 1945. In the same year, the palace in Neubrandenburg was also destroyed. The former summer residence in Hohenzieritz lost all but a few remnants of its princely splendour during the war. The Lower Palace in Mirow burnt down completely in the 19th century. This makes the Upper Palace the last and only monument to the ducal residential culture of the Mecklenburg-Strelitz dynasty.
Despite its idyllic seclusion, the castle's significance extends far beyond todays state of Mecklenburg-Western Pomerania - all over the world. The most famous resident of the castle was Queen Charlotte, who was called "my treasure from Strelitz" by her husband King George III of Great Britain. The metropolis of Charlotte in the USA and many landmarks around the world were named after her. The popular bird of paradise flower, the Strelitzia, also owes its name to the former Charlotte from Mirow. Her brother Adolph Friedrich IV achieved dubious fame as Fritz Reuter's (a 19th century novelist writing in the Low German language) quirky duke "Dörchläuchting " (a half affectionate, half mocking Low German way of saying Serene Highness) and her niece Luise was to become the most famous of all Prussian queens. After 1761, the death of Duchess Elisabeth Albertine, the court only came to Mirow for funerals. After the First World War and the expropriation of the ducal family, the building was used as a museum and later became a Wehrmacht office. The slowly decaying palace underwent its first renovation in 1953 when it was converted into a retirement home, which remained in existence until 1978. A modern exhibition on the ground floor tells the story of the house, its residents and its rescue after the fall of communism in 1989.
After visiting the palace, the tranquillity of the park beckons. Take a leisurely stroll along the winding paths, along the shores of the lake, along Baroque avenues or on the Island of Love. Here, the experience of nature is combined with traces of the past in an idyllic way. Mirow Palace and Park are part of a whole ensemble on Palace Island. There are two other architectural highlights here: the Renaissance gatehouse and the Church of the Order of St. John, which also houses the family crypt of the Mecklenburg-Strelitz ducal family. The Baroque Cavalier house opposite the Palace houses a Welcome Centre and a café.
The former Odeon Scarborough in 1995 undergoing transformation to the Stephen Joseph Theatre. A scanned image. The McCarthy Theatre - which doubles as a cinema, nearing completion. The plasterwork from the front stalls has been saved and re-installed in this auditorium occupying the rear of the circle. The originals seats have been sent away for reupholstering before re-installation. The original design of the Odeon carpet has also been rewoven and is awaiting installation.
Scarborough Stephen Joseph Theatre - McCarthy Auditorium
A scanned negative from 1995
I finally finished twisting and weaving in the fringes - great tip from a friend that I should needle felt the rewoven ends for stability - worked beautifully!
This chair came to me with this rewoven seat of seagrass. The weave is similar to the Danish weave but it's not quite right.
Seen in the V&A
DESK CHAIR Johnson Wax Building, Racine, Wisconsin, USA Designed by Frank Lloyd Wright, 1937-39 Painted steel, walnut arms, wool and cotton upholstery (rewoven after the original) Manufactured by Metal Office Furniture Company, Grand Rapids, Michigan W.8-1992 Given by S C Johnson Wax in honour of the Hon John J Louis Jr, through the American and International Friends of the V&A Rejecting the arguments of the manufacturer who was afraid that the chair might tip over, Wright insisted that a three-legged chair would ensure that employees sit with correct posture.
Designed for the headquarters of Johnson Wax Company in Racine, Wisconsin. S.C. Johnson has kept the desks and chairs in continuous use and as a result none have survived without refurbishment. The company refurbished several sets since 1982 for the purpose of loans to exhibitions, and it is believed that this chair is one of these.
A little bach set high on a hill is a visual drawcard at an island vineyard.
at Batch Winery is the work of renowned sculptor Jeff Thomson.
The piece is a repurposing of his 2011 headland Sculpture on the Gulf entry titled
Thomson is known for his corrugated iron creations.
He is the only artist to have taken part in all seven headland exhibitions, including this year’s event which opened on Friday for just over three weeks.
He says when he was first planning he came over to Waiheke Island with pieces of old iron which he had cut into strips and woven. But when he put them on the site in preparation for the 2011 exhibition the colours were too drab.
‘‘I still used recycled sheets of corrugated iron,’’ he says.
‘‘But I went back to my workshop and painted all the sheets into bright colours, cut them into strips with a laser cutter then wove these colourful strips into sheets.’’
These sheets have now been reworked and rewoven to create the shape of a house complete with a water tank.
The sculpture references the simple iconic Kiwi holiday homes that were often built from the materials at hand, including recycled materials and corrugated iron.
will be on view at Batch Winery from 11am till 7.30pm every day until the close of the Waiheke Vintage Festival, which runs from March 12 to 16.
A courtesy bus connects Matiatia and Batch Winery with an hourly return.
Wednesday July 25th: Versailles:
This from wikipedia...
Post-royal, the Monument Museum
After the Revolution the paintings and sculpture, like the crown jewels, were consigned to the new Musée du Louvre as part of the cultural patrimony of France. Other contents went to serve a new and moral public role: books and medals went to the Bibliothèque Nationale, clocks and scientific instruments (Louis XVI was a connoisseur of science) to the École des Arts et Métiers. Versailles was still the most richly-appointed royal palace of Europe until a long series of auction sales on the premises, which unrolled for months during the Revolution, emptying Versailles slowly of every shred of amenity, at derisory prices, mostly to professional brocanteurs. The immediate purpose was to raise desperately-needed funds for the armies of the people, but the long-range strategy was to ensure that there was no Versailles for any king ever to come back to. The strategy worked. Though Versailles was declared an imperial palace, Napoleon never spent a summer's night there.
Versailles remained both royal and unused through the Restoration. In 1830, the politic Louis Philippe, the "Citizen King" declared the château a museum dedicated to "all the glories of France," raising it for the first time above a Bourbon dynastic monument. At the same time, boiseries from the private apartments of princes and courtiers were removed and found their way, without provenance, into the incipient art market in Paris and London for such panelling. What remained were 120 rooms, the modern "Galeries Historiques".[3] The curator Pierre de Nohlac began the conservation of the palace in the 1880s, but did not have the necessary funding until John D. Rockefeller's gift of 60 million francs in 1924-1936. Its promotion as a tourist site started in the 1930s and accelerated in the 1950s and 1960s.[39]
In the 1960s, Pierre Verlet, the greatest writer on the history of French furniture managed to get some royal furnishings returned from the museums and ministries and ambassadors' residences where they had become scattered from the central warehouses of the Mobilier National. He conceived the bold scheme of refurnishing Versailles, and the refurnished royal Appartements that tourists view today are due to Verlet's successful initiative, in which textiles were even rewoven to refurbish the state beds.
Artist: Keren Callaghan
Medium: Weaving
After trying some macrame, I then discovered selvedge waste, and got a delivery. I had some bright yellow and red tartan, and some very dark waste, so I started to play with merging the colours. This rug, if the final piece, has been undone and rewoven 3 times, the 4th time I love, but my weaving still needs work.
see original size : 3072x2324
en.wikipedia.org/wiki/Louise_Bourgeois
"""Louise Bourgeois was born December 25, 1911 in Paris, France. Bourgeois' parents repaired tapestries. At 12, Louise Bourgeois participated in this work by helping to draw the missing segments of the tapestries, which would then be rewoven. At 15 she studied mathematics at the Sorbonne. Her studies of geometry contributed to her early cubist drawings. Still searching, she began painting, studying at the École du Louvre and then the École des Beaux-Arts, and worked as an assistant to Fernand Léger. In 1938 she moved with her American husband to New York City to continue her studies at the Art Students League of New York."""
""My mother was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat and useful as a spider," she once wrote..."""
Cream and gold Minster Tapestry - otherwise known when a Silk Damask as Van der Weyden, with orphrey and superfrontal of "Strawberry Cloth of Gold" (rewoven by Watts). New Gold Frontal at St Mary in the Baum (Wardleworth), Rochdale. June 2013
In the final volume of her trilogy on interlinked social issues, Susan Madden Lankford explores the troubled psyches of young people incarcerated in Juvenile Hall. At the core of this compelling book are contributions elicited from the youths themselves.
Their scrawled or careful handwriting-and brutal or poignant drawings-speak as powerfully as their words. Additional perspectives from psychiatrists, neuroscientists, and experts in the field of juvenile justice underscore the social and neurobiological impacts of childhood trauma. Ultimately, the message of Born, Not Raised is hope-that unnurtured youth, with all their dreams and deficits, can be reparented and rewoven into the social fabric.
Cover design by Anton Khodakovsky and Polly Smith. Artwork by a juvenile.
Belton House, Lincolnshire
The Queen's Bedroom.
Named for Queen Adelaide, widow of William IV, for whose visit it was redecorated in 1841. The canopy bed dates from 1813 but has been refurbished in the revived Rococo style with Queen Adelaide's monogram in silver embroidery on the headboard. The braids, fringes and tassels of the bed are original, the striped silk is rewoven.
On every face in the market
the dust of the city
is etched in summer heat.
Behind the stands
the wrinkled old women
know many things:
The ripeness of fruit,
the weight of eggs.
Their baskets measure time
both bought and sold,
woven and rewoven
in the language of trade.
Small lizards watch
from cracked adobe walls
as parrots tower in cages
strapped to the back
of el hombre de pericos.
Amongst whistles and eyebrows,
and petticoats and ribbons,
there is the smell
of chiles and grain
frying in the stands.
Tortillas and fish.
Leather and vegetables.
Saddles and tools.
What strange heart of man
makes him know the words, te quiero,
before he has heard them spoken?
Makes him understand
the bright radish
still smelling of earth?
Musicians stroll
and awnings come down
in heat of mid-day.
It is time for siesta,
a tradition well-kept.
It is time . . . for dreams.
Jan Olsen
it's been a damned long time since i saw these pieces. Moths had eaten much of the feathers, things had to be rewoven and refeathered and such nonsense. Still, like old friends, it's nice to see them again.
I went in on friday and took lots of pictures. Also had tasty tasty burgers and popsicles with Carrie. Yay!
Haddon Hall, Bakewell, Derbyshire
'The Five Senses' at Haddon Hall are the only surviving example of one of the Mortlake Tapestry Work's most beautiful tapestry sets. The workshop was founded in 1619 under the patronage of James I and Charles, Prince of Wales, and by the later 1620s was making some of the finest tapestries in Europe. The first two sets of the Senses were woven by 1630 for Charles I.
The first documentary record of the Senses at Haddon is not until 1663 but the set was probably one of those made for King Charles. On close examination, a small circle surmounted by a cross with a row of pearls is visible above the now plain blue shields on the upper border of each tapestry. This device once formed the uppermost part of the crown surmounting the royal coat of arms present on a number of existing Mortlake tapestries of the early 1630s
During the Civil War, the execution of Charles I and the Commonwealth, when symbols of divine kingship were unacceptable, the arms were simply cut out and rewoven as blank shields.
The artist behind these exceptional tapestries was the German-born Francis Cleyn (d. 1658), who came to England in 1625. The central medallion of each tapestry has an allegorical female figure in classical dress accompanied by attributes of the senses.
'Hearing' is the traditional personification of a woman mid-song, singing from a music folio, flanked by a viol and a stag, an animal known for its acute hearing.
The side borders contain roundels illustrating Aesop's Fables.
Morning scene and story of marketplace ... ‘Their baskets measure time
both bought and sold,
woven and rewoven
in the language of trade.’ - Jan olsen
#paertolaesorshe 2017
Early 20thc... Matrix-esque open-closed zig-zag prayer-rug size... Very meditative expansive quality... Unique lovely rich color harmony... The empty abresh hues of orange to red are in stark contrast to the midnight-blue to black-night-sky, chalk full of symbols representing light and blooming and smaller filler symbols that add dimension/depth of field... The assymetrical field framing insinuates an infinite pattern... With a subtle angular reciprocal major border... One corner some minor loss that can be rewoven... A revealing gem that will make a good friend!...
My Child Doll '88 version! She came yesterday, she needed a bath and her hair rewoven. Oh the fun parts! Lol! I redid her weave. Now she is wearing a custom pinny dress set by Jeannette. www.jeannettesgems.com