View allAll Photos Tagged SOMETHING
Une de mes "premières photos" datant de 2009, que je n'avais jamais publié mais que j'ai retrouvé et décidé de retravailler un petit peu !
Learn Something New Everyday
mini-album project for September 2010
credits:
learn word by Shimelle (from class)
papers and elements from Everyday Snapshots, Memory of you, Dandelion wishing, Just A Note and Bookworm by Kasia designs
stitches from Borders No. 2 by ANNA
Itâs a very small number of independent restaurants in London that have lasted 30+ years, which I think says something about Charlotteâs Place. You know what else says something about this place? Going there. And you should - it is worth it (if youâre willing to make the trek to Ealing). In one form or another, Charlotteâs Place has lived in Ealing since 1984 (I believe the original owner was called Charlotte, hence the name). It was rebranded, refurbished and reopened under new ownership in 2005 and hasnât looked back since. Located next to leafy Ealing Common, with a mostly relaxed mood set by jazz playing quietly in the background, Charlotteâs dining room looks like it was literally a dining room. In a house. Which is now a restaurant...
This probably supports the impression I got, which is that the place has a âhomelyâ feel about it (providing your home is a building full of chefs and fine wines). Once described by another reviewer as 'an old restaurant with a soulâ, it feels lived in - someone else described it as 'suffering from a little wear and tearâ (personally, I like this, as itâs not too slick at all). It sits about 40 covers and seems to have developed a cult following in the local area over its two decades of service. People have been using the term âneighbourhood restaurantâ to describe it - whatever that means, isnât every restaurant in a neighbourhood?
Anyhow, Iâm not sure if the food here is officially classified as 'fine dining' but you could make the case that it was (if arguing about restaurant cuisines is your thingâ¦). The food is innovative but the place doesnât feel pretentious - portions err on the smaller size, served as many courses. Thereâs lots of loving attention to detail - amuse bouches, specially paired dishes and suggestions from the chef are all part of the fun! Speaking of chefs, Head Chef Lee Cadden is the man behind the ever-changing menu (every month, I believe) and is a guy who appears to know his stuff. His background is eclectic but he seems to have cut his teeth in private dining and âexecutive diningâ, working at Barclays in Canary Wharf. Memorable dishes? The wood pigeon, which was 'steak-esqueâ (currently the best way I can summarise its taste and texture). It was also the best wood pigeon I have ever tried! Again, this came as personal recommendation from the kitchen
Charlotteâs Placeâs pricing is, on the main part, average for London, but you seem to get more value in the tasting menus. A 5 course lunch tasting menu for £30? Yup! Drinks are reasonable I suppose/averagely priced. If you wanna nuke the budget start hitting up the stuff at the bottom of their wine list. Speaking of their wine list - it is bigger than you may have expected (Imbibe Wine List of the Year 2013) and I think was created in association with Matt Wilkin, MW.
All in all, Charlotteâs Place is a great example of how far British cuisine (and British restaurants) have come (and perhaps will go?). It's a place Iâd recommend to any adventurous eaters amongst you! Well done, fine people of Charlotteâs Place...
Miss Something
Offset Festival
6th September 2009
by EMMAALOUISE
If you wish to use any of my images please ask, or credit first. I'd hate for any of my photographs to become lost in the endlessness of the internet...
For prints, please contact emmaalouise@hotmail.co.uk
There was a Private Group from out of state doing a Barrel Pick that day and several Tours throughout the day. Tours can be booked on the website www.nobletons.com/tours Did you know that you can also buy a bottle (or two, or three) of what you tasted, and it will be bottled directly from the barrel right then and there?
These bottles use a custom "Rickhouse Reserve" label and have spaces to add the specific barrel information such as proof, mashbill, barrel name.
Demetrius points out there's a bit of a problem. On this day, they actually ran out of the entire roll of "Rickhouse Reserve" labels that were on hand! Oh well, I guess that means I'll just have to return again when they get more labels in to pick up any bottles that couldn't be sold.
Celebrating the 1-year anniversary of the opening of their Tasting Room and 10 years of Distilling Operations, there was quite a party out in Union, MO on January 18, 2025.
If you haven't heard of Nobleton's and you like Whiskey, you owe it to yourself to make the trip to 545 Commercial Dr, Union, MO 63084 for a visit. Heck, even if you don't like whiskey...or think you don't like whiskey, you owe it to yourself to make the trip!
Web -https://nobletons.com/
Insta - www.instagram.com/nobletons/
www.instagram.com/demetriuscain.mo/
Facebook - www.facebook.com/nobletonsdistilling/
Address; 545 Commercial Dr, Union MO, 63084
Phone: 314-252-8990
email: info@nobletons.com
The Tasting Room is open Weds-Sat
PXL_20250118_215858180
J' Something e Tó Viegas (Ex-Entre Aspas)
Auditório da Universidade do Algarve / Portimão
12 Dez. 09
Hôm nay lên trường nhưng ko gặp “bạn ấy”! Đã chuyển 1 giờ học ! Thế là chỉ con gặp 2 môn còn lại ! =((
[Actually, I thinks it was you, but NOT!...]
Bù lại thì lúc ra về gặp đc “ai đó” ! Vẫn thấy có lỗi !...Hôm nay - nếu có cơ hội – sẽ nói ! Wait, little boy! :)
[Sorry because I don’t know it was you!... ]
www.youtube.com/watch?v=JZ_rL70dti8&feature=related => I don't know ! =))
=)) Baby Ki ! =))
This was kind of an accident; I was doing a normal landscape shot of the canyon walls at Zion, but the sun happened to line up with some odd clouds, giving the picture (for me) the feeling that something huge is happening in the sky while the Earth waits below.
Location is very approximate; I have no idea where I was in Zion when I took this.
Something For Kate
Pier Band Room, Frankston
Australia
supports:
Chris Cheney
Shot for: Live at Your Local
Jacket, 1800
JC Frank
Wool, silk, silver thread, wooden buttons
In 1793 the Prince of Wales was appointed colonel of the 10th Light Dragoons, something that caused him to feel 'boundless joy'. The miniature in this case may have been painted to commemorate this event. The Prince of Wales had long been fascinated by the flamboyant uniforms of the Hungarian hussar regiments, a picturesque interpretation of traditional Hungarian peasant dress. Hussar features were incorporated into the clothing of the prince's unit, which was later renamed the 10th Royal Hussars. These included frogging (looped cord decoration), a corded waist sash with tubular gold barrels and tassels, and a fur-lined pelisse cloak.*
From the exhibition
Style & Society: Dressing the Georgians
(April to October 2023)
The display brings together over 200 works from the Royal Collection, including paintings, prints and drawings by artists such as Gainsborough, Zoffany and Hogarth, as well as rare surviving examples of clothing and accessories. The exhibition builds up a layer-by-layer picture of what the Georgians wore - from the practical dress of laundry maids to the glittering gowns worn at court - and chart the transformation of clothing and silhouettes from the accession of George I in 1714 to the death of George IV in 1830.
At the heart of the exhibition is a rarely displayed, full-length portrait of Queen Charlotte by Thomas Gainsborough, c.1781, which usually hangs in the White Drawing Room at Windsor Castle. Painted by candlelight, it depicts the Queen in a magnificent gown, worn over a wide hoop and covered with gold spangles and tassels. The painting is be shown alongside a beautifully preserved gown of a similar style, worn at Queen Charlotte’s court in the 1760s, on loan from the Fashion Museum Bath.
On display for the first time is Queen Charlotte’s book of psalms, covered in the only silk fabric known to survive from one of her dresses. The expensive fabric, decorated with metal threads to glimmer in candlelight, was most likely repurposed after the dress had passed out of fashion. As textiles were highly prized, Georgian clothing was constantly recycled, even by the royal family, and there was a thriving market for second-hand clothes.
The exhibition includes items of jewellery from Queen Charlotte’s famed collection, such as a diamond ring featuring a miniature of her husband George III, given to her on her wedding day. Other accessories on display will include beautiful English and French fans, which reached their fashionable zenith during this period, some representing topical events such as the first hot air balloon flight, and jewel-encrusted snuffboxes, reflecting the craze amongst both men and women for taking snuff throughout the 18th century.
The exhibition reveals how the Georgians ushered in many of the cultural trends we know today, including the first stylists and influencers, the birth of a specialised fashion press and the development of shopping as a leisure activity. From the popularity of fancy-dress and the evolution of childrenswear, to the introduction of military uniforms and the role of clothing in showing support for revolutions at home and abroad, Style & Society will explore what clothing can tell us about all areas of life in the rapidly changing world of 18th-century Britain.
[*IanVisits]
From the Queen's Gallery, Buckingham Palace
Buckingham Palace
Royal Palace. 1825 design, begun 1826 by John Nash, rebuilding Buckingham House of 1705 as a palace for George IV, completed 1837 with alterations by Edward Blore; The east range added 1847-50 by Blore; the Ballroom block of 1853-54, with Ambassadors' Court, by Sir James Pennethorne; the east front refaced 1913 by Sir Aston Webb for George V
Marble faced east front, the rest Bath stone except for Blore's west quadrangle front in Caen stone; slate and leaded roofs. Quadrangle plan. Monumental Graeco-Roman, composed with picturesque intent by Nash; Webb's east front a stiff Dixhuitieme exercise constrained by Blore's existing range but with elegant detailing: East front: three storeys with ground and attic floor mezzanines. Fenestration in rhythm 3:7:3:7:3 with centrepiece and terminal pavilion. Channelled ground floor with semicircular arched central gateway flanked by square headed doorways, all with fine ornamental iron gates of 1847; end pavilions and main range with square headed and semicircular arched gateways respectively; architraved sashes with open pediments on first floor and cornices on second floor; fluted Corinthian pilasters rise through first and second floors supporting main entablature with blocking course and balustraded parapet; centrepiece and terminal pavilions with Corinthian columns in antis and plain outer pilasters, in pairs on centrepiece, crowned by blind attics with pediments; continuous balustraded balcony to first floor.
West front: of Blore's east range; advanced centrepiece with tetrastyle giant fluted Corinthian column portico above archway; sculpture in pediment. North and South quadrangle ranges: by Nash and given uniform three storey height, with attic, by him in 1828; slightly advanced five-window wide pilastered centrepieces; ground floor Greek Doric colonnades filled in by Blore; to the south Ambassadors' Court with temple portico-porch and flanking ranges with Corinthian colonnade in antis, adjoining Pennethorne's 1853-1854 Ballroom block which continues giant columned corner pavilion theme of Nash's garden front.
East front of Nash's West range: originally open to deep forecourt and Mall, has storeys and attic main block, 11 windows wide, with three storey three-window wings, the main block with prominent, tetrastyle, two storey portico centrepiece, its low ground storey with cast iron coupled Greek Doric columns and the upper with giant coupled stone Corinthian columns carrying entablature and pediment with sculpture by Baily and crowning figures in Coade stone by W Croggan; the cast iron Doric colonnade is returned across ground floor of main block which has pavilion end bays dressed with giant pairs of Corinthian columns; tall blind attic; the friezes either side of portico by Westmacott and originally intended for the attic of Marble Arch.
West garden front, by Nash: Long symmetrical composition with five accents; basement, ground floor, piano nobile through two storeys and attic to main block with three-storey wings; the main block with five-window central bow and three-window side ranges terminating in one-window pavilions; the wings each of four windows with similar pavilion end bays; ground floor channelled, giant engaged Corinthian columns to bow and detached coupled Corinthian columns to pavilions carrying entablature with rich rinceau frieze; large frieze panels of Coade stone over first floor by Croggan; the attic above half dome of bow (Blore's replacement of Nash's dome) has a frieze by Westmacott intended for Marble Arch; the range is flanked at east of terrace by projecting conservatories in the form of hexastyle Ionic temples with pediments; the south conservatory altered as palace chapel in 1893 and as the Queen's Gallery in 1962.
Interior: State Apartments in west range at firs floor level, with two suites divided by the Picture Gallery, c1829-36 by Nash and Blore, in rich and already eclectic Graeco-Roman style with Louis XIV and Wren details in mouldings and motifs, approached via the Grand Hall with marble columns and Nash's recasting of the original Buckingham House staircase as well as by Pennethorne's Grand Staircase to south extended by Pennethorne to give access to his Ballroom block; the Picture Gallery redecorated 1914; the interior of the Ballroom retains Pennethorne's ceiling and throne recess but redecorated by Ludwig Gruner in 1902 when the walls, windows and doorways were remodelled by Verity; the plainer ground floor rooms below the State Apartments survive virtually as designed by Nash. Marble Arch (qv) designed by Nash in 1828 as the forecourt gateway was removed by Blore's east range and re-erected in 1851 on its present site.
[Historic England]