I received my Premiere Series Tiana doll today. I ordered her online from the Disney Store when she was released last Saturday, November 3, 2018. She is #253 of 4000. She is unusual in that her CoA number is only one greater than the Cart #252 that is on the original shipper label. All the other Premiere Series dolls so far have had an edition number 3 greater than the Cart #. The box and doll are close to perfect, except for a broken chain on her purse. I have read that this is a fairly common defect in the doll. Rather than trying to get a replacement from the Disney Store I think I will try to fix it on my own. She has a beautiful face, but the outfit is my least favorite of the series. The large yellow green cloth flower on her chest is really tacky and distracting, and covers her neck and part of her face. The neon yellow green of the skirt is also too gaudy for me, looks like a tutu, and the floral embroidery on her skirt looks childish. Her shoes are lovely, however. She is the fifth of the six doll series, with Belle being the last release in the US and Canada.

 

I show the box, and the doll with successive layers of the box removed, until the doll is in clear view. I will debox the doll soon.

 

Tiana Disney Designer Collection Premiere Series Doll - Limited Edition

US Disney Store

Released online and in store 2018-11-03

Sold out online in less than 10 minutes

Purchased online 2018-11-03

Received 2018-11-09

#253 of 4000

 

$109.95

Item No. 6003040900600P

 

The Disney Designer Collection proudly presents our Premiere Series Tiana Limited Edition Doll inspired by the fashions of 2009 when red carpet fashion presented bold contemporary looks kissed by personal style.

 

Safety

WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.

 

Magic in the details

 

Please note: Purchase of this item is limited to 1 per Household.

 

The Disney Designer Collection is proud to present the Premiere Series, breathtaking collector's dolls inspired by the fashions on runways and red carpets during the year of each theatrical debut. The dolls, garments and accessories have been carefully crafted to combine a moment in fashion history with the unmistakable signature icons of our beloved Disney heroines.

 

The Princess and the Frog premiered in 2009 during a time when red carpet fashion merged with personal style to create bold, statement-making looks.

 

• Limited Edition of 4,000

• Certificate of Authenticity

• 2009 fashion-inspired designer Tiana doll

• Beautifully sculpted and highly detailed

• Delicate airbrushed cheeks

• Eyelashes

• Rooted hair, finely styled

• Tailored jacket with embroidered trims and rosette applique on shoulder

• Silken wrapped bodice

• Embroidered top skirt with floral filigree and rosette appliques

• Triple-layer tiered tulle underskirts

• Silvertone finish metal jewelry with faceted gems

• Silvertone finish metal shoulder bag

• Matching pumps with ankle straps

• Doll stand

• Deluxe display packaging with full-length picture window and dramatic skylight window

• Flocked red carpet stage

• ''Doorway'' cover opens outward with magnetic closure

• Fashion illustration graphics and metallic inks

• 2009 inspired decorative movie tickets, poster, and premiere invitations tucked inside

• Disney's The Princess and the Frog premiered in Los Angeles on November 25, 2009, followed by U.S.A. general release on December 11, 2009

• Part of the Disney Designer Collection Premiere Series

 

Please note: Not a toy. Intended for adult collectors.

 

The bare necessities

 

• Plastic / polyester / metal

• 11 1/2'' H

• Box 16 1/2'' H x 12 1/2'' W x 6'' D

• Imported

Found this at an estate sale.

Sold it, though.

Created these handmade certificates for the f-art gallery in London...they were given to people who bought my prints.

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“By being yourself, you put something wonderful in the world that was not there before.”

 

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- Constructive critiques welcome and appreciated.

- Use "L" to view images on a black background.

- Please, no awards or graphics in the comments.

 

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The inner doll box, taken out of the outer box. The Certificate of Authenticity is under it, between the front and back covers.

 

I received my Disney Designer Collection Premiere Series Snow White Limited Edition Doll today. I had ordered her online at the release day, shortly after 12 AM in the morning of Saturday October 6, 2018. She is #1301 of 4100. She came in a shipper box that is approximately the same size as the LE 17 inch doll shippers. It original shipping label said GIRLS TOYS LE PR DSGN SNOW DOLL F18, and CART #: 01298. There was a small piece of masking tape stuck to the side of the box with the actual edition number (matching the CoA): 1301. Inside there was another corrugated cardboard box snugly fitting in the outer shipping box. Inside that was the actual doll box, which was covered with tissue paper, and fit snugly in the inner shipping box, with cardboard caps on the top and bottom of the doll box. The shipper box was undamaged in transit, as was the inner box and the doll box itself.

 

The doll box has folding panels in the front with magnetic closure, with a large design sketch of Snow White and the year 1937 in large numerals. In the background are photographers in silhouette snapping photos, and a red carpet. The back of the box has angled corners, making for a hexagonal shaped box. The sides and back of the box also has images of Snow White. The top of the box has a clear window with the title of the collection in gold lettering. Inside the front covers are replicas of the movie poster, invitation and tickets to the premiere of Snow White and the Seven Dwarfs at the Carthay Circle Theatre in Los Angeles, on December 21, 1937. The doll is behind a rectangular viewing window extending almost the full width and height of the box.

 

The inner box containing the doll and front viewing window can be slid out from the outer box. It is entirely enclosed, so can be displayed as is, without having to deal with the front covers either covering up the doll, or taking up space in front or to the sides of the inner box. The doll is on top a red carpet that has steps in front, and is flocked cardboard.

The doll herself is by far my favorite of the current Designer Premiere Series. I'm slightly biased because Snow White is my favorite Disney Princess, and am so happy that she turned out so well. I think her gown and accessories are very beautifully designed and produced. It also is very fitting for Snow White, and would be something she would wear to the premiere of her own movie.

 

I show her boxed, with the inner box removed from the outer box, and finally with the front viewing window removed from the inner box.

 

I will fully debox her tomorrow and post photos here when I do.

Detailed photos of the Rapunzel Limited Edition Maquette by Enesco. She is part of the Walt Disney Archives Collection. She costs $175, half the original cost of the Elsa maquette. I ordered her from the Disney Store on October 3, and received her today (October 12). She was originally announced as LE 5000, to be released in February 2017, but was delayed many months and reduced in edition size. My Rapunzel is 207 of 1200. The number is on the Certificate of Authenticity, as well as under the base of the maquette. She is very pretty, and well painted, although there are a few minor paint flaws. There are some stray paint marks on her face, but they are not glaring errors. Her surface is rougher than that of the Elsa and Anna maquettes in the same series. She isn't as spectacular as the Elsa maquette, but I like her better than the Anna, and am very glad I got her.

 

I show Rapunzel alone from all angles. I also show her next to the Elsa and Anna maquettes. Rapunzel is 8 3/4 inches high, and with the base is 9 1/2 inches high. This compares to the 9 1/2 inch Anna (10 1/4 with the base), and the 9 1/4 inch Elsa (9 3/4 with the base).

The top of the box is opened, revealing the Certificate of Authenticity on top of the Styrofoam block enclosing the figure.

 

I just received my Maleficent Limited Edition Figure by the Disney Store. She is #37 of 300. She is very beautiful, and is very nicely painted. Her face is a much better likeness to Angelina Jolie than the DS 12'' doll. Her head is also much better proportioned to her body, so looks much more realistic. Their staffs are almost identical in length and design, and I took the trouble of attaching the staff to the dolls hand, so I could mimic the statue's pose with the doll. The figure stands 10'' tall from her feet to the top of her head. So she is about 1 1/2'' shorter than the doll. But their bodies are almost the same size, so they are very comparable.

 

Maleficent Limited Edition Figure

$179.95

Item No. 6447048303314P

US Disney Store

Released and Sold Out 2014-05-13

Purchased 2014-05-13

Received 2014-05-21

 

Behold!

We've summoned the most spellbinding creative forces in our realm to deliver a stunning, fully sculptured image of Maleficent as she appears in Disney's new live-action film. This fine collector's figure is limited to 300 pieces worldwide.

 

Magic in the details...

 

Please note: Purchase of this item is limited to one per Guest.

 

• Limited Edition of 300

• Certificate of Authenticity

• Fully sculptured figurine

• Intricate detailing

• Hand-painted

• Non-slip feet on base

• Part of our Maleficent Collection

 

The bare necessities

 

• Resin

• 12 1/2'' H x 9 1/2'' Diameter

• Imported

Silver Cinderella, in her unopened display case, with the slipcover off.

 

I just received the 2011 D23 Expo Exclusive Disney Princess Designer Collection Silver Cinderella Doll. She is #116 of 250. The doll, case and slipcover are in near mint condition. I bought her from another doll collector, through a Disney doll group. I thought I would never own this doll, but now I do.

 

She is 11 1/2 inches tall, and is fully posable. Her gown and headband are silver rather than the blue of the LE 8000 Designer Cinderella. She has many more rhinestones in her bodice than Blue Cinderella, which is the only other difference between the two dolls. She also celebrates the 25th anniversary of the Disney Store. Both the D23 logo and the Disney Store 25th Anniversary logo are part of the graphics of the slipcover. She is really cool, being the first D23 exclusive doll, and also the rarest.

 

I show Silver Cinderella boxed, with the slipcover on and off. I also show her next to my blue Designer Cinderella (#1999 of 8000), who has been deboxed and reposed in her display case, without the covers and backing.

Dr. Martens 1460 Satchel Red 8 Eye, Men’s Size 4, Leather Boots, 24614636,UPC: 19066521561, EAN: 019066521561, Monochrome style, Leather upper, Smooth leather, Goodyear heat-sealed Welt, Leather lining, 8-Eyelet lace-up front, yellow airwair heel pull loop, air cushioned sole, 8 Eye Lace Up Boot, AirWair™ air-cushioned bouncing insole for cushioned comfort, Oil and fat-resistant air-cushioned sole, optimum abrasion and slip resistance, Branded heel pull loop for easy on and off, Synthetic sole, Breathable insole, rubber outsole, reddealsonline, sneakerhead, eBay shoes, Authenticate, Authenticity Guarantee, Red Deals Online

2005-2007

80" x48"

Colored pencil, modeling paste on wood panel

 

Below is a transcription of the handwritten words of AVARITIA:

 

I live in contradiction, wanting that which I have not and disdaining that which I have. And the more I have, the less I am. I am emaciated by it, my being a sieve of endless mindless acquisition. My desire scans the horizon; my gaze, monocular I want...I want.... More is my credo. I am crucified by it. Nothing escapes my need. My grasp is amputated by hunger, cannibalized by greed. Was it always so? Even my memory cannot retain substance. I live only in the future dreaming of acquisitions I cannot digest. I am a mouth and an anus. Nothing lies between. Nothing fills me. Nothing sustains me save my desire for more. I starve and am tormented by it, a constant unremitting starvation. I am Avaritia, the gnashing tearing teeth of Gula. What I devour retains in an ever-expanding sack of artifice and accumulation a bottomless compaction of absurdity and repetition. My taste never varies. I am mankind in all his arrogant predictability. What I want I take, preferably by force. It is force that adds zest to the taking. The screams and pleading of mothers as I rape their sons and daughters, the screams and pleading of children as I rape their fathers and mothers, the belching silence that follows the ravaging momentary sating of appetite...and the desire for more. I am consumed by hunger. There is no bottom to it, no accumulation. I sustain Gula’s girth and he sustains my hunger. We are symbiotic functionaries of Acedia’s dreamless sleep. It is not I, Avaritia, who determines the menu. It is Acedia. By his otiose reliance on dogma, the menu is war. I simply devour the fare and prepare the order of repetition. The layering is a natural consequence of our triangulated symbiosis. Gula, Acedia, and I, Avaritia, are the triad of mankind’s entelechy. As we support each other so, too, are we supported by Sloth. No, not supported, elevated. It is Acedia, in all his slothful ignorance, who supports us all. His strength is magnificent; his power, absolute. Throughout the layering generations, the increasing weight of Gula and my undiminished hunger have affected no interruption of Acedia’s sleep. Dreamless, he sleeps on. War upon war, atrocity upon atrocity, century upon century, he sleeps on, complaisant in his majority. Reified by indifference, lulled by the lamentations of innocence, he sleeps on. And what of innocence? For me, Avaritia, it is the path untaken. Inedible, ungraspable, unpalatable. I ignore its possibility, its existence, its toxicity. It is a parallel entree on a menu that would destroy me. War is my menu, only that. It tempts my appetite, satisfies my need...but I am intrigued. Gula stores my pillage and within him lies evidence of my enemy. In my avarice, I have eaten and, through Gula, consumed that which would awaken Acedia. Art. Within the gut of Gula lies the death of sloth. Within the husk of artifact and object, I have devoured that which would wake Acedia from his dreamless sleep and erase his dominance, destroy his protectorate, and decimate his dominion. My ravishing hunger lays vulnerable our triad of complicity. The leaded weight of Acedia’s lids precludes the threat of epiphanic insurrection. But personal enlightenment within the congregation cannot be curtailed. I tear and snatch and gobble and within this catholicity of consumption all tidbits are desirable. I leave it to Gula to cope with matters of digestion. His layered weighting can contain my all. Acedia’s sleep will not be compromised by my lack of perspicuity. Though Art eludes y acquisition through mask and perception, my metaphors prevent insurrection. Our triad is assured. Epiphany is serendipitous and quixotic. The congregation will enter oblivion unenlightened. Within the swelling waste of Gula, objects will remain objects and artifacts will remain artifacts and Art remains eternally chimeric and suspect. History contains us all and finally history itself will be the final artifact to enter oblivion. Gula’s expanding dependence will cease and Acedia’s ancient slumber will be smothered in ashes. My hunger, finally my hunger, will cease and the earth will be delivered unto chaos, cleansing, renewing possibility. Although war, pure and simple killing and pillaging, is my major fare, Acedia’s otiosity requires of me also more subtle, less stringent acquisition. Religion in all its fervor and fanaticism affords me great license to gratify my hunger in a disciplined and leisurely fashion. Consider the Inquisition: what a delightful and titillating repast and how fulfilling the gut of Gula! From Augustine to Napoleon, my feast was laid; fifteen hundred years of rapine and piety. I yearn for repeat. Throughout the reigns of the Innocents my hunger was blessed. Religion and greed were exquisitely coupled with the cowardice and cravenness of the multitude. Lands were taken and borders reframed, wealth rechanneled, names renamed. Generations were shorn of their selfness and the blessed of the blest were blessed. Man’s viability was cast in the crucible of the chasuble. Fire was the purifier and catalyst of his reformation; the stake his armature, ashes his reclamation. To the delight of Gula and me, Avaritia, for fifteen hundred years the mundane menu of war was enhanced by the verve and spectacular condiments of the Inquisition We long for repeat. Torquemada was one of Acedia’s most dedicated disciples. Not guilty he, the sin of avarice. He delivered unto Gula directly, in circumvention of me, Avaritia, the feast of souls. How envious I was of his delicacy and elegant perspicuity...and how advantageous to my rapacious opportunistic appetite. Hypocrisy flourished and so, too, the gut of Gula with the spoils of apostasy. What an artist he was! His attention to detail was phenomenal, his eye accurate and astute...and his mind an absolute treasure house of fanatical dedication For Avaritia, this icon of Acedia is deserving of all past and present celebrity and fame. His purity of purpose and servitude to doctrine and dogma sweetened the gut of Gula with piety and perseverance... No, I was not without envy. The power of Acedia controls us all. It is odd that sloth, the greatest sin, should be viewed so lightly...nay, even praised...nay, admired, even required of great leaders and pooh-bahs. Sloth is the brain of faith and it is sloth that weights the gaseous sack of Gula. Layer upon layer, generation upon generation, it is Acedia that defines the depth and breadth of gluttony. And so I grasp and grab and snap and snarl and stuff the gut of Gula. Without Acedia’s sleeping benediction, my purpose is primitive, unkempt, unworthy of civilized mores and methods, unworthy of Gula’s layering storage, unworthy of history. Acedia defines me, gives virtue to war and taking, pilfering and plundering, rapine and rape. He is my master and benefactor, the lord of lords. Without Acedia, there is Nothingness, Truth, and Chaos, a state of intrepid singularity, a shunning of our symbiotic triad, a denial of accretion. Truth is the opposite of Acedia. It is life with mind wide open. Sloth is its enemy. I cannot protect Acedia; I can only make profitable his dreamless sleep. Through repeat, through the distending gut of Gula, illusion is supported by the life or death actualism of Avaritia. This I am. Actuality is what I do. Entropy is my heart sand entropy is my enemy. Change is my purpose and exchange is my reality. I shade my eyes in shame and duplicity. Only Gula’s layering distension defines my purpose. Am I real? If Acedia wakes, am I real? I am proclaimed to be a sin but this is, of course, hypocrisy. Those very ones who name me, defame me, are me. Torquemada, with all his unquestionable piety and capacious forgiveness, was the greediest of them all. By avoiding me, he became me in his cannibalization of souls. Is this not hypocrisy? Acedia’s sleep is hypocrisy. Gluttony and Greed are hypocrisy. All that pretends to be other than what it is is hypocrisy. I layer Gula’s gut simply because it takes time to eat. If he would digest rather than retain, there would be no history, no layering of repeat, no past, no future, only the abiding moment. Enough of hypocrisy. I am avoiding that which breaks my teeth, that which I cannot consume, that which bypasses greed and delights the glut of Gula. All of my ways and horrific plundering cannot compete with the noisome plundering of Acedia’s sleep. The layering repeat from father to son to father to son which blankets the nurturing bed of dreamless sleep is sloth’s magnificence. Spotlessly sterile in immutable rhetoric, its moted lullabies scale the weighted lids of the true believer with Acedia’s slumber. Beneath this pall all thievery swims unnoticed. My admiration for the reigns of the Innocents, and especially in Torquemada’s Spain, is unbounded. Ordered, righteous, relentless, the acquisition of property, lives and souls was delivered unto Gula without messiness or mayhem. Neatly layered strata generation upon generation, how I envied this richness of Acedia’s sleep. How bloodless! How civilized! How beneficent! I take by force, Acedia consumes by forgiveness, purification and mercy. What finesse! What artistry! Nothing disturbs Acedia’s sleep... It is the fire that moves me to tears of envy. To illustrate the everlasting agony of the everlasting soul by stealing the life of the temporary body through merciful purification is sublime theater, unmitigated sloth, immaculate conception. How brilliant were the Innocents in their slumber. How dedicated Torquemada in his acquisition of souls. I was little more than a jackal on the fringes of so elegant a feast. Gula’s gut boiled with titillation. And the fear... I could taste it though my avarice was relegated to the stealing of goods and boundaries, neither esoteric nor engaging, the usual pedestrian fare of Avaritia. How I pitied Acedia. In his dreamless slumber he knew not that which I envied him most. Three hundred generations of pious sloth...and still he reigns, and still he fills, or attempts to fill, the layering gut of Gula. What a waste! What blind tasteless consumption! All that delicious fear, agony and toasting roasting purification of souls. All the tidy prissy assumptions of immortality and afterlife, clean bibs for a tasteless feast over-cooked in the icy flames of rhetoric and retribution What waste! Acedia eats and offers unto Gula only the layered ashes of dreamless sleep. Of all the seven deadly sins, it is I, Avaritia, who exceeds the limitations of personality. Luxuria, Invidia, Ira, Superbia, Gula, Acedia—none of these touch my universality. I am everywhere, in everything, in every thing living and everything not living. I am entropy, the equalizer of all things. I am the supreme power and processor, I am that which Acedia calls God. Only sloth would trivialize my magnitude. Only ignorance seeks my containment. All that devours is Avaritia, from the advancing glacier to the warming temperature that eats its flow, from an expanding universe to a universe of compaction. Gula’s gut is layered only with mankind’s recordation, man’s view of things, man’s wishes and wants and anthropomorphisms. He has named Avaritia a sin and Avaritia is a god. Such is his paradox. He sees himself in all things and measures all things according to his reflection. Even time, which he cannot grasp, he measures according to his own dimension; even time which he has invented and ascribes to all things living and all things not living, he ascribes to his own magnitude. And this, too, is Avaritia. This, too, is greed and pride and gluttony. And above all, this is sloth. I marvel at my capacity for exchange, to move things here and place things there. I marvel at how quickly the way it was becomes the way it is, how lakes become mountains and mountains become lakes. I marvel at how men become monsters and monsters become saints. I marvel at how the way it is becomes the way it was, how all I eat becomes Gula’s gut, how I retain nothing, not even shit. I am everywhere, in everything. Immensurable by time or virtue. I simply am, with or without comprehension. Acedia considers me a sin yet flourishes in hypocrisy. What could be more greedy than acquisition by sloth? Torquemada, once acclaimed, is now defamed. An entire continent was delivered unto Spain for his pious persecutions, but now Spain has lost its continent and Torquemada has lost his soul. What is, was and what was is yet to be. Torquemada is one of my more delectable tidbits. I relish him whenever and wherever he appears. He is a repeat that even Gula savors in his gluttonous accumulation, a welcome reprise from common war and hackneyed suffering. How greatly I admire dedication, passion, piety, fanaticism. To gnash and chew and cannibalize with abandon, willy-nilly, helter-skelter in the throes of Acedia’s sleep is greed’s brightest accomplishment. To be feared and revered as Torquemada was feared and revered as the flames ripped souls from the heretics and heathen made me salivate with envy. The cheering applause was deafening, sinking drowsing Acedia deeper into sleep while I, Avaritia, licked and lapped the bourn. While he diverted, I cavorted picking pockets, rapping babies, and stealing continents. The screams of war in harmony with smaller choruses and soaring solos of agony and beseechment fill the world of men with the sweet songs of entelechy. How secure they are in their conviction, in their slumber. How peaceful the sleep of Acedia. How fulfilling the man of Avaritia. How distending the gut of Gula. With full orchestration, I sound the hymns of men. Turgid, bombastic, filled with canon and falderal. In the time of Torquemada, how sweet it was to hear the limpid strains of the dispossessed and dying flung high above the baseline of war. The Sturm und Drang of repeat so heavy and purpled by repetition was lightened by the lilting refrain of the Inquisition Though i prospered, I did not create those scorching lyrics of flaming tones. No, those came directly from the otiose sleep of Acedia. How perfectly made he was to satisfy my needs. Pure, chaste, sinless, he pursued his dedication with charity and mercy. His belief in the beyondness was unblemished by doubt. He wanted nothing, expected nothing on this earth. That, he left for me, Avaritia, to pursue. His appetite was for humbler fare asking only the gift of everlasting life. Imagine! He dedicated his earthly life to the purification of souls so that he might live among them in life everlasting. I weep with envy and gratitude for Acedia’s slothful complicity. In his slumber all theft is possible. There is no need for contrition, apology, or remorse. If not for the frothy fare of the likes of Torquemada, Gula’s gut would be leaded weight indeed. My appetite is implacable. I consume without metaphor or morality. I retain nothing. I remember nothing. I am process, universal and omnipresent. I am that which Is. Locked in acedian slumber, man’s nature cannot accept my Isness, his temporality, my constancy. He fears not my capacity for change but rather my intention to exchange, for this he cannot accept...to be replaced. And so he sleeps. Acedia sleeps. And so I eat, layering the gut of Gula with the shit of repetition. My time will come. An exchange will be made, for it is, of course, in process. History is a petty thing. Obese Gula, so ponderous and puffed up with authenticity and self-belief. How heavy he hangs while I, Avaritia, stuff his gut with repetition. I exist freely without Gula. Gula is merely the artificial and momentary recordation of mankind’s fear of exchange. Through repeat and the recordation of repeat, man strives to exist, to retain his control, his reality and his immortality. Through Gula and Acedia, he seeks to survive. But he will not survive. He will be exchanged. He, too, will be exchanged. The silence will envelop man and he, with all his metaphors, will be silenced. He, too, will be silenced. Will my menu serve no future? Will greed cease and avarice dispossess? And what of Gula? If Acedia wakes, exchange will occur. Does man fear this more than the silence, more than extinction? Comatose, in Acedia’s slumber, does he comprehend the difference? Does he care? In truth, I am sick of it all. I am sick of the same fare over and over again. Man is no longer my witness. He refuses my magnitude and compresses my appetite. He has become provincial and depressing in his mediocrity and sloth. (I do not demean or insult Acedia. He has served man’s petty greed with pious sleep and religious devotion but I would exert my full significance.) Unlike Acedia, I am capable of dreaming. I require neither Acedia nor Gula to assist me. I am a force. I do not sleep. I do not accumulate. Time means nothing to me for I do not mark beginnings or endings. I simply am. I do not seek change for the sake of layering. I exchange to create silence. I have no taste for Torquemadas and tortured history. I dream of something other. Anything other. Anything at all. I hunger now for the end of endings, for the end of answers and rotted strictures. I want man gone, his vile and odious stench, his petty pillaging and pilfering. I gag now on repetition. I long for chaos, to have my hunger writ large in a menu of infinite choices. I would exchange him for less boring fare. My jaws are weary of repetition, wary of gnawing repeat. Mankind embraces Acedia and proclaims me God, a tautology of infinite redundancy...8/6/45. He dies in dreamless sleep.

 

Collection:

Crocker Art Museum

Sacramento, California

I just woke up from a dream that seemed very meaningful and important to me. It happens a lot recently. Here goes:

I was visiting a seminar on interpersonal relationships and I immediately got a bad vibe about it. The people on stage were young people of the scientific type.

So I sat there. A ...

 

manwithoutfather.com/2016/06/03/a-seminar-on-interpersona...

authenticity

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

Romulo Galicano (b. 1945)

Poor Man's Meal (Homage to the Potato Eater by Vincent Van Gogh)

signed and dated 2020 (lower right)

oil on canvas

60" x 85" (152 cm x 216 cm)

 

Opening bid: PHP 5,000,000

 

Accompanied by a certificate signed by the artist confirming the authenticity of this lot

 

ABOUT THE WORK

In his Potato Eaters, Van Gogh shows the peasants' alienation from their produce. How come they cannot enjoy the fruits of their labor is a subject he subtly yet poignantly touches on. Galicano aimed to imbibe this quality in his Poor Man's Meal. "We had a hard life in Carcar. Back then, every single day would be filled with uncertainties. We would always be pervaded with doubts if we could survive and carry on with each passing day.” The somber, dimly lit composition explicitly represents their penurious living conditions. It also captures an atmosphere similar to Joey Velasco's 2005 painting, Hapag ng Pag-Asa, which appropriates the image of the Last Supper and shows Jesus Christ dining with the street children. A small beam of light from the early morning sun radiates in the background. In the midst of their predicament, the morning setting evokes the old Filipino adage, "The coming of a new dawn enkindles a renewed sense of hope." "That is why Poor Man's Meal is one of my best works, one of my most treasured works, because it is a genuine reflection of my youth, my struggles, my hopes, and my aspirations," Galicano touchingly concludes. (A.M.)

 

Lot 141 of the Leon Gallery auction on September 10, 2022. Please see leon-gallery.com for more information.

I was lucky enough to get Belle at the Disney Store today. There was about 70 people entered in the raffle, the most of any release in the series, so I was surprised and happy that I got picked. She is the sixth and final Premiere Series doll to be released. She is #1132 of 4500. I now have all six of the dolls, all gotten first hand, and am glad that the releases are finally over.

 

I love Belle's face and hair, her Beast purse and her jewelry, but her dress isn't one of my favorites from this series. My doll has some stains on her face, that look like stray hair product. I will clean them off when I debox her. Some strands of her earrings were stuck in her hair, that I freed when I took all the covers off the doll box.

 

Belle Disney Designer Collection Premiere Series Doll - Limited Edition

US Disney Store

Released online and in store 2018-11-10

Sold out online in less than 10 minutes

$109.95

SOLD OUT

Item No. 6003040900601P

 

The Disney Designer Collection proudly presents our Premiere Series Belle Limited Edition Doll inspired by the fashions of 1991. Her red carpet couture blooms with luxurious fabrics, dramatic draping, and an enchanting rose print.

 

Safety

WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.

 

Magic in the details

Please note: Purchase of this item is limited to 1 per Household.

 

The Disney Designer Collection is proud to present the Premiere Series, breathtaking collector's dolls inspired by the fashions on runways and red carpets during the year of each theatrical debut. The dolls, garments and accessories have been carefully crafted to combine a moment in fashion history with the unmistakable signature icons of our beloved Disney heroines.

 

Beauty and the Beast was first released in 1991 during a time when red carpet couture bustled with luxe fabrics, dramatic draping, and bold prints.

 

• Limited Edition of 4,500

• Certificate of Authenticity

• 1991 fashion-inspired designer Belle doll

• Beautifully sculpted and highly detailed

• Delicate airbrushed cheeks

• Eyelashes

• Rooted hair, finely styled

• Satin gown with rose print, full-length lined tunic overskirt, midlength underskirt, and bow sash

• Golden embroidered rose accents

• Gemstone studs

• Organza collar and rosette applique at hip

• Bare shoulders

• Golden finish metal earrings and bracelets

• Golden finish metal Beast shoulder bag

• Shoes

• Doll stand

• Deluxe display packaging with full-length picture window and dramatic skylight window

• Flocked red carpet stage

• ''Doorway'' cover opens outward with magnetic closure

• Fashion illustration graphics and metallic inks

• 1991 inspired decorative movie tickets, poster, and premiere invitations tucked inside

• Disney's Beauty and the Beast premiered as a Work-in-Progress at the New York Film Festival on September 29, 1991. The finished film premiered at the El Capitan Theatre in Hollywood on November 13, 1991, opening across the U.S.A. on November 22, 1991.

 

Please note: Not a toy. Intended for adult collectors.

Part of the Disney Designer Collection Premiere Series, each sold separately

 

The bare necessities

• Plastic / polyester / metal

• 11 1/2'' H

• Box 16 1/2'' H x 12 1/2'' W x 6'' D

• Imported

 

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

the idea of the future of deconstruction: exploiting post urban spaces

This is the edited version to give a bit more interest I visited Kirkleatham Hall Museum to have a look at their latest exhibition which is called "Alien Invasion"

  

It features props from some of the most memorable scifi films in recent years, everything from Thunderbirds to Planet of the Apes, Mars Attacks,Robocop,Star Wars and many more.

  

If you are a film fan of this genre it is well worth a look being able to get up so close to the props that were actually used in the films.

  

Im not a film fan but went along to get some photographs of the props.

  

On arrival you are warned that flash photography is not allowed, which means some high ISO and large aperture settings in some of the darker areas of the exhibition are a must. So be prepared.

  

A lot of the props are behind glass, mostly in glass cubes and reflection is also a bit of a nuisance but with a bit of experimentation fairly decent results can be obtained with a bit of patience.

 

For an admittance fee of just £2 per adult it is well worth the visit.

 

MY Photographs From MY Visit.

 

the following pictures were taken by me on my visit and have been heavily post processed in Lightroom and Photoshop CC to give them an added dimension and a bit more interest.

 

I used Lightroom to remove all the backgrounds replacing the "clutter" with a plain black background.

 

The images were then edited in Photoshop CC and had some or all of the following work done to them

 

The actual font from the film used on a separate layer to add authenticity

Multiple layers added to create interesting scenarios see the SS Enterprise

Composite images made using multiple layer and images [twin Mars Attacks Image]

Levels adjustments, sharpening etc.

 

I deliberately wanted to create images that didn't look like they had been photographed in an exhibition environment, I wanted images that looked like excerpts from the films and or Literature advertising the films.

 

Anyway the true feedback will come from you the viewer and is always a great sense check for me to hear your views so feel free to comment, good bad or indifferent

 

Jon

  

photography (life) is better with

Coachwork by Chapron

 

One of the first production convertibles from the beloved "Modelyear 1967", this DS left the Chapron workshop on September 25th 1966. The car was sold new in France and only had 3 previous owners. The bodywork is entirely handmade in the Henri Chapron workshop in Levallois-Perret, France and was recently restored Germany. The car features its original "green oil" hydraulic operated gearbox, Jaeger dashboard and its original green leather interior. This matching numbers DS 21 Cabriolet comes with a complete Chapron file included an authenticity letter from Noëlle Chapron, a copy of the original Chapron workshop documents and Certificate of Citroën Heritage.

 

Class III : Post-War Open

 

Zoute Concours d'Elegance

The Royal Zoute Golf Club

 

Zoute Grand Prix 2019

Knokke - Zoute

België - Belgium

October 2019

"The most important kind of freedom is to be what you really are. You trade in your reality for a role. You trade in your sense for an act. You give up your ability to feel, and in exchange, put on a mask. There can't be any large-scale revolution until there's a personal revolution, on an individual level. It's got to happen inside first." ~ Jim Morrison

 

“We have to dare to be ourselves, however frightening or strange that self may prove to be.” ~ May Sarton

 

“Real isn't how you are made, said the Skin Horse. It's a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real.

It doesn't happen all at once, You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand."

~ Margery Williams Bianco, The Velveteen Rabbit

 

“The privilege of a lifetime is to become who you truly are.”

~ C.G. Jung

 

“Only the truth of who you are, if realized, will set you free.”

~ Eckhart Tolle

 

“Often misconstrued, authenticity is not about being an open book, revealing every detail of yourself without rhyme or reason. It is simply the act of openly and courageously seeing what needs to be seen, saying what needs to be said, doing what needs to be done, and becoming that which you are intent on being.” ~ Scott Edmund Miller

 

"We need to find the courage to say NO to the things and people that are not serving us if we want to rediscover ourselves and live our lives with authenticity." ~ Barbara de Angelis

 

"The authentic self is the soul made visible...An authentic life is the most personal form of worship. Everyday life has become my prayer." ~ Sarah Ban Breathnach

 

Today I will live from that place of my highest self and authenticity.

My actions are in harmony with my intentions and motivations.

I have no hidden agenda; I live with honesty and integrity.

I say what I mean and I mean what I say.

My words and actions are in complete alignment with my authentic self.

Today, I will bring the gift of who I truly am into every aspect of my Being and Doing.

Today I Am Free to Be Me!

 

Spinchat Healing - Gifted Revolution

 

www.spinchat.com/group/Healing_-_Meditation_-_Karma_-_Spi...

 

Credit: Linda Living Joy Lorenzo

I met this young guy in the summer. He was a little different, but I liked him. He was not "popular" with all the other "normal" kids, but he seemed way more authentic! He was goofy in his mannerism - and although he isn't looking the best here - he actually was a good looking dude. I would have like to done a photo shoot with him in the cowboy hat he had been wearing the day before... but I don't think he would have been to comfortable with that? I should have asked.

 

Authenticity is huge, and this kid was real. Rare quality actually.

The Rundāle Palace, Latvia.

 

What you're seeing here is a recreation of the original interior. The restoration cost over 8 million Euros, which, when you see the results, doesn't seem nearly enough to produce the splendors one encounters at every turn.

 

What's not clear to me is whether any of decoration is original and restored and how much is brand new. This always frustrates me because I'm hung up on the concept of authenticity. I'll just come right out and say I don't get the same satisfaction from replicas that I do from originals.

 

One way to resolve this conundrum is to say this is an authentic replica of an 18th century palace that was, as the text below explains, "demolished in 1812 during the Franco-Russian [Napoleonic] War," and then "demolished [again in 1919] by the men of the Bermondt-Avalov army," which was commanded by a Cossack warlord who decided to take over newly-independent Latvia instead of fighting the Bolsheviks.

 

Still, this begs the question of the meaning of such a place. A hot take is that it's an expression of Latvian nationalism. However, in the 18th century this region was ruled by Germans and then by Russians. Most ethnic Latvians were serfs. Perhaps the nationalist message is that the Latvians, once free from the rule of Baltic Germans, Czarist Russians, Nazis and the Soviets, had the wherewithal to recreate a palace once owned by an overlord and make it their own. To further make the point, the compound is now a major tourist attraction, so interiors once intended solely for the aristocracy, royalty and their hangers-on and servants are today filled to the brim with tourists like us.

 

Is is also a acknowledged center for the study of 18th-century interior design? The devil is in the details, and I haven't yet had time to delve into that.

 

If you're wondering why the point of view in these photos is from the top of the windows to the ceiling, it's because there were mobs of visitors that made it almost impossible to photograph whole walls, much less floors.

 

Here is the whole history of the construction of the palace from the palace's informative Web site. I recommend visiting it if for no other reason than to see the rooms devoid of visitors. Also, there's a section on the restoration.

rundale.net/en/

 

The name of Rundāle comes from the German place-name Ruhenthal (Valley of Peace).

 

The Rundāle Palace built during the 16th century was located on the northern side of the pond. It can be seen in the design of F. B. Rastrelli as a small square field with towers in the corners.

 

Rundāle Manor was already created at the end of the 15th century. It belonged to the Grotthus family from 1505 to 1681 and the palace was mentioned in the list of Livonian castles in 1555.

 

Facade finishing components have been found in the territory of the palace – cast fragments and fragments of coats of arms carved in stone dating to the middle of the 17th century. In 1735 Ernst Johann von Biron bought the Rundāle property for 42 000 thalers.

 

The old palace was completely torn down, and the stones, bricks and even the mortar were used in the construction of the new palace.

 

Duke Ernst Johann died in 1772, and the palace was inherited by his widow Duchess Benigna Gottlieb; during her time orchards were formed around the palace. Duke Peter did not come to Rundāle often, he mostly resided in the smaller Vircava Palace near Jelgava.

 

In 1795 Duke Peter gave up his throne and the Duchy of Courland and Semigallia was added to the Russian Empire. Catherine II gave Rundāle Manor as a present to Count Valerian Zubov who died in 1804.

 

During the distribution of inheritance Rundāle became the property of his brother Prince Platon Zubov, the last favourite of Catherine II.

 

During the time of Zubov the palace was refurnished, however the building itself remained untouched, only entrance porticos were added to the central building and several fireplaces were built inside.

 

The palace was demolished in 1812 during the Franco-Russian War – mirrors were smashed, silk wallpaper was torn down, the library given as a present from Catherine II was destroyed.

 

Prince Platon Zubov died in Rundāle Palace on 7 April 1822. His widow married Count Andrey Shuvalov, and Rundāle Manor belonged to this family until the agrarian reform of the Republic of Latvia in 1920.

 

The Shuvalovs rarely stayed in the palace, excluding the time period from 1864 to 1866 when Count Pyotr Shuvalov was the governor-general of the Baltic region and used Rundāle Palace as his official summer residence.

 

During this time unsuccessful renovation of the palace rooms was carried out, however during the 1880’s careful renovation of the interior design was performed. At the end of the 19th century part of the palace’s furniture and works of art was taken to Saint Petersburg.

 

During the time from 1915 to 1918 a German army commandant’s office and an infirmary was established in the palace. In 1919 the palace was demolished by the men of the Bermondt-Avalov army.

 

The palace was renovated in 1923 and some of its rooms were used as the primary school of Rundāle Parish. In 1924 Rundāle Palace was handed over to the Latvian Union of Disabled Veterans, but in 1933 it was taken over by the Board of Monuments which started the renovation of the building and the restoration of some of the rooms, and the western building was constructed for the needs of the primary school.

 

In 1938 the palace was handed over to the State Historical Museum that was planning to create a church art and decorative art museum there. The palace was also open to the public during World War II.

 

In 1945 a grain storage was formed in the halls of the palace, and the palace was closed to the public after that.

 

In 1963 some of the palace’s rooms were given to the Museum of Regional Studies and Art of Bauska, but in 1972 a permanent Rundāle Palace Museum was created and its main aim was to renew the whole ensemble of the palace by mainly orientating towards the condition of the palace during the second part of the 18th century.

 

The first restored rooms in the eastern building of the palace were opened to the public in 1981, gradually being followed by new interiors. Restoration of the palace was finished in 2014.

 

Construction history

 

Count Ernst Johann von Biron bought the Rundāle manor complex on 26 June 1735. In August of the same year the court architect of Russia Francesco Rastrelli came to Courland. From September until December agreements were being concluded with carpenters, masons, brickmakers, construction material suppliers, potters – stove makers.

 

The construction project was ready in January of 1736. The eight pages of the project are located in the graphic art collection “Albertina” in Vienna. It consists of a situation plan, two floor plans, a sketch of four facades and the altar of the palace church.

 

The first construction period from 1736 to 1740.

 

On 24 May 1736 the foundation-stone of the palace was set. Construction of the foundation was completed on 6 July, whereas on 13 October the central building was built to the level of the windowsill of the second floor. The construction of 12 brick-kilns and 12 brick storages was finished in June. 268 masons were working in the palace, but Rastrelli requested 500 men.

 

Construction was stopped on 1 November due to cold.

The construction works were restarted on 12 April 1737. On 28 May the central building was finished, and on 18 June covering was started to be placed on the side buildings, whereas the construction of the central building roof was finished at the end of June.

 

When the works were stopped on 10 October, one side building was roofed over, and the other one was covered with a temporary roof. The foundations of the stables were also ready. The bricklaying works were finished on 1 October 1737.

 

After Biron was elected Duke, he ordered to simplify the building. The finishing materials were produced by the master carpenters and woodcarver A. Kamaev of the Imperial Construction Bureau of Saint Petersburg, master potter I. Ushakov of the Neva brick factory with his team and painters I. Mizinov, I. Pilugin and I. Yevdokimov. Austrian potters were working in Vircava. The finishing materials were also being produced in Saint Petersburg.

 

In 1738 the volume of work in Rundāle decreased, as construction works of Jelgava Palace began. Some of the produced components were also taken to Jelgava. However, the works were moving forward – chimneys and room arches were being built, roofs were being finished.

 

From 14 June, when the construction of the main residence in Jelgava began, the construction works in Rundāle were moving at a slower pace. Master carpenter Eger had finished oak-wood panels for 33 rooms, as well as 13 oak-wood parquet floors. Ceilings boards were put up in the rooms, so that the plastering works could be started. In September the carpenters started working on the outside staircases. The construction of the gate tower was also started.

 

Entwurf von Rastrelli: die Nordfassade des Schlosses Rundāle mit dem Torturm

Rastrelli’s design, nothern facade of the palace with the gate tower.

 

In 1739 the interior plastering works were supposed to be carried out, but the Duke ordered to decrease the amount of plasterers and to simplify the work. Stucco formations were made only for the main staircase rooms and halls, the other rooms were left with smooth ceilings. Only ten craftsmen were working in Rundāle.

 

On 1 February after the order of Empress of Russia Anna Ioannovna all of the Saint Petersburg Construction Office masons were sent to Courland.

 

The components made for Rundāle, including carved doors, panels, parquet, Austrian potter stoves, plafonds painted on canvas and cast-iron facade decorations made by Bartolomeo Tarsia that can be seen in the Jelagava Palace facade, were transported to the main residence in Jelgava.

 

N. Vasilyev assisted Rastrelli in managing the construction works. Russian chamberlain Ernst Johann von Buttlar was in charge of finances and organisation and he was sending reports to Saint Petersburg regarding the work process.

 

In 1740 the woodcut altar of the palace church was transported to Jelgava. Supposedly the room decoration in the palace had been finished, but not all of the wall panels had been mounted and some of the stoves were also not set up, as a lot of the materials were in storage.

 

Work was stopped after the palace revolution of 20 November in Russia and the arrest and exile of Duke Ernst Johann. The prepared finishing materials and construction components were sent to Saint Petersburg, and some of the built-in components, such as doors, wall panels and parquet, were broken.

Overall more than a thousand different profession craftsmen and workers were employed in the construction works of the palace.

 

The second construction period from 1764 to 1770.

 

In 1762 Ernst Johann von Biron was granted mercy and returned to Courland in January of 1763.

In January of 1764 Johann Gottfried Seidel was appointed the court architect of the Duke, but in August Francesco Rastrelli returned to work for the Duke and was appointed to the position of main administrator of the Duke’s buildings.

 

During this time he arranged his construction designs and carried out general supervision of the Duke’s construction works.

The unfinished gate tower was torn down and the stable building construction was started. Latvian carpenters and woodworkers were sent from the Duke’s domain manors to Rundāle up until 1768. In 1765 woodworker Blanks, sculptor Zībenbrods, locksmith Šreibfogels, gold plating master Johans Endress, potter Šēfers, locksmith Horstmanis and coppersmith Mēmels were working in the palace.

 

In 1766 Severin Jensen from Denmark started working as the court architect. His style can be seen in the gateposts and in the stable buildings, which obtained a semicircular shape in contrast to Rastrelli’s rectangular design. A dating – 16 May 1766 – has been made in the keystone of the northern facade window.

 

In 1768 the gate was built and the forgings were placed.

 

The palace interior planning was changed slightly. By merging five smaller rooms the grand dining-room – the Grand Gallery – was created, whereas a dance hall known as the White Hall was created in the place of the palace church. Both front staircases, the Small Gallery, the lobby and galleries of the first floor were preserved from the original interiors of the first construction period.

 

The stucco decorative finishing of the interiors was carried out by the Berlin sculptor and stucco marble master Johann Michael Graff together with his team – his brother Josef and assistants Bauman and Lanz – from 1765 to 1768.

 

Sculpturesque decorations were made in twenty-seven rooms, but in two rooms of the Duke’s apartments and in the hall – synthetic marble panels. Works were started in the central building first.

 

The Marble Hall and the marble panel of the Gold Hall in which the dating has been engraved on the door lining, were finished in 1767. In July of 1768 Graff received payment for his final works – the White Hall, Oval Cabinet, Duchess’ Boudoir and vases for the 22 stair banisters.

 

The ceilings were painted by the Italian painters Francesco Martini and Carlo Zucchi from Saint Petersburg. They started working in August of 1766, but only the name of Martini is mentioned in documents starting with March of 1768. Francesco Martini received his last payment in March of 1769.

 

Ceilings of eight rooms, as well as the walls of two rooms were painted. One of the ceiling paintings got destroyed. The repainted wall paintings were later uncovered in the Grand Gallery and in the second study of the Duke.

 

The Duke came to Rundāle Palace in April of 1767 and stayed there until December with interruptions, although the finishing works were still in progress. The palace was also inhabited in 1768. The final works were carried out in 1770 when a fellow of J. M. Graff placed mirrors in the White Hall.

 

20.04.2018

   

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

Next Stop, Mecum Auctions. Their catalog did not list estimates. They did not list sold prices online.

 

2004 Ford Shelby Cobra Concept

SOLD

 

Engine 6.4L

Trans 6-Speed

Color Tungsten Grey

Interior Blue/Black

 

HIGHLIGHTS

o Ford Special Project Codename: Daisy

o Built by Ford with full cooperation and participation of Carroll Shelby

o Driven and tested for more than 150 miles by Carroll Shelby at Irwindale Speedway in California

o Carroll Shelby said of Project Daisy, “There are so many things left in the world that I want to do … and building a new Cobra is number one.”

o Chris Theodore, former Ford VP of Product Development, oversaw the design and build of Daisy along with Carroll Shelby and J Mays, GVP Ford Design

Introduced at the 2004 Detroit North American International Auto Show, where it was awarded Best in Show by “Autoweek” magazine

o 1 of 1 fully functioning Project Daisy concept car intended for production

o Prototype engineered welded and bonded space frame, made up of billet aluminum plus castings and extruded aluminum sections sourced from the Ford GT

6.4L/605 HP DOHC 40-valve aluminum V-10 with dry sump lubrication—1 of 4 specialty V-10 engines produced by Ford

o Advanced Powertrain

o Power is transferred through a torque tube to the rear mounted Ricardo 6-speed

o Ford GT manual transaxle

o Currently owned by Chris Theodore, who purchased Daisy in November 2017

o Proceeds of Chris Theodore's purchase were used towards the restoration of the Fair Lane mansion, the home of Henry and Clara Ford

o Restored to running form by Technosports of Livonia, Michigan, assembler of the original Cobra Concept chassis

o Fitted with a new twin-plate clutch, flywheel, wiring harness, spark plugs, mufflers and all fluids

o New output shaft made to original specifications by Livernois Motorsports of Dearborn Heights, Michigan

o Hydraulically operated power hood

o Tungsten Grey Metallic exterior with Silver stripes

o Blue and Black interior with aluminum trim

o Daisy is barely longer than a Mazda Miata, yet thanks to the rear mounted traxsaxle, provides a spacious interior with more legroom than a Ford Crown Victoria

o 2005 Ford GT front and rear suspension, o Power assisted rack-and-pinion steering and Brembo cross-drilled and ventilated disc brakes with 4-piston monoblock calipers

o Includes both original BF Goodrich Racing Slicks (not for road) mounted on BBS Billet show car wheels, and the BBS 3-piece wheels and Goodyear tires fitted during Carroll Shelby's drive at the Irwindale Speedway

o Featured on one hour “Rides” television episode “Codename: Daisy”

o Driven by Jay Leno on “Jay Leno's Garage” Season 6, Episode 1 with Donald Osborn and Chris Theodore

o Hero car driven by Ice Cube in the movie “XXX: State of the Union”

o Appeared at the 2018 Amelia Island Concours d'Elegance

o Shown at the 2018 Concours d'Elegance of America in Plymouth, Michigan

o Subject of the award-winning book, “The Last Shelby Cobra” by Chris Theodore

Letter of Authenticity from Ford Motor Company included

o Build book presented to Ford CEO, Nick Scheele, included

o Ford Shelby Cobra Promotional Brochure included

o Extensive photographs taken during design and development with Carroll Shelby included

o Listed in the Shelby Registry

o Sold with Montana title

o Must be sold to an out of state resident or a licensed dealer

 

It’s fondly known as “Daisy”—a one-of-one, fully functional concept car—and it’s now slated to cross the Mecum auction block in Monterey this August. When Carroll Shelby and Chris Theodore announced at Pebble Beach in August of 2003 that “Ford and Shelby were joining forces to develop high-performance vehicles,” few knew that a secret project, code-named Daisy, was already underway to design and develop a new Cobra. Intended as a follow-on product to the 2005 Ford GT, Daisy was more than a typical concept car. Built by Ford with the full cooperation and participation of Carroll Shelby, Daisy was developed as a fully functional prototype to establish production feasibility. Working with Carroll Shelby, Chris Theodore, former Ford Vice President of Product Development, and J Mays, Group Vice President of Product Design, oversaw the design and build. The entire design and build process was documented on the one hour “Rides” television episode “Codename: Daisy,” during which Shelby stated, “There are so many things left in the world that I want to do … and building a new Cobra is No. 1.”

 

The 2004 Shelby Cobra Concept is powered by a 6.4L/605 HP 40-valve aluminum V-10 with dry-sump lubrication. It is one of four experimental engines produced by Ford’s Advanced Powertrain group (the other three remain in Ford’s possession). Power is transferred through a torque tube to the rear-mounted Ricardo 6-speed Ford GT manual transaxle.

 

The all-aluminum space frame chassis was designed by Ford’s Advanced Product Creation team, utilizing Ford GT extrusions and castings, along with a bespoke billet aluminum front structure. The front and rear independent suspensions are from the Ford GT, tuned specifically for Daisy. Steering is power-assisted rack-and-pinion, and stopping power is provided by Brembo cross-drilled and ventilated discs with four-piston monoblock calipers. The show car was fitted with custom BF Goodrich Racing Slicks (not for road use) mounted on unique seven-spoke BBS billet wheels, and it was fitted with BBS three-piece wheels and Michelin tires for Shelby’s drive at the Irwindale Speedway.

 

To cope with the stresses of a high-performance car, the body is made of a double-wall fiberglass construction with a foam core for rigidity. The one-piece tilting hood is hydraulically operated to show off the unique engine and chassis. Exterior details include billet aluminum A-pillars, bumperettes with carbon fiber splitters, rockers and rear diffuser.

 

Thanks to the rear-mounted transaxle, weight distribution is approximately 50/50, and Daisy is barely longer than a Mazda Miata, yet the interior provides more legroom than a Ford Crown Victoria. The bespoke interior is all custom, with a billet aluminum dashboard, headrests and novel interior release handles along with carbon fiber details. The custom leather-covered Sparco seats are made of carbon fiber with four-point Sparco seatbelts.

 

By December of 2003, Daisy was ready for a photo shoot with Carroll Shelby followed by two days of testing at the Irwindale Speedway in California. During those two days, Shelby put more than 150 miles on Daisy doing high speed runs around the oval, taking journalists for rides, and doing a flurry of donuts on the infield. At the end of day two, he said, “It turned out just beautiful, didn’t it? I’m very happy with the car. At 81 years old, how lucky can you get to be part of a continuation of something that happened 40 years ago? It’s going to be a real ass kicker!” Perhaps Matt Stone of Motor Trend summed it up best; after a test ride with Shelby, Stone noted that it was of little concern to Shelby “that he was driving a multimillion-dollar hand-built prototype, as he stabs the gas and takes the racer’s low line through a long, sweeping corner,” and concluded, “There’s one final reason Ford should—no, must—give us the Cobra: to put the final, iconic punctuation mark on Carroll Shelby’s extraordinary life, with a car that’s worthy of the name.”

 

The Shelby Cobra Concept was introduced at the 2004 North American International Auto Show in Detroit by Bill Ford and Carroll Shelby to great fanfare. Autoweek magazine awarded Daisy Best-in-Show. The Cobra Concept continued on the auto show circuit for many years and starred as the hero car in the movie “XXX: State of the Union,” driven by Ice Cube.

 

Although Daisy was intended for production in 2007, the looming “Great Recession” precluded progam approval, making this car one of one and “The Last Shelby Cobra.” To Theodore’s delight, he purchased the Shelby Cobra Concept at a charity auction, with proceeds going towards the restoration of the Fair Lane mansion, the home of Henry and Clara Ford. Ford disabled Daisy for liability purposes, so Theodore took her to the very team that had assembled the chassis: Technosports in Livonia, Michigan. It was restored to running condition by fitting a new transmission output shaft manufactured to original specifications by Livernois Motorsports of Dearborn Heights, Michigan, and it was also fitted with a new twin-plate clutch, flywheel, wiring harness, spark plugs and mufflers, and all fluids were replaced as well. The car was shown at the 2018 Amelia Island Concours d’Elegance and 2018 Concours d’Elegance of America in Plymouth, Michigan. In 2020, it was featured on “Jay Leno’s Garage” Season 6, Episode 1 with Donald Osborn and Chris Theodore. Daisy is also the subject of the award-winning book, “The Last Shelby Cobra, My Times with Carroll Shelby” by Chris Theodore.

 

Designed and built by Ford in cooperation with Carroll Shelby, racer, team owner, manufacturer and “The most interesting man in the world,” Daisy received Shelby’s signature of approval after his Irwindale test drive. Appropriately, Daisy is now ready for the next chapter in its storied history as it heads for the Mecum auction block this August at Monterey 2021—the site of the Shelby/Ford announcement 18 years earlier. Accompanying Daisy will be a Letter of Authenticity from Ford Motor Company, a detailed Daisy build book presented to Ford COO Nick Sheele, extensive photographs taken during design and development with Carroll Shelby, and a certificate from the Shelby Registry.

- - -

Had a blast with my auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2021.

Mike Cernovich once wrote something about memories not being quite accurate. That thought germinated in me for a while and I think it is very profound. Recently, I already speculated about the nature of knowledge. In short: How can you know what you know before you actually think a thought? ...

 

manwithoutfather.com/2016/02/05/how-can-you-prove-the-past/

  

contact me

morgan@paslier.com

 

Limited edition of 8

 

Hand signed and numbered

With a Certificate of Authenticity

Unframed.

Can be mount on dibon 3mm (feel free to ask)

 

You want to buy this work

Vous voulez acheter cette œuvre

Sie wollen dieses Werk kaufen

Вы хотите к покупке этой из работы

Quiere comprar esta obra

Θέλετε να αγοράσετε αυτό το έργο

Volete comperare quest'opera

U wilt dit werk kopen

Quer comprar esta obra

 

Shipping worldwide

Nike, Air Jordan 1 Retro Mid Gym Red 2.0, Men’s Size 9.5, White, 554724-600, UPC: 00885176123254, 2017, Mid top men's sneaker, premium leather upper, nylon tongue lining and midfoot swoosh, Padded tongue with logo, jumpman logo on tongue tag, debossed wings logo on ankle collar, Jumpman logos, Encapsulated Air-Sole Unit, Deep Flex Grooves, perforated details on the toe box, Signature affiliate NIKE swoosh on sides, Cushioned inner sole for comfort, ball-and-wings logo, Wings logo, Lace up closure, reddealsonline, eBay shoes, Authenticity Guaranteed

The ministry of Authenticity makes these posters that help remind people about what is right and wrong for WW2 Living History.

 

The makers have made it clear that the images are copyright free and that anyone can post them anywhere, share them, etc.

So I am doing my bit in trying to get as many people as possible to see them.

Please feel free to do the same.

Copy the pictures, share them on facebook, forums, etc.

People sometimes need reminding and with these pictures we can do this in a nice, fun, easy and direct way in stead of confronting individual people at events.

This beautiful limited edition Mulan jewelry box first appeared online on the ShopDisney site on Monday July 30, but didn't allow checking out and purchasing it until three days later, Thursday August 2. I bought it that day, and received it one week later, on August 7.

 

Mulan 20th Anniversary Jewelry Box - Limited Edition

ShopDisney.com (US Disney Store)

Released online 2018-08-02

$79.95

Item No. 6504044614183P

 

Celebrate the 20th anniversary of Disney's Mulan with this elegant, limited edition jewelry box. Featuring top compartments and drawers in front, the doors are kept closed with a tasseled sword that slides through the knob.

 

Magic in the details

 

Please note: Purchase of this item is limited to 1 per Guest.

 

• Limited Edition of 1390

• Certificate of Authenticity included

• Screen art of Mulan with magnolia flowers

• Meticulously crafted

• High gloss finish

• Top and two front doors open on hinges

• Interior compartments are felt lined

• Top interior features storage compartment and ring cushions

• Inside top cover features oval mirror

• Front interior features two drawers for storage

• Center door knob features dragon

• Separate sword ornament with tassel slides through door knob to hold in place

• Golden hardware

• In celebration of the 20th anniversary of Disney's Mulan (1998)

 

The bare necessities

 

• Wood / metal

• 7'' H x 7'' W x 5'' D

• Imported

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

偽日記，活版鉛字與影像書寫創作-陳文祺個展

Authenticity Temporal Memory – Chen Wen-Chi Solo Exhibition

 

展 期：2015/03/3 - 2015/03/28

開幕酒會：2015/03/7 (六) 19:00

展覽地點：VT Artsalon 非常廟藝文空間 (台北市新生北路三段56巷17號B1)

網 址：http://www.vtartsalon.com/

聯絡電話：02-2597-2525

EMAIL：info@vtartsalon.com

 

「若時間是這一片海，我們在記憶中推引與淹沒。」

 

陳文祺，現任實踐大學媒體傳達設計學系（所）主任。「偽日記」是陳文祺繼2012年在北美館的「物自體」與海馬迴「物自體 2 Agape」個展後全新系列影像裝置創作。此次將在VT非常廟藝文空間展出數量高達100件的影像裝置，作品懸空浮出牆面，以標本盒凝結影像與文字的圖文日誌，呈現出記憶中的真實時空狀態。作品延續藝術家以往創作脈絡，討論時空與人的存在關係，回應時空與記憶之於人如蟻穴的生物樣態。

 

在「偽日記」中，藝術家將活版鉛字結合黑白影像，將旅行於五個城市的觀察與內心的感受諸之筆墨的表達方式；在裝置中記錄著無法辨識的時間、空間與不曾存在的真實記憶， 作品體現後設認知（metacognition）如何成形為人為的偽造，影像的作舊感混淆並打破時間感，它從未橫跨過去與未來的視野，也不存在於現在。活版鉛字復刻出墨味與字模，一字一魂的敲打墨印於無酸厚紙，凹陷的墨字詩句是活字的殘留物，文字於紙上的再現與陷痕則提煉出冶字的藝術性與非快的慢品味。

 

在陳文祺的「偽日記」中探討著時間的飄渺與無常性。「偽」人為也，若以人為中心，人為的一切無一真實；過去曾是真理的今天可能成了謬誤，而今天是為謬誤的在明日可能是真理。對於真實，人們早已似回應納西瑟斯（Narcissus）的回聲（echo）中迴響空谷；「偽日記」中對於影像的真實如同記憶的可信度，看似完整與客觀的拍攝，經由書寫，讓時空的思維向度迷失在認知夾縫中。此系列作品完全回應創作者將影像視為「死亡的印記」的一貫創作脈絡，100見裝置懸浮於半空，適切地貼近觀看與閱讀，於此刻你我所觀賞到的時空回音都凝結在每件沈甸甸的木盒中，最終置入鏡面般金屬盒內封印。影像日記中書寫著京都、東京、上海、曼谷、臺北的切片，在今日數位化的介面，古拙的影像與文字顯現方式煙霧化了此刻觀注究竟是何年代。陳文祺透過日記般回數記憶的寫作，將內心感受與對物、我的關注與歷程，皆透過自成一格的筆法遊戲的或抑鬱的敘述回應在每一個鉛字與紙墨的撞擊；每篇文字梳理自身理性及感性的景緻。觀眾若有勇氣拋開時間上的限制，閱讀每一篇日記裡的視點與時空概念，圖、文、語言的邏輯思辨將在觀看作品的當下生津。

 

時間的靜默是真實的感受，萬物與時間是凝結的，弔詭的是時間與記憶糾纏。時間與空間不是扁平的影像，當感知能夠製造與複製，攝影恰是複製時空的影像片段，文字勾畫已過去的感受，而鉛字本為大量複製的特質，在「偽日記」裡成了宛如標本般的印刻在畫面中。然而真實是，即使我們認為這一切的凝結，時間也重來沒有停滯過，一切記錄都是真實無關，只是製造著真實的過去。藝術家反覆辯證著影像和時空關係，將在此複合向度之下提供觀者在影像與冶字的思緒蜂室。

  

Authenticity Temporal Memory - Chen Wen-Chi Solo Exhibition

 

Exhibition：2015/03/3 - 2015/03/28

Opening：2015/03/7 (Sat) 19:00

Location：VT Artsalon (B1, No.17, Ln.56, Sec. 3, Xinsheng N. Rd, Taipei, Taiwan)

Website：http://www.vtartsalon.com

Tel：02-2597-2525

EMAIL：info@vtartsalon.com

 

"If time is that sea, we are pushing the lead and lost in the memory."

 

Chen Wen-Chi currently the Chairman of the department of Communication Design at Shih Chien University. "Authenticity Temporal Memory" is a new series of photographic installation works that follows up on Chen Wen Chi’s last two solo exhibitions, "the thing itself" in the Taipei Fine Art Museum and "the thing itself 2 Agape" in Fotoaura institute of photography. The exhibition in VT Artsalon will feature 100 installation works suspended out from the surface of the walls. The specimen boxes are the vessel for images and diary entries, recreating the actual state of time and space for the memory. This series is a continuation of the artist’s previous works; discuss the relationship between time, space and human existence.

 

In “Authenticity Temporal Memory” the artist juxtapose letterpress type with black and white image, using expressive words to presenting the feelings and travel observation of the five cities; in the installation time is not recognized, space and real memory that did not exist, works reflect metacognition, how it become something artificially created, the distressed effect of the image provide a sense of confusion in time, it has never cross the boundaries between past and future not does it exist in the present. Moveable lead types carve out the shape and the feel of ink, hitting and printing out one character at a time onto on acid-free card, verses of character depressed in ink are the remains of movable type. The texts reproduced on paper are the artistic marks and the aesthetics of “non-fast”

 

“Authenticity Temporal Memory” explores the ephemeral and impermanence. "False" is manmade, nothing is real in anything manmade; the truth in the past may become a fallacy today, the fallacy of today may be the truth of tomorrow. Toward reality people already seem to respond with a narcissus voice echoing in the Valley; “Authenticity Temporal Memory” is true to image as the credibility of memory, seemingly objective shooting after writing, once again become lost in the cracks of time and space. This series follows on the concept of the "Flesh is the prison of the soul" series, 100 installation works is suspended in mid-air, allowing a appropriate distance for seeing and reading, the heavy wooden box we see, will in the end be sealed into a mirror finished metal box. Photographic diary with slices of Kyoto, Tokyo, Shanghai, Bangkok, Taipei, confused the viewer of today's digital-oriented world, to what time and period we are looking. Chen Wen-Chi through the act of diary writing, express his feelings and concern with history, each text contain their rational and emotional landscape. If viewers can put aside time constraints, read every diary in space-time, conceptual, logical, speculative point of view, text, language of the work will flow in the current time.

 

Quiet times are real feelings, everything is condensed with time, time and memory entangles. Time and space are not flat images, they can be produced and reproduce, photography is precisely replicated time and space footage, text outline of past experience, large scale duplication quality of lead type, in " Authenticity Temporal Memory" has become specimen like engraved onto the screen. But truth is, even if we think that all is frozen, time has never stopped, all records are unrelated to reality, just a creation of a real past. Artists repeated assess the relations between images and space-time, providing the viewer a composition of images and words under the rule of a conceptual dimension.

 

I purchased the Sally doll from my local Disney Store on release day, October 29, 2018. She is #876 of 3000. The edition number is on the Certification of Authenticity and on the bottom of the display stand.

 

Sally 25th Anniversary Limited Edition Doll - The Nightmare Before Christmas

US Disney Store

Released online and in-store 2018-10-29

$159.95

Item No. 6003044130559P

 

Detailed photos of the Saks LE Snow White Doll. The front cardboard cover is removed, leaving the doll behind the inner plastic cover. Then the plastic cover and rear cardboard cover are removed, leaving the doll on the inner cardboard backing, which is free standing. The Certificate of Authenticity is removed from under the backing, and placed in front of the doll.

 

I just received the Saks Fifth Avenue Snow White Doll! I purchased her by phoning the flagship NYC Saks store, who in turn had the Saks store in Troy, Michigan ship her to me. I chose overnight shipping. She shipped on Monday evening, and arrived by noon on Tuesday. She was double boxed, which kraft paper used as the packing material. She arrived in perfect condition. However, there was no protection around the doll box itself inside the original shipper box, just a piece of tissue paper between the inside plastic cover and the outside cardboard cover.

 

The Saks Fifth Avenue Snow White Limited Edition 17 inch Doll, sold exclusively by Saks Fifth Avenue, both online and in stores. She was produced by the Disney Store, for Saks. It rolled out in a few Saks stores, including their flagship NYC store, on Thursday October 26, 2017 as a surprise release. She became available online shortly after midnight in the morning of Friday October 27, 2017, and sold out around noon time. She became briefly available again late that night. She costs $370, just about half the cost of the Snow White and Prince set. My doll is numbered 210 of 1000.

 

She is in winter colors, primarily white, with gold embroidery and trim, with red and gold satin lining. She is in a box with the same construction as the 2017 Snow White and Prince Collector's Doll Set. She is a really beautiful, well designed and construction doll.

 

<a href="https://www.saksfifthavenue.com/main/ProductDetail.jsp?FOLDERfolder_id=2534374306643461&PRODUCTprd_id=845524447152773&R=887734239261&P_name=Saks+Fifth+Avenue&N=306643461&bmUID=lZoUXO9" rel="nofollow">Saks Fifth Avenue Limited Edition Snow White Doll

$370

 

EXCLUSIVELY AT SAKS FIFTH AVENUE.

This doll features a dramatic stand-up collar, metallic gold embroidery, cascading gems and a sumptuous quilted velvet cape.

 

• Includes molded bird perched on Snow White's finger

• Ages 6 years and up

• Packaged in a beautiful display box

• Limited edition of 1000 units

• Polyester/nylon lining

• 17.25'' W x 18.75'' H x 7'' D

• PVC/ABS

• Spot clean

• Imported

 

Style code: 0400095788146

DLD*women (Digital-Life-Design) Conference is taking place for 2.th time in Munich, from 29 to 30th June 2011 "Innovation & Authenticity"

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

DLD*women (Digital-Life-Design) Conference is taking place for 2.th time in Munich, from 29 to 30th June 2011 "Innovation & Authenticity"

The top of the box is opened, revealing the Certificate of Authenticity on top of the Styrofoam block enclosing the figure. Then the Styrofoam is removed, and cut open, to reveal the actual figure. It is wrapped in clear plastic.

 

I just received my Maleficent Limited Edition Figure by the Disney Store. She is #37 of 300. She is very beautiful, and is very nicely painted. Her face is a much better likeness to Angelina Jolie than the DS 12'' doll. Her head is also much better proportioned to her body, so looks much more realistic. Their staffs are almost identical in length and design, and I took the trouble of attaching the staff to the dolls hand, so I could mimic the statue's pose with the doll. The figure stands 10'' tall from her feet to the top of her head. So she is about 1 1/2'' shorter than the doll. But their bodies are almost the same size, so they are very comparable.

 

Maleficent Limited Edition Figure

$179.95

Item No. 6447048303314P

US Disney Store

Released and Sold Out 2014-05-13

Purchased 2014-05-13

Received 2014-05-21

 

Behold!

We've summoned the most spellbinding creative forces in our realm to deliver a stunning, fully sculptured image of Maleficent as she appears in Disney's new live-action film. This fine collector's figure is limited to 300 pieces worldwide.

 

Magic in the details...

 

Please note: Purchase of this item is limited to one per Guest.

 

• Limited Edition of 300

• Certificate of Authenticity

• Fully sculptured figurine

• Intricate detailing

• Hand-painted

• Non-slip feet on base

• Part of our Maleficent Collection

 

The bare necessities

 

• Resin

• 12 1/2'' H x 9 1/2'' Diameter

• Imported

(for English scroll down)

 

Meine erste Foto-Einzelausstellung präsentiert im Café Berio, Berlin

Vernissage 31. Juli 2018 | Finissage 22. September 2018

 

In meiner ersten Foto-Einzelausstellung zeigte ich meine Berliner Portraits und einige meiner Vogel-Fotografien; daher der Titel der Ausstellung. In meinem Fotoprojekt wollte ich einmal weg von den sonst bewusst gewählten Orten, an denen man ein Fotoshooting durchführt. Ein Studio oder eine ausgewählte Location haben für die Menschen meist etwas sehr Unpersönliches. Ich wollte dorthin, wo es am authentischsten ist; an die Orte, an denen die Protagonisten (überwiegend Künstler) zu Hause und in ihrem Element sind: auf der Bühne, hinter der Bühne und vor, während und nach einem Auftritt bzw. Event. Ich möchte dem Betrachter Bilder zeigen, die er nicht unbedingt während einer Veranstaltung wahrnimmt und Außenstehende gefangen nehmen, als hätten sie es live miterlebt.

 

Über 70 Arbeiten präsentierte ich in der Ausstellung; darunter Portraits von Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper und vielen anderen.

 

Vögel leben auf allen Kontinenten. Sie sind flüchtige, scheue Tiere. Auf meinen Fotografien lassen sie aber eine unwahrscheinliche Nähe zu. Das eigentlich Fremde und in der Natur nicht Sichtbare habe ich in meinen Vogel-Portraits festgehalten.

 

Mein Motto: "Authentizität ist das Schlüsselwort, das hinter meiner Fotografie steht. Ich ziehe es vor, mehr die menschliche Note zu zeigen und weniger die Retusche."

 

Die meisten der Exponate sind in der queeren Community entstanden.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

____________________________________________________

 

My first solo photo exhibition presented at Café Berio, Berlin

Opening July 31, 2018 | Closing September 22, 2018

 

In my first solo photo exhibition, I showed my Berlin portraits and some of my bird photographs; hence the title of the exhibition. In my photo project, I wanted to get away from the usual deliberately chosen locations for a photo shoot. There is usually something very impersonal about a studio or a selected location for people. I wanted to go where it is most authentic; to the places where the protagonists (mostly artists) are at home and in their element: on stage, backstage and before, during and after a performance or event. I want to show the viewer images that they don't necessarily see during an event and capture outsiders as if they had witnessed it live.

 

I presented over 70 works in the exhibition, including portraits of Romy Haag, Henry de Winter, Hanna Schygulla, Georgette Dee, Dieter Rita Scholl, Gloria Viagra, Ades Zabel, Frank Wilde, Gaby Tupper and many others.

 

Birds live on every continent. They are elusive, shy animals. In my photographs, however, they allow an improbable closeness. I have captured what is actually alien and invisible in nature in my bird portraits.

 

My motto: "Authenticity is the keyword that lies behind my photography. I prefer to show more the human touch and less the retouch."

 

Most of the exhibits were created in the queer community.

 

berio-berlin.de/ausstellungen/berliner-und-andere-schraeg...

A peaceful beach at sunset — the sky glowing with soft, soulful hues of gold and rose. A simple wooden bench and a weathered sign stand quietly, overlooking the calm waves. A moment of stillness and beauty, where time feels suspended and the world breathes in harmony. 🌅✨

The inner doll box, taken out of the outer box. The Certificate of Authenticity is under it, between the front and back covers.

 

I received my Disney Designer Collection Premiere Series Snow White Limited Edition Doll today. I had ordered her online at the release day, shortly after 12 AM in the morning of Saturday October 6, 2018. She is #1301 of 4100. She came in a shipper box that is approximately the same size as the LE 17 inch doll shippers. It original shipping label said GIRLS TOYS LE PR DSGN SNOW DOLL F18, and CART #: 01298. There was a small piece of masking tape stuck to the side of the box with the actual edition number (matching the CoA): 1301. Inside there was another corrugated cardboard box snugly fitting in the outer shipping box. Inside that was the actual doll box, which was covered with tissue paper, and fit snugly in the inner shipping box, with cardboard caps on the top and bottom of the doll box. The shipper box was undamaged in transit, as was the inner box and the doll box itself.

 

The doll box has folding panels in the front with magnetic closure, with a large design sketch of Snow White and the year 1937 in large numerals. In the background are photographers in silhouette snapping photos, and a red carpet. The back of the box has angled corners, making for a hexagonal shaped box. The sides and back of the box also has images of Snow White. The top of the box has a clear window with the title of the collection in gold lettering. Inside the front covers are replicas of the movie poster, invitation and tickets to the premiere of Snow White and the Seven Dwarfs at the Carthay Circle Theatre in Los Angeles, on December 21, 1937. The doll is behind a rectangular viewing window extending almost the full width and height of the box.

 

The inner box containing the doll and front viewing window can be slid out from the outer box. It is entirely enclosed, so can be displayed as is, without having to deal with the front covers either covering up the doll, or taking up space in front or to the sides of the inner box. The doll is on top a red carpet that has steps in front, and is flocked cardboard.

The doll herself is by far my favorite of the current Designer Premiere Series. I'm slightly biased because Snow White is my favorite Disney Princess, and am so happy that she turned out so well. I think her gown and accessories are very beautifully designed and produced. It also is very fitting for Snow White, and would be something she would wear to the premiere of her own movie.

 

I show her boxed, with the inner box removed from the outer box, and finally with the front viewing window removed from the inner box.

 

I will fully debox her tomorrow and post photos here when I do.

Deboxing the Prince. Front and rear covers removed, leaving the free standing backing, to which the doll is attached. The Certificate of Authenticity is removed from under the backing, and placed in front of the doll.

 

Detailed photos of the Prince LE 17 inch doll, by the Disney Store. I purchased him in person on the release day, August 1, 2017. He is #1380 of 3000. He is actually 18 inches tall, and has the same body as the other Prince dolls in the same line (except for the Beast). He has pivot jointed neck, ball jointed shoulders, elbows, wrists, hips and ankles, and hinge jointed knees. He can free stand fairly stably, but for most of the photos of him standing after being deboxed, he is in his included display stand.

 

Prince Collector's Doll - 17'' - Snow White and the Seven Dwarfs - Limited Edition

$119.95

Item No. 6003040900389P

US Disney Store

Released in store 2017-08-01

Released online 2017-08-02

Purchased in store 2017-08-01

#1380 of 3000

 

Snow White's handsome Prince is featured in this limited edition collector's doll. Finely sculpted, his exquisitely detailed costume includes a velvet cape with decadent embroidery, and faux leather tunic, while his sculpted sword completes the look.

 

Magic in the details...

 

Please Note: Purchase of this item is limited to 1 per Guest.

 

• Limited Edition of 3000

• Includes Certificate of Authenticity

• Velvet cape with embroidered detailing

• Red satin cape lining

• Hessian shirt with faux leather cuffs

• Blue faux leather tunic

• Detailed belt with holster

• Finely detailed sword

• Faux leather boots

• Rooted styled hair

• Poseable at neck, shoulders, elbows, wrists, hips, knees, and ankles

• Display stand included

• Comes in elegant, window-display packaging

• Celebrating the 80th anniversary of Snow White and the Seven Dwarfs

 

The bare necessities

 

• Ages 6+

• Plastic / polyester

• 17'' H

• Imported

• Safety

 

WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.