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This is Royal Enfield, subsidiary of Triumph and the legendary motorcycle of India. Though they are still seen and sold today, this one retains the old authentic looks and ruggedness...Very rare.
This is a tough nut cookie to crack and subversive. You are trying to open up to something new, but then your subconscious picks up on some pattern and triggers your defenses. For example, you may want to partake in a healing ritual, but then you recognize that there is a shaman and that the...
manwithoutfather.com/2016/02/10/anti-indoctrination-indoc...
These prints are produced using archival inks on 100% cotton rag matte paper. All of our editions are supervised by the artist and come with a signed certificate of authenticity. Profits from 79 Moons From Flickr - 51 Visible will be donated to Aperture foundation.
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Benefit Thursday greetings, my collector friends! The editions I've been blabbing about all week long (and then some) are finally here and I'm super excited to introduce them. I'm also nervous... I've been thinking about Penelope Umbrico's work a lot, for a long time and I am a huge fan of the Aperture Foundation. I'm counting on all of you collectors to help us support them in a big way!
Without futher ado, I present to you: 87 Suns From Flickr - 29 Visible and 79 Moons From Flickr - 51 Visible. All profits from the sale of the Moons print will be donated to Aperture. Penelope created these prints exclusively for the Aperture/20x200 collaboration, using her brilliant Suns from Flickr as the foundation for the final images. She picked a great place to start: the Suns project has many ties to Aperture itself, and it's also the genesis of my ongoing and public fascination with her images.
My first encounter with Suns was its stunning installation at The Ubiquitous Image exhibition, curated by Aperture Books Publisher — and HHS! panelist — Lesley Martin. The show was part of last year's inaugural New York Photo Festival, where Penelope also did an artist's talk that blew me away. Her process, her humor and her fresh perspective captivated me; she sees the internet as a vast repository of source material and does ingenious things with its plenty. Her perspective transcends the confines of art and internet culture, moving beyond each discipline's tendency to be hopelessly self-referential. Being someone who dwells in both worlds and works hard to unite them, the discovery of Penelope's point of view was downright thrilling.*
I feel incredibly fortunate to be writing this newsletter today. To be presenting the work of someone who inspired me from a stage, in support of a foundation which advances the medium about which I am most passionate is truly an honor. I am so grateful to artists like Penelope and organizations like Aperture for the important work that they do — the role of artists and what they create is grossly undervalued in contemporary culture.
Aperture plays a vital role in advancing the medium of photography, which I consider to be the most crucial medium of our time. They produce gorgeous books, mount ambitious exhibitions and publish a terrific magazine. They support emerging artists and collectors via their competitions and limited-edition print programs, and their offices are populated by some of the hardest working, most thoughtful and passionate people I've met.
Most recently, they've been focused on putting together The Edge of Vision: Abstraction in Contemporary Photography, curated by Lyle Rexer. The exhibition features work from a fascinating array of photographers, including Ms. Umbrico herself. Aperture's hosting an opening reception this Saturday, May 16th, from 7:00 to 10:00 p.m. and the show is on view through July 9th.
I've already mentioned that Penelope's got a lot of good things to say; tomorrow's your chance to hear them firsthand. In conjunction with the show, Lyle Rexer will be moderating a panel at NYPH'09 with Penelope and two other participating artists, Jack Sal and Silvio Wolfe, at 5:00 p.m. on Friday in DUMBO at St. Ann's Warehouse.
Not in New York this summer? Snatch up your prints and bring a little abstraction to your neck of the woods. Be sure to add Aperture's book that accompanies the exhibition to your wish list as well — it'll be available later this month! We got a sneak peek and it is indeed a beautiful book.
There's a lot of other gorgeousness to be found on Aperture's site, but don't take our word for it. As an added incentive to get you to go see for yourselves, Aperture's offering an additional 10% off already discounted books when 20x200 collectors shop at www.aperture.org. Use Coupon Code UMBR59 during checkout to receive this exclusive discount on some of the best photography books available today.**
*I was tempted to insert what feels like an obligatory aside here about my utter sincerity in spite of what might seem to be an excessive use of superlatives, but I'm putting it down here instead. Trust me, I am this excited, engaged, impressed.
**Offer expires May 31, 2009. Discount does not apply to Curated Collection, signed, and limited-edition books.
DAVOS/SWITZERLAND, 24JAN14 - Participants are making notes during the session 'The Authenticity Factor' at the Annual Meeting 2014 of the World Economic Forum at the congress centre in Davos, January 24, 2014.
WORLD ECONOMIC FORUM/swiss-image.ch/Photo Urs Jaudas
The LE 17'' Sgt Calhoun doll is photographed with the front of the box dropped down, so she is in clear view. She is attached to the cardboard backing and plastic spacer, and is standing supported by a custom black metal and plastic doll stand. The Certificate of Authenticity is in a plastic envelope in a slot under the cardboard backing. It is removed from the envelope and shown next to Sgt Calhoun. My serial number is #175 of 1000.
Sergeant Calhoun LE 17'' Doll - Wreck-It Ralph
US Disney Store
Personal Photos
Limited Edition: #175 of 1000
Released in stores and online November 2, 2012
Purchased in store on November 10, 2012.
I went to the Disney Store closest to home to buy Wreck-It Ralph merchandise, using the 25% off coupon that is good this weekend. To my surprise, they still had the Sgt. Calhoun LE 17'' doll on display. So I bought one of them, and will post photographs of her boxed, during deboxing, and finally fully deboxed. I will also attempt to remove her outfit.
This certificate of authenticity for an STS-117 silver medallion came with a signed crew photo on which I have to take closer look. I really wanted the COA (which did not come with the medallion) as I was pretty sure the autographs were all original and it was also a neat crew-signed item.
Note that the crew emblem is the original (post-Columbia) design, without the addition of a (Clay) Anderson apron ("tab.")
My guess is that the Karl Sturckow is his commander Rick Sturckow's father. I'm presuming the STS-117 silver medallion is the Robbins medallion, although the example I've seen includes the Anderson apron. Perhaps due to his space station stay the crew opted to not have Anderson's signature on the certificate (nor that of Suni Williams, the crewmember brought down from ISS?)
The signatures then are of the original six-person crew: Marine Col. Frederick W. "Rick" Sturckow, commander; Air Force Col. Lee Joseph "Bru" Archambault, pilot; and mission specialists ret. Army Col. Patrick G. Forrester; John D. "Danny" Olivas (signed with his first name, not just his middle and last); James F. Reilly, II; and Steven R. Swanson
Separately on photos, I have all of the crew, including launching to the International Space Station Clayton C. Anderson and landing ISS astronaut Sunita L. "Suni" Williams.
Pullman Rail Journeys – nostalgia meets iconic meets authenticity – with modern facilities. The original Pullman rail company started service in 1867, and finally went out of business in the 1980s. These vintage 1940s cars have been rescued and fully restored to the original Pullman Art Deco design, with stylish plush accommodation that features modern amenities to maximize comfort; thus enhancing every moment of your journey without compromising authenticity. Pullman Porters and Stewards clad in traditional uniform are on hand at all times to give superb service.
The authentic rail cars highlight and celebrate Pullman of the 1940’s and 1950’s on this Chicago / New Orleans route. This version of Pullman never featured opulent furnishings nor large expanses of paneled walls. The bright, painted metal surfaces, powder blue and gold upholstery, and mid-century style are rather like a classic 1950’s Chevy. Service standards are drawn directly from the books of that time and menus are taken from originals of the period, as well; for example, pickled watermelon is found among the crudités on the dinner table and original recipes of the Illinois Central for salad dressings are featured.
Graphics - Pullman Rail Journeys
Print: society6.com/mattmarket/The-Problem-with-Online-Quotes_Print
"The problem with quotes on the Internet is that it is hard to verify their authenticity." - Abraham Lincoln
FACADE
In the series Facade, I explore using faceless human bodies as an extension of city structures. I have created photographs of people without their likeness being the focal point, allowing their gestures to serve the same function that facial expressions do in portraiture. My intention was to focus on the fluidity of the body interacting with the rigidity of the infrastructure of the city, fusing the two to create temporary pieces of public art.
AUTHENTICITY SOFA BⅡ
オーセンティシティ ソファ BⅡ
design:Takumi Michihata/道畑拓美
manufacturing:土井木工
please check more furniture.
Adidas Stan Smith Pharell Williams Hu Holi, Men’s Size 11.5, Multicolor, AC7044, UPC: 191031300747, EAN: 0191031300747, 2017, inspired by the Hindu festival, Adidas branding embossed on tongue patch and heel panel, tennis player's profile endorses the tongue, power-dyed canvas upper, Pharrell Branding on Heel, co-branded leather heel badge, Synthetic Lining, Leather Heel Tab, Stan Smith Print on Tongue, , OrthoLite Sockliner, Rubber Cupsole, rubber outsole, Limited Edition, Low-top silhouette, classic Stan Smith silhouette, Stan Smith sneaker, tennis heritage, Lace-up closure, reddealsonline, eBay shoes, Authenticate, Authenticity Guarantee
AUTHENTICITY SOFA BⅡ ARMLESS
オーセンティシティ ソファ BⅡ アームレス
design:Takumi Michihata/道畑拓美
manufacturing:土井木工
please check more furniture.
Looking closely at the seals, you can see they differ. Habanos S.A. has decided not to focus on the placement of the seal. If you look closely, the fake box's edge is centered in the middle of the Cuban Coat of Arms; the real seal is not folded in the center. In fact, Habanos S.A. is not focusing on that anymore. There may be some boxes out there which has the seal centered, but for the most part the placement is not important anymore.
The real seal is on top. It measures 37mm in width and it is a pronounced green color.
The fake seal measures 35mm in width and it has a bluish tint on it.
AUTHENTICITY SOFA BⅡ ARMLESS
オーセンティシティ ソファ BⅡ アームレス
design:Takumi Michihata/道畑拓美
manufacturing:土井木工
please check more furniture.
The Princess Tiana Limited Edition 17'' Doll.
Released by the Disney Store in 2010.
#4164 of 5000.
Photographed fully deboxed, on the included doll stand.
Description from the box notes:
Disney: The Princess and The Frog
Disney Store proudly presents The Princess and The Frog Limited Edition Tiana doll. With its intricate details this beautifully designed doll migically captures the Bayou wedding scene from Disney's feature film, The Princess and the Frog. The delicately bejeweled floor length veil is capped by her sparkling tiara. The elegance of her rich green, multi-layered dress is highlighted by cascading leaves encrusted with faceted rhinestones, crinkled organza, and iridescent satin. Painterly detailed evening gloves, glittery dewdrop earrings and necklace as well as leaf inspired shoes complete her ensemble. To recreate the magical moment of her transformation into a princess, this doll comes with her ''ready for the kiss'' frog prince!
Certificate of Authenticity and Display Stand Included.
(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...
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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...
Ein Karem is a historic mountain village southwest of Jerusalem, presently a neighborhood in the outskirts of the modern city, within the Jerusalem District. It is the site of the Hadassah Medical Center.
Ein Karem was an important Jewish village during the late Second Temple period, during which it became important to Christianity. Christian tradition holds that John the Baptist was born in Ein Karem, following the biblical verse in Luke saying John's family lived in a "town in the hill country of Judea". Probably because of its location between Bethlehem and Jerusalem, this location was a very comfortable one for a pilgrimage, and this led to the establishment of many churches and monasteries in the area.
During the years of Ottoman and later British rule in Palestine, Ein Karem was a Palestinian Arab village. It was depopulated of its residents during the 1948 Arab-Israeli War. After the war it became once again a Jewish settlement. Today, Ein Karem is a vibrant bohemian neighborhood of Jerusalem, with a population of 2,000 (2010). It has retained a very high-level of authenticity, its natural environment remains intact, and its old houses are still inhabited and preserved. It attracts three million visitors a year, one-third of them pilgrims from around the world. Alongside its religious landmarks, Ein Karem is also known for its fine art, culinary, and musical scenes.
Etymology
The name Ein Karem or Ein Kerem can be literally translated from both Hebrew and Arabic as "Spring of the Vineyard". It is derived from the springs and vineyards established on the village's terraced slopes. Another possible translation would be "Spring of Carem", if derived from an ancient Iron Age Israelite city called Carem, mentioned as a city in the dominion of the tribe of Judah in the Septuagint version of Book of Joshua. In Arabic, other than meaning "Spring of the Vineyard", it could be understood as well as "the Generous Spring".
History
A spring that provides water to the village of Ein Karem stimulated settlement there from an early time.
Bronze Age
Pottery has been found near the spring dating to the Middle Bronze Age.
Iron Age/Israelite period
During the Iron Age, or Israelite period, Ein Karem is usually identified as the location of the biblical village of Beth HaKerem (Jeremiah 6:1; Nehemiah 3:14).
Second Temple period
A well-preserved mikveh (Jewish ritual bath) indicates there was a Jewish settlement in the Second Temple period along with some other discoveries such as handful of graves, bits of a wall, and an olive press. A reservoir here was mentioned in the Copper Scroll, one of the Dead Sea Scrolls.
Roman and Byzantine periods
During excavations in the Church of Saint John the Baptist, a marble statue of Aphrodite (or Venus) was found, broken in two. It is believed to date from the Roman era and was probably toppled in Byzantine times. Today, the statue is at the Rockefeller Museum. Excavations in front of the same church, which has at its core the cave which Christian tradition identifies as the birthplace of John the Baptist, have unearthed remains of two Byzantine chapels, one containing an inscription mentioning Christian "martyrs", but without any mention of John. Ceramics from the Byzantine period have also been found in Ein Karem.
In the Byzantine period, as part of the establishment of the “Liturgy of Jerusalem", Ein Karem was identified with the "Visitation", an event mentioned in the New Testament where Mary, expecting Jesus, encountered her cousin Elizabeth, who was pregnant with John the Baptist. Byzantine sources link Ein Karem with the residence of Elizabeth, the mother of John the Baptist, a place not specified in the New Testament. In around 530 CE, the Christian pilgrim Theodosius places Elizabeth's town at a distance of five miles (8.0 km) from Jerusalem,[20] which suits Ein Karem.
Early Islamic period
Ein Karem was recorded after the Islamic conquest. Al-Tamimi, the physician (d. 990), mentions a church in Ein Karem that was venerated by the Christians, also mentioning an old custom of the Jews of Ein Karem to make wreaths from the boughs (branches) of a wild plant belonging to the mint family (Lamiaceae) during the Jewish holiday of Shavu'ot.
Crusader period
It is mentioned under the name St. Jehan de Bois, "Saint John in the Mountains", during the Crusades. The Crusaders were the first to build here a church dedicated to St John, rebuilt in the 17th century by the Franciscans and still active today, and Moshe Sharon considers it as "almost sure" that the Crusaders are the ones who started the tradition of identifying that particular site as St John's birthplace.
Ayyubid and Mamluk periods
After conquering Jerusalem in 1187, Saladin granted the village of Ein Karem to Abu Maydan, a renowned Sufi teacher from Seville, Andalusia. Abu Madyan had fought in the 1187 Battle of Hattin against the Crusaders before returning to the Maghreb, where he eventually died in Tlemcen, in what is today Algeria. A document, drafted in Jerusalem in 1320 (720 AH) by Abu Maydan's great-grandson, outlines the waqf's holdings, beginning with Ein Karem:
"A village known by the name of Ein Karem, one of the villages adjacent to Jerusalem. This village includes farmed and fallow lands, both cultivated and abandoned, slopes and plains, unproductive bare rock, buildings in ruins, farmhouses, buildings in good repair with their surrounding fields, a little garden, pomegranate trees and other kinds irrigated with water from springs on the property, olive trees of a “rumi” or western variety, carob trees, fig trees, sessile oaks, qiqebs (hardwoods). This village is bounded on all sides: to the south by the great Maliha (salt pan); to the north by properties belonging to Ein-Kaout, Qalunya, Harash, Sataf, and Zawiya el-Bakhtyari; to the west by Ein Esheshqqaq, and to the east by properties belonging to the Maliha and to Beit Mazmil. This village is established as a waqf, with all attendant rights, appurtenances, fields, cultivated lands, threshing floors, loamy earth, with freshwater springs on location, prairies, planted trees, disused wells, vineyards, in a word, with all rights relating thereto, both within and without. However, the mosque, house of God, the path and the cemetery intended for use by Muslims, are not included in the present waqf."
The Waqf Abu Maydan endowment, which included the Mughrabi Quarter in Jerusalem, has been supported by agricultural and property revenues from the village of Ein Karem until the 1948 war.
A coin from the reign of As-Salih Hajji (1389 CE) was found here, together with pottery, glassware and other coins from the Mamluk era.
Ottoman period
Most of the village – some 15,000 dunams – was waqf land set aside charitably to benefit the Moroccan Muslim community in Jerusalem, belonging to the endowment established by Abu Madyan in the 14th century.
In 1517, the village was included in the Ottoman empire with the rest of Palestine and in the 1596 tax-records it appeared as 'Ain Karim, located in the Nahiya of Jabal Quds of the Liwa of Al-Quds. The village had at this time 29 households, all Muslim. The villagers paid a fixed tax rate of 33.3% on agricultural products, which included wheat, barley, summer crops, vineyards, grape syrup/molasse, goats and beehives in addition to "occasional revenues"; a total of 5,300 akçe. All of the revenue went to a waqf.
In the course 17th century, the Franciscans manage to recover the ruins of the church raised by the Crusaders over the traditional birth cave of St. John and, in spite of local Muslim opposition, to rebuild and fortify it as the Monastery of St. John in the Mountains.
Israeli geographer Yehoshua Ben-Arieh described Ein Karem as "the most important village west of Jerusalem" in the 19th century.
James Silk Buckingham visited in the early 1800s, and found he was "more pleased with this village [...] than with any other place I had yet visited in Palestine."
In 1838, Ain Karim was noted as a Muslim and Latin Christian village in the Beni Hasan district.
In 1863 Victor Guérin noted a thousand inhabitants "of whom there are barely two hundred and fifty who are Catholics; the others are Muslim." The ancestors of the latter were held to descend from Maghrabins, that is to say, originating from the Maghreb (North Africa). Guérin describes them as rowdy and fanatical, until a few years before his visit having very often attacked the Catholic monks at the Monastery of St John in order to extort from them food and money, a habit that had subsided only lately.
An official Ottoman village list from about 1870 showed that Ain Karim had 178 houses and a population of 533, though the population count included only men. The population consisted of 412 Muslims in 138 houses, 66 Latin Christians in 18 houses, and 55 Greek Christians in 12 houses.
In 1883, the PEF's Survey of Western Palestine (SWP) described Ain Karim as: "A flourishing village of about 600 inhabitants, 100 being Latin Christians. It stands on a sort of natural terrace projecting from the higher hills on the east of it, with a broad flat valley below on the west. On the south below the village is a fine spring ('Ain Sitti Miriam), with a vaulted place for prayer over it. The water issues from a spout into a trough."
In 1896 the population of 'Ain Karim was estimated to be about 1,290 persons.
During the 1929 riots in Palestine, Arab residents of 'Ain Karim launched raids against the nearby Jewish neighborhood of Bayit VeGan.
In the 1945 statistics, Ein Karim had a population of 3,180; 2,510 Muslims and 670 Christians, The total land area was 15,029 dunams, of this, a total of 7,960 dunums of land were irrigated or used for plantations, 1,199 were used for cereals; while a total of 1,704 dunams were classified as built-up (urban) areas.
The 1947 United Nations Partition Plan for Palestine placed 'Ayn Karim in the Jerusalem enclave intended for international control.
1948 Arab–Israeli War
When the 1947–1949 Palestine war started, 'Ain Karim became a major base of operations against nearby Jewish neighborhoods. In February 1948, the village's 300 guerilla fighters were reinforced by a well-armed Arab Liberation Army force of mainly Syrian fighters, and on March 10 a substantial Iraqi detachment arrived in the village, followed within days by some 160 Egyptian fighters. On March 19, the villagers joined their foreign guests in attacking a Jewish convoy on the Tel Aviv–Jerusalem road. Immediately after the April 1948 massacre at the nearby village of Deir Yassin (1.2 miles (2 km) to the north), most of the women and children in the village were evacuated.
The village was finally captured by Israeli forces during the ten-day campaign of July 1948. The remaining residents fled on July 10–11. The Arab Liberation Army forces which had camped in the village left on July 14–16 after Jewish forces captured two dominating hilltops, Khirbet Beit Mazmil and Khirbet al-Hamama, and shelled the village. During its last days, 'Ayn Karim suffered from severe food shortages.[51]
State of Israel
After the war ended, Israel incorporated the village into the municipal boundaries of Jerusalem. Ein Karem was one of the few depopulated Arab localities which survived the war with most of the buildings intact. The abandoned homes were resettled with new migrants, many of whom Mizrahi Jews who fled from the Arab countries who fought the Arab-Israeli War during the war and after it, i.e. Jews from Iraq and Egypt but also from Yemen. Over the years, the bucolic atmosphere attracted a population of artisans and craftsmen. Today it is a vibrant bohemian neighborhood of Jerusalem, attracting many artist, young people and tourists.
In 1961, Hadassah built its medical center on a nearby hilltop, including the Hadassah Medical Center and the Hebrew University of Jerusalem schools of medicine, dentistry, nursing, and pharmacology.
Biblical connections
Old Testament
Main article: Carem
Only the Septuagint translation of the Hebrew Bible, the base for the Christian Old Testament, names a place in the hills of Judah as "Carem" (Joshua 15:30).
New Testament
According to the New Testament, Mary went "into the hill country, to a city of Judah" (Luke 1:39) when she visited her cousin Elizabeth, the wife of Zechariah.
During the Byzantine period, Theodosius (530 CE) gives the distance between Jerusalem and the town of Elizabeth as five miles (8.0 km).
The Jerusalem Calendar (Kalendarium Hyerosolimitanum) or the Georgian Festival Calendar, dated by some before 638, the year of the Muslim conquest, mentions the village by name, "Enqarim," as the place of a festival in memory of Elizabeth celebrated on the twenty-eighth of August.
The English writer Saewulf, on pilgrimage to Palestine in 1102–1103, wrote of a monastery in the area of Ein Karim dedicated to St. Sabas, where 300 monks had been "slain by Saracens", but without mentioning any tradition connected to St. John.
Landmarks
The Church of the Visitation, or Abbey Church of St John in the Woods, is located across the village to the southwest from St. John's. The ancient sanctuary there was built against a rock declivity. It is venerated as the pietra del nascondimento, the "stone in which John was concealed," in reference to the Protevangelium of James. The site is also attributed to John the Baptist's parental summer house, where Mary visited them. The modern church was built in 1955, also on top of ancient church remnants. It was designed by Antonio Barluzzi, an Italian architect, who designed many other churches in the Holy Land during the 20th century.
Monastery of St. John in the Mountains
The Catholic Monastery of St. John ba-Harim (St. John "in the Mountains" in Hebrew) is centered on a church containing the cave identified by tradition as the birthplace of Saint John the Baptist. The church is built over the remnants of a Crusader church and its porch stands over the remains of two Byzantine chapels, both containing mosaic floors. The current structure received its outlook as the result of the latest large architectural intervention, finished in 1939 under the guidance of the Italian architect, Antonio Barluzzi.
In 1941–1942 the Franciscans excavated the area west of the church and monastery. The southernmost of the rock-cut chambers they found can probably be dated to the first century CE. Some remnants below the southern part of the porch suggests the presence of a mikve (Jewish ritual bath) that is dated to the Second Temple Period.
The church is mentioned in the Book of the Demonstration, attributed to Eutychius of Alexandria (940): "The church of Bayt Zakariya in the district of Aelia bears witness to the visit of Mary to her kinswoman Elizabeth."
The site of the Crusader church built above the traditional birth cave of St John, destroyed after the departure of the Crusaders, was purchased by Franciscan custos, Father Thomas of Novara in 1621. After a decades-long struggle with the Muslim inhabitants, the Franciscans finally managed to rebuild and fortify their church and monastery by the 1690s.
Convent of the Sisters of Zion
he monastery of Les Sœurs de Notre-Dame de Sion (Sisters of Our Lady of Zion), built in 1860, was founded by two brothers from France, Theodore and Marie-Alphonse Ratisbonne, who were born Jewish and converted to Christianity. They established an orphanage here. Alphonse himself lived in the monastery and is buried in its garden.
Gorny or "Moscobia" Convent
The convent was established by the Jerusalem mission of the Russian Orthodox Church in 1871 (see also Russian Wikipedia page here). The name "Gorny Convent" refers to the visit of the Virgin Mary to her cousin St. Elizabeth "into the hill country, to a town in Judah," gorny meaning mountainous in Russian. It was nicknamed "Muskobiya" (Arabic for Muscovite) by the local Arab villagers, which mutated in Hebrew to "Moskovia." Apart from the structures serving the nunnery and a pilgrims hostel, it now contains three churches, enclosed within a compound wall. The Church of Our Lady of Kazan (Kazanskaya) is dedicated to the holy icon of Our Lady of Kazan and is the oldest among the three churches, being consecrated in 1873. The Cathedral of All Russian Saints, with its gilded domes, was started before the Russian Revolution and could only be completed in 2007. The cave church of St. John the Baptist was consecrated in 1987.
Mary's Spring
According to a Christian tradition which started in the 14th century, the Virgin Mary drank water from this village spring, and here is also the place where Mary and Elizabeth met. Therefore, since the 14th century the spring is known as the Fountain of the Virgin. The spring waters are considered holy by some Catholic and Orthodox Christian pilgrims who visit the site and fill their bottles. What looks like a spring is actually the end of an ancient aqueduct. The former Arab inhabitants built a mosque and school on the site, of which a Maqam (shrine) and minaret still remain. An inscribed panel to the courtyard of the mosque dates it to 1828–1829 CE (AH 1244). The spring was repaired and renovated by Baron Edmond de Rothschild.
St. Vincent
St. Vincent-Ein Kerem is a home for physically or mentally handicapped children. Founded in 1954, St. Vincent-Ein Kerem is a non-profit enterprise under leadership of the Daughters of Charity of St. Vincent de Paul.
Other churches and religious institutions
Catholic
The Convent of the Franciscan Sisters
The Convent of the Rosary Sisters, built in 1910
Casa Nova, a guesthouse for pilgrims reopened in 2014
Greek Orthodox
The Greek Orthodox Church of St John, built in 1894 on the remnants of an ancient church
Related sites in the area
Monastery of St. John in the Wilderness
Monastery of Saint John in the Wilderness
The Monastery of St. John in the Wilderness, containing a cave associated with the saint, is located close to Ein Karem and Moshav Even Sapir.
Notable residents
Shlomo Aronson (1936–2018), Israeli landscape architect
Erel Margalit (born 1961), Israeli high-tech and social entrepreneur
Naomi Henrik (1920–2018), Israeli sculptor
~TITLE OF SCULPTURE~
ZOMBIGGY
Handmade Clay Sculpture.
APPROXIMATE SIZE: 4" x 4" inches
* This piece is Signed & Dated
for authenticity by the artist.
Created in May 2013.
ABOUT THIS PIECE
ZOMBIGGY !
The largest most in chargest Zombie around : )
Deboxing Anna and Kristoff. The cardboard slipcover then the clear acrylic cover are taken off. Now the dolls are in clear view.
I deboxed the Troll Wedding Anna and Kristoff Doll Set in April 2016 (nine months ago), but I am finally getting around to now uploading detailed photos of them. Anna herself looks lovely, but I still think their costumes make them look cheap and silly. Also the troll wedding sequence was my least favorite part of Frozen. So this is my least favorite Designer Fairytale doll set.
I got them in store on their release day, November 3, 2015. They are #1079 of 6000.
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Welcome to New Year Celebration at Ängsbacka: lighting up the lanterns. You´ll find depth, warmth, sharing, fun, joy, play, togetherness, giving meaning, sharing, caring, gratitude, creativity, strength, beauty, dissolving illusion, simplicity, experiencing nature, transformation, connection, reaching out, saying yes, nourishing, feeling, opening to touch, abundance, authenticity...
Photo: Vuokko Isoherranen
unsure about authenticity about this one- please help
source:
www.muslimdialogue.com/the-name-of-allah-in-arabic-on-a-c...
A calabash has been found recently in Mugla, Turkey by a Turkish farmer. This is not a normal cabalash!! Miracoulusly the name of Allah in the Arabic has been written on it which amazes the witnesses from all around Turkey. The farmer, Selahattin Sözer has said “This is a clear miracle. People should take their lessons and believe in Allah.” The mufti (Imam) also stated that the name of Allah is pefrectly appears on the calabash.
Sözer told how he found the calabash:” on 30th of April I wrapped the plants around the trees in my garden. Around 20th of Septemper I saw the Quranic verses on one of them. Then I looked for another ones but did not find any. So, I took it to home and preserved. Then, I again tried to find another in the garden.” He continues “After for years God has bestowed blessings on us by his names. I am going to display it for showing God’s miracle to people. If I can dry it up I will keep it in my home. Everybody who want to see are welcomed to my home. People should take lessons from the miracles and believe in Allah. There are some who say that this is a natural event. However, this calabash is a clear miracle of Allah.”
source: www.bugun.com.tr/haber-detay/124933-gorenleri-hayrete-dus...
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www.disneystore.com/limited-edition-merida-doll-18-h/mp/1...
Description of doll from DisneyStore.Com product webpage (link above):
Limited Edition Merida Doll -- 18'' H
Item No. 6070040908166P
Our Price: $99.50
Our limited edition Merida doll captures the adventurous spirit and beauty of our newest heroine from Disney/Pixar's Brave. With her mass of fiery red curls and luxurious gown, Merida makes a headstrong addition to your doll collection!
Product Details
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
•Ebony gown of sumptuous velvet
•Gown accented with pleated gold organza at cuff and collar
•Skirt is finished with a wide band of satin, flocked in a tonal black Celtic-inspired pattern and edged in rich piping detail
•Wide belt around waist, adorned with a repeating Celtic knot pattern in gold embroidery
•Buckle features an iconic three-bear motif from the film
•Sash is made of the navy and green plaid tartan belonging to Merida?s family
•Cloak features jet-black faux fur satin lining featuring a repeating Celtic pattern and closure mirroring belt buckle
•Mass of fiery red curls framing Merida's determined expression
•Iconic bow featuring intricate carved-in details
•Ages 6+
•18'' H
•Includes Certificate of Authenticity
•Display stand included
•Imported
•Limited Edition of 7000
unsure about authenticity about all- please help
top right-
This picture is sent by Faizan Bari Qureshi from Peshawar, Pakistan. This is his own picture in which he has pointed out the name of Allah written on a loof. You can see the nam clearly written. SUBHANALLAH
FACADE
In the series Facade, I explore using faceless human bodies as an extension of city structures. I have created photographs of people without their likeness being the focal point, allowing their gestures to serve the same function that facial expressions do in portraiture. My intention was to focus on the fluidity of the body interacting with the rigidity of the infrastructure of the city, fusing the two to create temporary pieces of public art.
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Figurine with Certificate of Authenticity in front of it.
I just received the Beauty and the Beast Limited Edition Figurine from the Disney Store, that I ordered online when it was released last Monday. It is still available from the US Disney Store website. It is LE 1100, and cost $199.95.
It is musical and plays a 15 second segment of 'Beauty and the Beast' repeatedly when the key is turned. It is 10 inches high including the base (which is 7 inches in diameter). The Beast is 8 inches tall and Belle is about 7 inches tall. The figures are made of resin. It weighs a hefty 5.5 pounds (2.5 kg), and came in a very large shipping box weighing 12 pounds. It comes with a hand numbered Certificate of Authenticity, mine is 964 of 1100. The same number is written under the base.
It has an excellent paint job and is marvelously detailed. The only exception, unfortunately, is the face of Belle. There is a sharp ridge down the middle of her nose, there are small defects in the paint and mold, and she isn't as accurate a representation of her character as is the Beast. But viewed from a normal distance, she does look very presentable.
I show the box and the figure from all angles. I also compare the figure with the Lenox Belle and Beast porcelain wedding figure.
(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...
Unboxing the Snow White LE 17'' Doll - Step 5a
The certificate of authenticity is shown in closeup. It is inside a sealed plastic protective envelope. The doll is #0250 of 5000. A very nice round low number.
The packaging of the 17'' LE Snow White Doll is truly amazing. She is on a doll stand (hidden underneath her gown and robe) and wired to a plastic and cardboard free standing diarama of a forest scene. That in turn is inside a clear plastic box, that forms the windows of the next level of heavy cardboard box. Finally, there is another heavy cardboard box that forms the lid over that, and protects the clear plastic box. This set of photos show the process of fully deboxing her.
Newly purchased Snow White Limited Edition 17'' Doll by the Disney Store. She was released in 2009 exclusively by the Disney Store, and limited to 5000 dolls. She came in a collector's display box with a doll stand, a 3 disc Blu-Ray/DVD of ''Snow White and the Seven Dwarfs'', and a lithograph of an original poster of the movie.
Her costume is a spectacular gown and cape that is her iconic outfit redesigned in an Elizabethan style. She is wearing a long necklace with a large heart pendant. She is holding a blue bird in one hand and the poison apple in the other. She has pale white skin, as befits her name, and jet black hair, with a glittering red ribbon and bow around her head. She has large brown eyes, rooted eyelashes, and deep red very full lips. She is fully articulated, including movable hands. She looks truly regal in her costume and overall look.
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
Pics from the AuthentiCity Lounge, the dedicated space in NYC where the AuthentiCity exhibition took place.
“AuthentiCity” is a photography project conceived in cooperation with the School of Visual Arts (SVA), New York, aimed at young international artists who are SVA students or alumni.
The project theme – “Revealing purity and authenticity in urban life” – is an invitation to use the straightforward language of photography to explore signs of authenticity and purity in the urban setting.
The project began with more than 200 photographers, educated at SVA, who were charged with capturing their vision of urban life. The 19 works selected in the preliminary stage were presented last April in an open exhibition during the Milan Design Week. Five of the 19 photographers, Carlos Alvarez Montero, Igor Aronov, Matthew Baum, Giselle Behrens and Caroline Shepard, were then selected, through a series of juror selections, to continue their work and each received a cash prize of $3000.00. Project winners were then chosen to be featured in the dedicated exhibition at the illy issimo AuthentiCity Lounge in New York.
More info about illy issimo and the AuthentiCity project @:
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AUTHENTICITY SOFA BⅡ ARMLESS
オーセンティシティ ソファ BⅡ アームレス
design:Takumi Michihata/道畑拓美
manufacturing:土井木工
please check more furniture.
If the lover of old stones that I am is always delighted to find a monument «dans son jus», as we say in French (literally, “in its own juices”, meaning in its original –and often run down– state), full of authenticity and atmosphere, and allowing one to “read” its history just by looking at the shape, size and appareling of the stones, it is also true that sadness often comes into play as one acknowledges the decades, if not the centuries, of neglect and dereliction suffered by some of the finest pieces of our heritage.
The Romanesque church of Condé-sur-Arnon (département of Cher in the old province of Berry, central France), dedicated to Saint Dennis, is deemed to have been built, for its oldest parts, during the 11th century. My opinion is that this is a Year 1000 church, as attested by the flat apse and small apparel. Likewise, the archaic capitals, with motifs full of faith and of a touching naivety, far from the æstheticism and sophistication of large urban churches. This is a humble countryside church, yet it features some very interesting architectural and artistic traits that set it apart.
The misfortune of this church was the 1844 merger (at a time when this sort of procedure was not at all in fashion!) of Condé with the neighboring village of La Celle. The latter’s church was retained as the new parish church, and Saint Dennis was simply abandoned. As explained on the Wikipedia page devoted to this church, “the monument leaves an impression of desolation. As a matter of fact, when one compares current indoor views with those described by Deshoulières in 1931, the resemblance is striking.” Listed as a Historic Landmark as early as 1862, the church was probably not maintained at all until the 1990s, when it benefited from some emergency restoration works, mostly woodwork and roofing, thanks to a mayor mindful of heritage issues.
This church’s main originality lays in the fact that the choir and apse are raised almost two meters above nave level, as is sometimes seen in monastic churches (e.g., the Benedictine abbey church of Cruas in Ardèche, southeastern France). Totally bare, the nave is decorated with several Mediæval alfresco paintings (the Danse macabre could be early Renaissance) that are in a pitiful state, eaten away by dampness. The ceiling is a simple wood vault from the 1780s, but considering how the side walls lean outwards, I am convinced that this church was originally stone vaulted.
The choir, while of a great sobriety, is decorated with very harmonious and well-proportioned blind arcatures, and bathed in a typically Romanesque, soft and unusually plentiful light. It still retains its barrel vault.
Below the choir and apse is a semi-undergound crypt reachable via two low and dark tunnels running along the side walls. The floor plan is basilical and copies that of the choir. Light is scarce as the windows are very small. I had to use flash to light it properly for the photos. There are six columns but only one of the capitals’ faces is partly decorated, showing a naive and pure feminine visage with archaic traits. The faces of the other capitals seem to have been prepared for sculpture but none was ever undertaken. Contrary to the walls of the church itself which are of mediocre quality, the crypt is entirely appareled in very nicely cut stones.
All in all, and aside from some very eroded modillions, the only sculpted decoration can be found around the western portal, which features four short columns supporting the voussures, which are made of harmonious but bare arch stones. The four capitals are quite rough, archaic in their manner as most of what can be seen in this very old church. The motifs mix daily life scenes with quasi-Pagan themes, as if the Church had found it necessary to appropriate age-old beliefs in a region of France still very much permeated by myths and legends pre-dating Christianity, and still very alive among the masses —I was almost about to write “... and to this very day”!
The many esoteric theories that have been developed about this church, even around Year 2000, seem to confirm this.
I was moved by the very sorry state of this church and I got in contact with my local colleagues of the Fondation du Patrimoine, drawing their attention to this monument, one of the oldest in the region, in the hope that maybe this initiative will trigger an awareness for the interest and need to restore and preserve this unusual village church.
Another faint example of a remaining alfresco painting in the apse. I am sure that an extensive search would uncover more, if only the civil servants at the Historic Landmarks administration would take the time and care to commission some expert restorers...
I used a handheld Godox AD200 Pro II studio strobe, equipped with a round H200R head and a half-spherical diffuser, to provide additional lighting for this shot. The flash was set and triggered via a Godox X Pro II radio transmitter mounted on the camera, which was itself triggered via a Pixel Oppilas RW–221 radio remote, allowing me to walk around and pop the flash wherever it was needed.
Posted by Danai Gurira (Michonne) - .@SayconSengbloh Her palpable authenticity & power in the role of Wife#1 brings her to life in ways I never imagined t.co/RQVf4b5rN2 #TWD #TheWalkingDead #Michonne #DanaiGurira
Source: walkingdead.affiliatebrowser.com/sayconsengbloh-her-palpa...
Sergeant Calhoun LE 17'' Doll - Wreck-It Ralph
US Disney Store
Product Page Screenshot and Images
Limited Edition of 1000
Released in stores and online November 2, 2012
Unannounced release of a Limited Edition Sergeant Calhoun 17'' Doll, from the Wreck-It Ralph animated movie that is being released on the same day, November 2, 2012.
Product Information from the US Disney Store website:
Sergeant Calhoun Doll - Wreck-It Ralph
$99.50
Item No. 6070040900176P
Limited Edition
A one-woman war zone, Tamora Jean Calhoun is a no-nonsense sergeant responsible for whipping ragtag recruits into shape for the videogame, Hero's Duty. This highly detailed collectible doll is outfitted for intergalactic conflict.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
•Limited Edition of 1000
•Certificate of Authenticity
•Highly detailed sculpturing
•Edgily styled platinum blonde hair
•Rooted eyelashes
•Black bodysuit augmented by charcoal gray articulated body armor for maximum mobilty and protection
•Blaster rifle with shoulder strap
•Hand blaster with holster
•Display stand included
•Comes in deluxe collector's presentation box
•Inspired by Disney's Wreck-It Ralph
•Designed and carefully crafted by Disney Store artists
The bare necessities
•Ages 6+
•Plastic /polyester
•17'' H
•Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
The Princess Tiana Limited Edition 17'' Doll.
Released by the Disney Store in 2010.
#4164 of 5000.
Photographed new in the original box, then with the outer and inner lids removed.
Description from the box notes:
Disney: The Princess and The Frog
Disney Store proudly presents The Princess and The Frog Limited Edition Tiana doll. With its intricate details this beautifully designed doll migically captures the Bayou wedding scene from Disney's feature film, The Princess and the Frog. The delicately bejeweled floor length veil is capped by her sparkling tiara. The elegance of her rich green, multi-layered dress is highlighted by cascading leaves encrusted with faceted rhinestones, crinkled organza, and iridescent satin. Painterly detailed evening gloves, glittery dewdrop earrings and necklace as well as leaf inspired shoes complete her ensemble. To recreate the magical moment of her transformation into a princess, this doll comes with her "ready for the kiss" frog prince!
Certificate of Authenticity and Display Stand Included.
In the background, the art of Gothic church buildings of Vienna, Augustinerkirche, la chiesa dell'Ordine di Sant'Agostino, la iglesia de la Orden de San Agustín, l'église des Augustins, Church of the Augustinians (Augustinerstraße)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Authenticity, simplicity, and quality are the assets of these low-top suede Timberland trainers that we just can't get enough of. We love the comfort and great style that'll go with all of our favourite outfits.
Curated by Susan Hapgood and Cornelia Lauf, an exhibition of artist certificates. The exhibition focuses on the little known territory of certificates that serve as deeds for artworks, legal statements, and fiscal invoices that can both embody the artwork itself and refer to it at the same time.
www.saltonline.org/en#!/en/359/in-deed-certificates-of-au....
uben Aubrecht, Judith Barry, Robert Barry/Stefan Brüggemann, Hemali Bhuta & Shreyas Karle, Pierre Bismuth, Marinus Boezem, George Brecht, Daniel Buren, André Cadere, Marcel Duchamp, Maria Eichhorn, Urs Fischer, Dan Flavin, Andrea Fraser, Liam Gillick, The Felix Gonzalez-Torres Foundation, Hans Haacke, Edward Kienholz, Yves Klein, Joseph Kosuth, Sol LeWitt, Ken Lum, Piero Manzoni, Gordon Matta-Clark, Josiah McElheny & Allan Kaprow, Jonathan Monk, Robert Morris, Antoni Muntadas, Yoko Ono, Cesare Pietroiusti, Adrian Piper, Emilio Prini, Robert Projansky & Seth Siegelaub, Raqs Media Collective, Robert Rauschenberg, Sharmila Samant, Joe Scanlan, David Shrigley, Daniel Spoerri, Haim Steinbach, Superflex, Rirkrit Tiravanija, Ben Vautier, Lawrence Weiner, Franz West, Ian Wilson, Cerith Wyn Evans, Carey Young, Andrea Zittel, Heimo Zobernig
Cinderella Limited Edition 18'' Collector Doll
Disney Store $99.50 US
Released in store and online Oct 2, 2012.
Pre-orders started June 30, 2012 and were sold out by Sept 5 in the US.
Pre-ordered on June 30, received at the store on Oct 2.
#2955 of 5000.
Photographed boxed, during deboxing, and fully deboxed, alone and with comparable dolls.
Product information from the US Disney Store website:
Limited Edition Cinderella Doll: 18''
Item No. 6070040901401P
Our Price: $99.50
Sold Out
Bibbidi-Bobbidi-Boo! The Fairy Godmother has worked her magic on the stunning dress featured with this Limited Edition Cinderella Doll. The bodice is encrusted with sparkling rhinestones and her hair is beautifully styled and accented with jewels!
Product Details
Available to own October 2, 2012
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
•Satin bodice covered with rhinestones
•Full peplum features layers of tulle and organza detailed with rhinestones
•Choker of ebony beads
•Opera gloves dotted with silver rhinestones
•Hair is accented with a glittering headband and gleaming hair clip
•Display stand included
•Plastic /polyester
•18'' H
•Ages 6+
•Imported
•Includes Certificate of Authenticity
•Limited Edition of 5000
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
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.
Unboxing the Snow White LE 17'' Doll - Step 5
The certificate of authenticity (#250 of 5000) is shown leaning against Snow White.
The packaging of the 17'' LE Snow White Doll is truly amazing. She is on a doll stand (hidden underneath her gown and robe) and wired to a plastic and cardboard free standing diarama of a forest scene. That in turn is inside a clear plastic box, that forms the windows of the next level of heavy cardboard box. Finally, there is another heavy cardboard box that forms the lid over that, and protects the clear plastic box. This set of photos show the process of fully deboxing her.
Newly purchased Snow White Limited Edition 17'' Doll by the Disney Store. She was released in 2009 exclusively by the Disney Store, and limited to 5000 dolls. She came in a collector's display box with a doll stand, a 3 disc Blu-Ray/DVD of ''Snow White and the Seven Dwarfs'', and a lithograph of an original poster of the movie.
Her costume is a spectacular gown and cape that is her iconic outfit redesigned in an Elizabethan style. She is wearing a long necklace with a large heart pendant. She is holding a blue bird in one hand and the poison apple in the other. She has pale white skin, as befits her name, and jet black hair, with a glittering red ribbon and bow around her head. She has large brown eyes, rooted eyelashes, and deep red very full lips. She is fully articulated, including movable hands. She looks truly regal in her costume and overall look.