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View allAll Photos Tagged authenticity
Confidence blooms effortlessly in authenticity.
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Lipstick: Rituel d'Isis - Rendezvous / Soft & Hard versions
maps.secondlife.com/secondlife/Summer%20Sands/83/106/2001
Septum: +Aura De La Luna+ Aesthetic Piercing
these are a few of the band shirts my dad has given to me from when he was a teenager and in his early 20s going to shows. i have about 15 or more. so jealous that he was around when music was still good.
(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 candid moment full of warmth, honesty, and winter charm.
This portrait captures the kind of smile that doesn’t just brighten a frame – it brightens the entire day. No posing, no staging… just pure, genuine emotion in the heart of Frankfurt.
A reminder that beauty lives in authenticity, and that some of the strongest photos happen in the seconds in between.
“I really believe there are things nobody would see if I didn’t photograph them.”
-Diane Arbus
And I really believe almost all the foreigners in Huangdao district of Qingdao had never been through that alley. Why? Mainly because the area are newly developed, covered by fancy buildings and "cleaned" big streets where everything can be found. But for the people like me, who loves adventure and authenticity, losing my way in the old and dirty alleys hidden between news towers and only frequented by locals is where I like to be in China.
This is China~~
by Sartre’s definition the Invisible Painting doesn’t use substitution symbolism.
In any language we don’t use things when we need to convey certain information. So there’s total substitution of things with symbols. Sartre offered the idea of culture based fully on symbolism. It certainly is true in the fact of science and art using languages that always substitute things in the construction of expressions.
Musical, Art, Literature has own languages with full substitution of things to symbols.
That how in Sartre’s opinion though people who realize their human call to contribute to culture nothingness is brought into the culture.
The authenticity of true creation can be defined by the language that can’t be a language of substitution.
Paul Jaisini who creates his invisible paintings. His artistic language knows no such method as to substitute thing with a symbol of this thing. Thus the language of invisible painting by Paul Jaisini is the authentic language and is nothing like what we know to be any other language where symbols are used to substitute things. That is a short way to show how by Sartre’s definition the Invisible Painting of Paul Jaisini is not bringing nothingness creating authentic works of art with the language that doesn’t use substitution symbolism.
yustas-jaisini.blogspot.com/2014/09/cubes-set-of-five-art...
(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...
Hoc opus eximium, tam mirum, tam pretiosum Rainaldus prudens operator et ipse magister constituit mire, sollerter et ingeniose.
Rainald, the skilful workman and master builder, executed this wonderful, costly work and did it with incredible skill and ingenuity.
De ore leonis libera me domine et a cornibus unicornium humilitatem meam
Make thou me safe from the mouth of a lion; and my meekness from the horns of unicorns.
The facade of the Pisa Duomo is a riot of romanesque weirdness and geometry.
Timeless style, authenticity and freedom of expression are the core values of Ray-Ban, a leader in sun and prescription eyewear for generations. From its debut in 1937 with the now-iconic Aviator model created for the American Air Force to today, Ray-Ban has maintained a unique cultural ...
I feel as feminine in leggings and a t-shirt as I do in dresses and heels. Studying female behavior and trends has given me a better perspective on how women present in public, and how their choice of ensemble for different situations or settings is among the many things we admire and seek to emulate.
I might wear this particular outfit for grocery shopping, walking the dog, or a light workout. 🌹💕
This captivating studio portrait features a young woman standing barefoot beneath dramatic, focused lighting that creates a powerful visual presence. Her relaxed stance, crossed legs, and thoughtful upward gaze convey a sense of confidence, curiosity, and quiet reflection. The soft spotlight isolates the subject against a moody, darkened background, emphasizing both her expression and the elegant simplicity of the composition.
Dressed in a fitted white crop top and denim shorts, the styling remains casual and contemporary, allowing the viewer's attention to rest on the subject's natural beauty and confident posture. Her wavy blonde hair frames her face while the controlled studio lighting highlights subtle details and textures throughout the image.
A particularly striking element of the portrait is her barefoot presentation. Her bare feet add a sense of authenticity, freedom, and natural ease to the image, reinforcing the relaxed mood of the session. The connection between her bare feet and the studio floor creates a grounded, approachable feeling that contrasts beautifully with the dramatic lighting and artistic atmosphere. This simple detail enhances the portrait's sense of vulnerability, confidence, and individuality.
The minimalist setting removes distractions and allows the interplay of light, shadow, pose, and expression to take center stage. Combined with the shallow depth of field and carefully controlled lighting, the result is a portrait that feels both intimate and cinematic. The image celebrates natural beauty, youthful confidence, and the timeless appeal of studio portrait photography.
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© Tous droits réservés / Tutti i diritti riservati / All rights reserved
DON'T CLAIM AS YOUR OWN | NON-COMMERCIAL PURPOSE
Please, don't copy and use this image on websites, blogs or
other media (such as Facebook, Instagram, PicsArt, Pinterest, Tumblr, Blogger, WordPress, Google+, … ).
All my images are protected under international authors copyright laws and may not be shared, downloaded, reproduced, copied, or edited without my written explicit permission. Any unauthorized use is strictly illegal and can be punishable by law.
If you want to use my photographs, you must request my permission via Flickr Mail or using my website's Contact Form : → HERE
(I speak french, italian and a little bit of english).
“Sem autenticidade, sem educação, sem liberdade no seu significado mais amplo - na relação consigo mesmo, com as próprias ideias pré-concebidas, até mesmo com o próprio povo e com a própria história - não se pode imaginar um artista verdadeiro; sem este ar não é possível respirar.”
– Ivan Turgueniev
أصالة التراث وحداثة التقنية
Authenticity of heritage and modern technology
真品文物和现代技术
L'authenticité du patrimoine et de la technologie moderne
(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...
A copy of an actual photograph of Jesus Christ which formed on His burial cloth. Negative image (computer enhanced, with added colour to blood stains).
The herringbone weave of the cloth can be seen (when enlarged). The white lines are creases in the cloth.
This is a unique, photographic image (miraculously?) formed by a process unknown to science.
The only such example of its kind from any historical or modern period.
Unable to be replicated or explained by any known photographic or artistic technology.
Tangible proof of the crucifixion and resurrection of Jesus and confirmation of the Christian Gospel narratives.
A summary of scientific and historical evidence supporting the authenticity of the Shroud of Turin as the ancient burial cloth of the historical Jesus of Nazareth.
newgeology.us/presentation24.html
The shroud - new evidence.
www.asis.com/users/stag/shroud/newevid.html
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"This is a Nuclear Video Exploding with information about how the image was formed on the Shroud of Turin.
The Shroud of Turin is an x ray, Photographic, Holographic Image.
It has properties of
1. X Ray Photo
2. Photo Negative
3. Hologram
Yet none of these are an accurate description of the Shroud. The Shroud is a one of a kind image in which a new word would have to be invented to describe it.
The Shroud is not a painting or contact image of any kind with the exception of the blood stains which are a result of body to cloth to contact. The image is over the blood stains and is a separate event that occurred 2-3 days after the blood stains made contact with the cloth.
The Shroud of Turin is not a painting, X Ray Fluorescence, micro chemistry, ultra violet and infrared evaluations confirm this.
The painting rumor was started by Walter McCrone who found some microscopic traces of paint on some sticky tape samples delivered to him in Chicago by Ray Rodgers of the Shroud of Turin Research Project on Friday October 13th, 1978. It was a bad luck day for the Shroud. He received a total of 30 to 33 of these sticky samples. A few of them had microscopic traces of paint on them. This should not have come as a surprise to him or anyone; this is what we would expect to see knowing
The Savoy Family (who purchased The Holy Shroud of our Lord in 1453 for what would be a multi- million dollar real estate deal today) allowed artists to attempt to replicate the Shroud. No less than 52 different times they allowed artists to lay their paintings on top of the Shroud after completing their replica as a way of sanctifying it, or attempting or hoping some of its “power” would rub off on their painting. The Savoy Family kept very detailed records of most everything did with the Shroud, each time it was moved and when it was displayed. The forensic evidence on the Shroud is in agreement with the historical record. The historical record states the Savoy Family allowed artists to lay their paintings on it and of course we did indeed find trace evidence of this. Does that mean the image on the Shroud is paint? Of course not!
People like to touch famous things and or attempt to replicate them. Of course during this process microscopic traces of this paint got on the Shroud. If one was to scrape them all together and put them in one pile on the Shroud you would need a microscope to see them. They do not make up the Shroud image. There are many foreign objects on the Shroud, such as pollens from Israel and Turkey and a rare calcite from soil found in tombs around the Damascus Gate, but that does not mean the Shroud image is made up of pollens and dirt!
When McCrone was confronted with this information he stomped out of the room like a 5 year old baby and refused to listen. He could not admit he was wrong. We all make mistakes. It is important we stand up like a man and admit it. He could not bring himself to do that. Pride goes before the Fall. He fell.
To this very day this painting rumor still persists. If after watching this video you still think the Shroud is a painting or contact image, God help you.
I have spent the last 7 years of my life studying the Shroud, I know the forensic evidence and I know the scripture that relates to it. What you are hearing and seeing in this video is accurate information.
Know right now, in your heart, mind and body and soul. The Shroud is authentic, The witness to the Resurrection.
To the viewer: I hope and pray you are baptized in the Holy Spirit as a result of watching this video, in the case you are not. Amen.
This subject line in the video was inspired by John Klotz who wrote one of the best books on the Shroud of Turin ever written and is writing a 2nd book which involves the subject of life after death, near death experiences. This is not a promo for his book "Quantum Christ" but if you are interested:
johnklotz.blogspot.com/2015_01...
This is a famous quote from that book
If the Shroud of Turin is the actual burial cloth of Jesus Christ, it is arguably the most important object on the face of the earth with the possible exception of nuclear weapons."
John C. Klotz
I don't normally recommend books, or post links to them on this channel but I recommend this book written by Isabelle Esling who is baptized in the The Holy Spirit.
This is a book for someone who has come to believe but wants to come to know and learn more about a "Higher Power Intelligence/God/Jesus/Yeshua"
Please go to this link to see and read more. FREE INFO.
encounterwithyeshua.blogspot.c...
The new astonishing phenomenon detected on the Shroud
Scientific evidence.
Carbon dating of the Shroud debunked.
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The real theory of everything.
www.flickr.com/photos/truth-in-science/34295660211
www.flickr.com/photos/truth-in-science/34295660211/in/dat...
Evolution timescale refuted by field and experimental evidence.
Rapid strata formation.
(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...
(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"
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.
The very sorry state of the nave is striking as one enters it. Humidity is almost everywhere. The church is not deconsecrated and sometimes weddings take place here, but the lack of even the most elementary care is glaring.
Notice the dark and damp openings of the twin tunnels leading to the crypt.
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.
(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...
"I believe in tradition and innovation, authenticity and passion." - Jose Andres
Thank you for taking the time to look at, comment on, and fave my photographs.
Let's make the world a better place, one child at a time!
This picture was taken outside of the Ngọc Hoàng Pagoda in Saigon, Vietnam.
Ngoc Hoang (Jade Emperor) Pagoda was built in 1892 by a Chinese man called Liu Ming with the aim of praying for luck in his business. In 1984, the pagoda name was changed to Phuoc Hai Tu and since then it has been managed by the Vietnamese Buddhist Sangha.
The pagoda boasts a set of about 300 ancient statues, including 100 made from cardboard, presenting a meeting of genies with the Jade Emperor. Using only paper and bamboo laths, artisans created lively statues with an august nuance.
In the following 50 years, Fenghuang was spared of large-scale economical construction that happened in other districts. As the people of the ancient town cherished this especially valuable heritage bestowed by its profound cultural gifts, the local government has conducted a strict control over all the construction activities and thus successfully preserving the authenticity and integrity of the ancient town.
Little Pinkuru starts her home searching today! if you're interested in being her mom or dad please check my website ^_^
***
La pequeña Pinkuru empieza la búsqueda de un nuevo hogar hoy! si estas interesado en ser su mami o papi visita mi web ^_^
Available as a Digital Download and Print including Editorial License
Ideal for travel magazine editors, social media creators and websites related to Ho Chi Minh City, Vietnam
Tap to see more
thailand-becausewecan.picfair.com/images/024181285-authen...
Authentic commerce and daily life unfold at Cholon Market, also known as Binh Tay Market, in District 5, the heart of Chinatown in Ho Chi Minh City, Vietnam. This historic marketplace is one of Southeast Asia’s most vibrant centers of trade and culture. From vendors selling fruits, spices, and textiles to the sounds and scents that fill its narrow alleys, the market offers a true glimpse into the rhythm of local life.
As a travel photographer, I was drawn to the authenticity of this scene — where tradition and modernity coexist seamlessly. The lively atmosphere, human interactions, and colorful displays reflect Vietnam’s cultural heritage and community spirit. Cholon Market captures the essence of Saigon’s identity: dynamic, diverse, and deeply rooted in history.
InterClassics 2020
Maastricht, the Netherlands.
[EN] This undeniably charismatic seven-seater 1924 Paige-Detroit 6-70 De Luxe Sedan simply oozes authenticity. Its 70hp 5.4 litre straight-six has only done 34,000 miles, which is believed to be correct. Double bumpers, a nickel-plated radiator, a set of spare wheels, a luggage rack at the rear and automatic windshield wipers were all standard equipment. The car also features a gent’s smoker’s set and lady’s vanity kit. This excellently preserved vehicle with matching engine, chassis and bodywork complies with the high standards of the Historical Preservation of Original Features (HPOF) issued by the Antique Automobile Club of America (AACA). The greater part of the paintwork is still original and in places has been carefully restored to retain an authentic appearance. Conservation of the wheel spokes was done with linseed oil. Please note the preservation of the interior, the roof lining, the carpet, the wooden floor parts and the ‘leatherette’ on the roof and on the running boards. Having had one owner between 1968 and 2008, the Paige-Detroit was then shipped to The Netherlands, where it was registered. The vehicle later underwent a full recommission and is now on the button. To be honest, we are reluctant to sell the car. You simply don’t find them this authentic anymore.
[NL] Ontegenzeggelijk charismatische zevenpassagiers Paige-Detroit (VS, 1909-1927) die werkelijk authenticiteit ádemt. Dit grootste model uit 1924, de 6-70 De Luxe Sedan, is voorzien van een 70pk sterke 5,4 liter zescilinder die tot op heden slechts 54.000 – geloofwaardige – kilometers heeft gelopen. Dubbele bumpers, een vernikkelde radiateur, twee reservewielen, een bagagerek achterop, een compressor met bandenpomp en automatische ruitenwissers waren standaard bij dit type. Binnenin bevinden zich tevens een rokersset voor de heren en een ‘vanity kit’ voor de dames. Tja, andere tijden… Het originaliteitsgevoel is bijna tastbaar. De auto voldoet dan ook aan de uiterst strenge HPOF-classificatie (Historical Preservation of Original Features) van de Antique Automobile Club of America (AACA). Motor, carrosserie en chassis zijn matching. De koets staat voor het overgrote deel nog in de originele lak. Op plaatsen is het bijgewerkt, maar wel met de grootste zorgvuldigheid, teneinde de authentieke uitstraling te behouden. De sterke, stoere spaakwielen zijn in lijnzaadolie geconserveerd. Let ook op het interieur, de hemelbekleding, het hout van de vloerdelen, het tapijt en niet te vergeten het ‘leatherette’ op het dak en op de treeplanken. Deze imposante Paige-Detroit was van 1968 tot 2008 in handen van één Amerikaanse eigenaar. Daarna is de auto naar Nederland gebracht, op kenteken gezet en heeft hij een volledige onderhoudsbeurt gehad. De slangen, bougies, riemen, uitlaat en accu zijn vernieuwd en de benzinetank en radiateur zijn gereinigd. Eigenlijk willen we ‘m niet echt kwijt. Want zo origineel vind je ze nauwelijks meer. Maar misschien kunt u er nog één voor 9.000 gulden bestellen bij de importeur, de Nederlandsch-Amerikaansche Automobiel Mij in Rotterdam? Telefoon 12916.
Source: www.classicpark.com
Roots is the only thing that keep us connected with our Authenticity just don't cut'em off.
The Nature Reserve,Siwa
Once Upon a Time Doll Set, boxed, with slipcover off. The two doll boxes are unfolded so the dolls are both facing forward.
The Once Upon a Time Doll Set features Snow White in white and Regina, the Evil Queen, in black. It is a limited edition of 300, and cost $129.95. The dolls are 12'' fully posable dolls with very well made outfits accurately depicting costumes used in the TV show. They were only available at the D23 Expo 2015, and sold out on Friday August 14, before I got a chance to see them in person. I'm very happy to finally get the D23 Exclusive Once Upon a Time Doll Set, thanks to a fellow collector. It was signed at the D23 Expo by the actresses Ginnifer Goodwin and Lana Parrilla on the slipcover over their respective dolls.
There is a smoky plastic slipcover, with the Certificate of Authenticity loosely placed on the top, under the slipcover. My set is #216 of 300. The two dolls are in separate boxes, that are connected by a folding backboard. The set opens up to display Snow White on the left and Evil Queen on the right. The boxes have a similar size and construction to the Disney Film Collection doll boxes.
I will show them boxed, during deboxing, and fully deboxed.
Frozen Fever Elsa has been fully deboxed. To fully show off her outfit, the orange string has been removed from her hands, and her hair untacked from her cape. She has been taken off her display stand, and is lying down on the floor.
Detailed photos of my Frozen Fever Elsa Limited Edition 17'' doll. I got her in store on release day, Tuesday November 3, 2015. She is #1559 of 5000. She is shown boxed, during deboxing and fully deboxed. I also show her with comparable dolls.
Her only accessory is a red string that was used to connect all the birthday presents for Anna. I decided to remove the string for the final photos of her fully deboxed. Her long braid was tacked to her outfit in two places with nylon thread. I cut the lower thread so her cape could be fully opened, but I decided to leave the upper one alone, so the braid would stay in place nicely draped over her shoulder. I show her ice heels from various angles. It has the same mold as the ice heels of the other two SQ LE 17'' Elsa dolls (LE 2500 and LE 100), but is transparent light blue green, with fine embedded glitter and a shiny iridescent surface. It was difficult to show the true beauty of the shoes in photographs.
Limited Edition Elsa Doll - Frozen Fever - 17''
$119.95
Item No. 6003040901307P
US Disney Store
Released in stores 2015-11-03
Released online 2015-11-04
Sold out online in less than 10 minutes
Purchased in store 2015-11-03
#1559 of 5000
Flowerful
Our latest Elsa Limited Edition doll is inspired by the short Frozen Fever. Elegant in aqua gown with sheer cape overlay, and adorned with shimmering floral details, fine embroidery and faceted gems, Elsa makes every day more perfect!
Magic in the details...
Please Note: Purchase of this item is limited to 1 per Guest.
• Limited Edition of 5000
• Includes Certificate of Authenticity
• Two-toned ombre print gown with green rhinestones and metallic embroidered detailing
• Mesh sleeve and décolletage with floral embroidery and gemstone trim
• Flowing, sheer organza cape with metallic floral embroidery, iridescent frosted glitter accents, and clear faceted gems
• Beautifully braided hair with shimmering golden highlights and floral fixtures
• Rooted eyelashes
• Glittering translucent shoes
• Satin cord accessory
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by the Disney animated short Frozen Fever
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
I discovered the Sheffield House while surveying part of Portland’s Sunnyside neighborhood for Victorian houses with decorative gable brackets — the sort of exuberant carpenter ornament that once flourished on late nineteenth-century domestic architecture. Then I turned a corner and there it was.
What the house lacked in gable brackets it more than compensated for in age, integrity, and authenticity.
Even at a glance, it was obvious this was something different: not merely an old house, but a survivor from another Portland entirely. Its proportions, weathered simplicity, and almost stubborn lack of modernization suggested a building that predated the mature Victorian city by decades.
Back home, I learned that the structure was the 1866 John and Sarah Sheffield House, listed on the National Register of Historic Places. Reading the nomination form only deepened the impression.
The Sheffields had purchased ten acres from the old Prettyman Donation Land Claim and built their farmhouse at a moment when East Portland was still largely rural — a landscape of springs, scattered clearings, rough roads, and remnant forest stretching eastward from the Willamette River. The image on the right suggests how the surrounding land looked in 1866 when the house was new
Their house survives as a physical remnant of the moment when East Portland ceased to be frontier woodland and began its long transformation into an agricultural suburb and, eventually, an urban neighborhood swallowed by the expanding city.
John Sheffield was described in the records as a gardener, a detail that seems entirely fitting. One can easily imagine the small cultivated world the Sheffields attempted to establish there in 1866: orchard rows, vegetable plots, muddy boots at the doorway, woodsmoke in winter, and beyond it all the uneasy threshold between settlement and wilderness. The house still carries something of that atmosphere.
As is my habit when I encounter a historic house I hope to share on Flickr, I next turned to Newspapers.com and searched the pre-1934 street address.
Instantly, another figure emerged from the shadows of Portland history: Joseph Buchtel, then eighty-three years old, living in the house in 1914. His photograph appears above, a marvelous transformation from the half-tone image that appeared in The Oregonian as his 84th birthday approached.
\What began as a simple address search rapidly opened into an extraordinarily rich biographical trove. The deeper I dug, the more fascinating Buchtel became — a man whose life intersected with the formative decades of Portland’s commercial, civic, and cultural development. Before long, I found myself privately thinking of the structure not merely as the Sheffield House, but as the Sheffield–Buchtel House.
How I wish it were possible to append newly discovered historical material to National Register nominations long after their filing. The official record preserves the building’s architectural importance and pioneer origins, but it cannot capture the layered human stories that later research sometimes uncovers. If wishes were horses, of course.
In any event, I first encountered Joseph Buchtel at the very end of his long life, standing figuratively before me in yellowed newspaper columns from 1914. From there, I began tracing him backward through time: to his boyhood in Illinois, his journey westward, his business career, civic involvement, and eventual status as one of old Portland’s surviving pioneers. Fortunately, on the occasion of his eighty-fourth birthday, a remarkably detailed account of his life was published alongside his photograph — and it is that account which follows below:
JOSEPH BUCHTEL 84
Oregon Pioneer of 1852 Celebrates Birthday.
EARLY DAYS ARE RECALLED
First Morrison-Street Bridge and First Car System on East Side Are Among Projects Set Afoot by Mr. Buchtel.
Joseph Buchtel, pioneer of 1852, who had been an active factor in the early history of Portland and Oregon, passed his 84th birthday yesterday at his home 1260 East Washington street, in a quiet manner with his family, although many friends called and sent their good wishes. Owing to a very painful trouble with his left eye, the reception and family reunion had to be called off. Mr. Buchtel has been completely blind for more than two years, but he still retained hope that the sight of one eye could be restored until this recent affliction.
Mr. Buchtel came to Portland when it was a struggling village. He and Captain G. A. Pease are the only two surviving men who operated on the Willamette River in 1852, 1853 and 1854. All the other river men have passed away. At that time and for many years afterward steamers were operated to Corvallis and were the chief means of transportation in the Willamette Valley to and from Portland. Mr. Buchtel was steward on the "Wallamut," the largest steamer on the Willamette River. He said that the boat often carried 200 passengers to Salem.
Early Photos of City Made.
Mr. Buchtel had a very active and wide career in Portland and there was rarely any progressive movement in Portland in which he did not have a part. He was one of the earliest photographers, and his views of Portland as a village are the only ones extant at present. He served one term as Sheriff of Multnomah County. He assisted in the organization of the Multnomah Fire Engine Company, and was chief of the volunteer department, and chief after the establishment of the paid department. Mr. Buchtel projected the erection of the first Morrison street bridge across the Willamette River, built by William Beck and others. He also built the first mile of street car track on the east side of the river, on Grand avenue, the intention being to build the line to City Park race track, in which he was interested, but it was never finished.
Mr. Buchtel was an expert in horse racing, and officiated at the State Fair and elsewhere as judge for many years. As the pioneer baseball player he organized and captained the Pioneer Baseball Club in Portland in the seventies, which held the championship for many years.
East Side Interests Aided.
It may be said that it was through the work of Joseph Buchtel that the grounds on which the Washington High School and Hawthorne buildings stand were secured for school purposes. Mr. Buchtel was an active member of the old East Side Improvement Association that brought about the rebuilding of the Morrison bridge and caused the East Side low lands to be filled up. When the North East Side Improvement Association was organized to promote the building of the Broadway bridge, Mr. Buchtel was one of the foremost members and was named a member of the bridge committee. At that time the weakness of his eyes began to appear, but he attended all meetings and was active till that bridge was built, and was accorded the honor of riding in the automobile first to cross the completed structure.
Historical Site Purchased.
That Joseph Buchtel was a useful citizen hundreds can testify who received a helping hand from him. He was a leader in his time of men and affairs. The one particular thing he feels glad of is that he was able to bring about the purchase and setting apart of a 1200-acre tract at Champoeg, Ore., where some time in the future the state will erect a monument suitable to commemorate the memory of the men who saved the Oregon country to the United States, May 2, 1843. He, with ten friends, bought the land and gave the state a deed to it, the state afterward reimbursing them for their outlay.
"It was my desire to get an appropriation of $5,000 from the state to have the land improved," said Mr. Buchtel yesterday, in speaking of that matter, "but I became blind and could do no more. When we bought the tract and the state took it over I went to see F. X. Matthieu, the then sole survivor of the convention that saved this country to the United States, and told him what had been done. 'Joe,' he said, 'Now I am ready to die.' The old man was deeply interested in the movement to get the land. It is a little hard after having lived an active life that I should be blind and suffering in my old age, but those are the things we cannot account for. I should have been glad to see my old friends, but it cannot be, but I can and do send them my greetings. I am glad to be remembered by so many."
Mr. Buchtel has four children: Archie L. Buchtel, Fred G. Buchtel, Mrs. N. L. Curry and Mrs. W. G. Kern.
The Oregonian, Mon. Nov 23rd, 1914.
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.
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
Disney Store Limited Edition 17'' Dolls (Heirloom Collection).
Collage of Certificates of Authenticity (CoA) of dolls in my collection. Ordered by release date. Stock image of Aurora's CoA added as a placeholder. Missing from my collection are the Toy Story dolls (Jessie, Woody and Buzz), and the Alice in Wonderland dolls (Alice and the Queen of Hearts). The term ''heirloom'' is in all the certificates, except for Snow White, Jack and Sally, and China Girl. The list of dolls is as follows. I have included their year of release and edition number and size.
Snow White (2009, 250 of 5000)
Tiana (2010, 4164 of 5000)
Belle (2010, 4401 of 5000)
Rapunzel (2011, 3630 of 5000)
Mother Gothel (2011, 1346 of 1500)
Jack (2011, unnumbered of 2000)
Sally (2011, unnumbered of 2000)
Wedding Rapunzel (2012, 1081 of 8000)
Merida (2012, 1262 of 7000)
Cinderella (2012, 2955 of 5000)
Lady Tremaine (2012, 346 of 1500)
Merida and Queen Elinor (2012, 1706 of 2500)
Sergeant Calhoun (2012, 175 of 1000)
China Girl (2013, 297 of 500)
Ariel (2013, 1633 of 6000)
Prince Eric (2013, 79 of 1500)
Ursula (2013, 303 of 2000)
Harrods Anna and Elsa (2013, 39 of 100)
Coronation Anna (2013, 1202 of 2500)
Snow Queen Elsa (2013, 102 of 2500)
Snow Gear Anna (2014, 3923 of 5000)
Coronation Elsa (2014, 1875 of 5000)
Aurora (2014, to be released on Oct 7, edition size of 5000)
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.
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
There such a poetry in a greenlandic morning: quietness and authenticity (and a huge glacier in the background... I have to publish a picture of this one!) - You can watch all the trip here on Behance: www.behance.net/gallery/Welcome-to-East-Greenland/10862353
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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.
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