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Little Pinkuru starts her home searching today! if you're interested in being her mom or dad please check my website ^_^
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La pequeña Pinkuru empieza la búsqueda de un nuevo hogar hoy! si estas interesado en ser su mami o papi visita mi web ^_^
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
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
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.
My Snow Queen Elsa LE 2500 17'' Doll (2013) is posed next to my newly acquired Coronation Elsa LE 5000 17'' Doll (2014). They are standing in front of the cardboard backing from their original boxes, with artwork specific to each character. Snow Queen Elsa has been completely deboxed, and is supported by the included doll stand. Her gown has been opened to show her legs and blue snowflake shoes. Coronation Elsa Anna is still attached to the backing and the included doll stand.
I just got my pre-ordered Anna and Elsa Limited Edition dolls from my local Disney Store. I also got my pre-ordered Frozen Blu-ray/DVD movie combo. They had very few other Frozen items for sale, the male dolls (Classic Hans and Kristoff, and plush Kristoff) and the plush Anna and Elsa dolls. No girl's Anna or Elsa costumes, Classic Anna or Elsa dolls, or baby Sven. There were perhaps 50 people lined up in front of the entrance before the store opened at 10 am. I also got a second pre-ordered Anna from another local store today. I will take detailed photos of all my dolls, boxed, during deboxing, and fully deboxed.
Elsa Limited Edition Doll - 17'' - Frozen
Released online and in store on November 20, 2013
SOLD OUT online in about 15 minutes
$99.95
Item No. 6070040900950P
Ice dream
Elsa will provide chills of excitement with this spectacular limited edition doll. Designed and crafted by Disney Store artists, and inspired by Disney's Frozen, Elsa's side-swept blonde braid cascades over her finely detailed gown.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 2500
• Includes Certificate of Authenticity
• Sheer organza sleeves
• Sweetheart bodice detailed with reflective ''icicles''
• Elongated sheer dress overlay
• Gown detailed with shimmery ice-blue snowflake embroidery, and rhinestones
• Braided blonde hair is adorned with intricate snowflake jewels
• Rooted eyelashes
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
Anna Limited Edition Doll - 17'' - Frozen
US Disney Store Product Page
Pre-order 2014-01-10
Released 2014-03-18
SOLD OUT
$99.95
Item No. 6070040901012P
Snow wonder
Anna wraps up warm against the Kingdom of Arendelle's eternal winter in the beautifully detailed costume. Inspired by Frozen, this stunning limited edition doll is designed and crafted by Disney Store artists. See more
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 5000
• Includes Certificate of Authenticity
• Burgundy wool cape with satin lining, embroidered detailing, rhinestone accents, and pom-pom trimmed collar
• Norwegian fur-trimmed bonnet
• Satin blouse with embroidered detailing on cuffs
• Black velvet bodice with gold binding. embroidery and rhinestone accents
• Blue velvet skirt with rosemaling embroidery
• Teel knit mittens
• Embossed boots
• Braided hair
• Rooted eyelashes
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
Elsa Limited Edition Doll - 17'' - Frozen
US Disney Store Product Page
Updated 2014-03-18
SOLD OUT
$99.95
Item No. 6070040900983P
Cold standard
Elsa's crown glistens against her coiled blonde hair, her glamorous gown sparkling with rhinestones. Designed by Disney Store artists, this beautifully detailed limited edition doll is inspired by Frozen's coronation scene. See more
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 5000
• Includes Certificate of Authenticity
• Purple velvet cape with satin lining, royal crest embroidery, and sapphire blue clasp
• Teal satin floor-length gown with rosemaling embroidery, rhinestone accents, and chocolate-colored binding
• Black satin blouse with embroidery and rhinestone accents
• Satin mittens with rhinestone accents
• Patterned black slippers
• Golden coronation crown with royal gems
• Coiled blonde hair
• Rooted eyelashes
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
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)
Once Upon a Time Doll Set, boxed, with slipcover off. The two doll boxes are unfolded so the dolls are side by side. The folding card that joins the two doll boxes has closeups of the actresses Lana Parrilla and Ginnifer Goodwin in their roles as Evil Queen and Snow White.
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.
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
'One look - the last, towards the tomb of his Home'
"Ein Blick nach dem Grabe seiner Habe"
Peter Fendi (Wien 1796 - 1842 Wien)
The Lay of the Bell, 1832/33
Das Lied von der Glocke
Aquarell, Deckfarben/Watercolour, body colour
Liechtenstein. The Princely Collections, Vaduz-Vienna
The Art of the Viennese Watercolor
Till 13. May 2018
Transparent lightness, brilliant colours, and a generally atmospheric impression are the special qualities of 19th-century Viennese watercolor painting. Virtuosic city views and landscapes, detail-rich portraits, genre paintings, and floral works comprise the rich motivic repertoire featured in this glorious blossoming of Austrian art.
The Viennese watercolor’s heyday was the Biedermeier era: Jakob Alt, Matthäus Loder, Thomas Ender, and Peter Fendi number among its most important artistic figures.
Likewise outstanding are the exquisite works by Rudolf von Alt from his over 70-year career. His masterful watercolours run from the Biedermeier era all the way to the rise of the Secession movement around 1900.
This exhibition presents a veritable parade of exceptionally beautiful pictures, including the ALBERTINA’s own treasures as well as important loan works, all of which pay impressive tribute to the high standing of the Viennese watercolor in the context of 19th century art.
www.albertina.at/en/exhibitions/viennese_watercolour/
On view from 16 February until 13 May 2018.
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Project BeYouToFull is a project the celebrates authenticity!!! It includes a series of photos and interviews from people that inspire either me or you. We live in a world where we are confronted in every direction we turn with things/people/situations telling us who we should or should not be. In reality the more we embrace exactly who we are the more we can vulnerably pour that into what we create, the more that will resonate with other people around us. Loving ourselves FULLY and then expressing ourselves vulnerably is one of the most courageous things a person can do. This project celebrates those who do just that!!!
Abigail Morwood Interview
by Jenn Prine
Abigail Morwood is a professional ballet dancer with the Cincinnati Ballet. She received her first contract at the age of 15 with the Montgomery Ballet. Abby radiates beauty inside and out. She’s passionate, driven, caring and extremely creative. She boldly puts herself out there with everything she touches. She has a way of making what she creates come to life.
She graciously joined me in the studio and opened herself up to a few of my questions as well as posing for some photos.
For the full interview please click here: www.projectbeyoutofull.com
Se piensa generalmente que Juan Diego era un indígena "pobre" y de "baja condición social". No obstante, sabemos hoy, por diversos testimonios, que él era hijo del rey de Textoco, Netzahualpiltzintli, y nieto del famoso rey Netzahualcóyolt. Su madre era la reina Tlacayehuatzin, descendiente de Moctezuma y señora de Atzcapotzalco y Atzacualco. En estos dos lugares Juan Diego poseía tierras y otros bienes en herencia.
Fue a este representante de las etnias indígenas del Nuevo Mundo a quien, ya hace casi quinientos años, la Madre de Dios apareció trayendo un mensaje de bienquerencia, dulzura y suavidad, cuya luz se prolonga hasta nuestros días.
Para comprender la magnitud del bondadoso mensaje de Nuestra Señora, debemos trasladarnos al ambiente psico-religioso de aquel tiempo.
De un lado, las numerosas etnias que habitaban el valle del Anahuac, actual Ciudad de Méjico, habían vivido durante décadas bajo el despotismo de la tribu más poderosa, en la que habitualmente se practicaban sangrientos ritos idolátricos. Anualmente, sacrificaban millares de jóvenes para mantener encendido el "fuego del sol". La antropofagia, la poligamia y el incesto eran parte de su vida.
Los celosos misioneros, llegados junto con los españoles, veían la necesidad imperiosa de evangelizar ese pueblo, extirpando tan repugnantes costumbres.
Entretanto, los malos hábitos adquiridos, la dificultad del idioma y, sobretodo, un cierto orgullo indígena de no aceptar el "Dios del conquistador" en detrimento de sus divinidades, hacían difícil la tarea de introducir en ese ambiente la Luz del mundo.
Dios Nuestro Señor, en su infinita misericordia, queriendo que todos los hombres "se salven y lleguen al conocimiento de la verdad" (1 Tim 2, 4), preparaba una maravillosa solución para ese impasse.
Nuestra Señora se aparece a San Juan Diego
El 9 de diciembre de 1531, Juan Diego estaba en los alrededores del cerro Tepeyac, en la actual ciudad de Méjico. Repentinamente, oyó una música suave, sonora y melodiosa que, poco a poco, se fue extinguiendo. En ese momento escuchó una lindísima voz, que en el idioma nahualt lo llamaba por su nombre. Era Nuestra Señora de Guadalupe.
Después de saludarlo con mucho cariño y afecto, le dirigió estas palabras llenas de bondad: "Sábelo, ten por cierto, hijo mío el más pequeño, que yo soy la perfecta siempre Virgen Santa María, Madre del verdaderísimo Dios por quien se vive, del Creador de las personas, el Dueño de la cercanía y de la inmediatez, el Dueño del cielo, Dueño de la tierra.
Mucho quiero, mucho deseo que aquí me levanten un templo, para en él mostrar y dar todo mi amor, mi compasión, mi auxilio y mi salvación. Porque en verdad soy vuestra madre compasiva, a ti, a todos vosotros juntos los moradores de esta tierra y a los demás amadores míos que me invoquen y en mí confíen; quiero oír ahí sus lamentos y remediar todas sus miserias, penas y dolores".
La Virgen pidió a Juan Diego que fuese al palacio del Obispo de Méjico, y le comunicase que ella lo enviaba y pedía la construcción del templo.
El "Mensajero de la Virgen" fue a entrevistarse con el Obispo de Fray Luis de Zumárraga, a quien narró lo sucedido, pero éste se mostró incrédulo citándolo para otro día.
Segunda y tercera Aparición
En ese mismo día, al ponerse el sol, Juan Diego, apesadumbrado, va a dar cuenta a la Virgen de su fracasada misión. Y con una encantadora inocencia, le pide a Ella que escoja un embajador mas digno, estimado y respetado. La Madre de Dios le respondió: "Escucha, el más pequeño de mis hijos, ten por cierto que no son escasos mis servidores, mis mensajeros, a quienes encargue que lleven mi mensaje y hagan mi voluntad. Pero es muy necesario que tú, personalmente, vayas, y que por tu intercesión se realice, se lleve a efecto mi querer, mi voluntad. Y mucho te ruego, hijo mío el menor, y con rigor te mando, que otra vez vayas mañana a ver al Obispo. Y de mi parte hazle saber, hazle oír mi querer, mi voluntad, para que realice, haga mi templo que le pido. Y otra vez dile que yo, personalmente, la siempre Virgen Santa María, Madre de Dios, te envío".
Al día siguiente, después de asistir a misa, Juan Diego volvió a buscar al señor Obispo Zumárraga, quien lo recibió con atención pero, más escéptico que antes, le dice que era necesario "una señal" para demostrar que era realmente la Reina del Cielo quien lo enviaba. Con toda naturalidad Juan Diego respondió que sí, y va a pedirle a la Señora la "señal" solicitada.
Al caer el sol, como en las veces anteriores, se le apareció Nuestra Señora radiante de dulzura. Ella aceptó sin el menor reproche concederle la señal pedida, para lo cual lo citó al día siguiente.
Él huye, Ella va a su Encuentro
Sin embargo, al día siguiente, lunes 11, Juan Diego no se presenta a la cita. Su tío, Juan Bernardino, había caído repentinamente enfermo, y él trata por todos los recursos medicinales indígenas curarlo. Todo fue en vano. Cuando el tío ve que la muerte se aproxima, siendo ya cristiano fervoroso, le pide a su sobrino que intente traerle un sacerdote para que lo asista.
Juan Diego, presuroso, sale al amanecer del día 12 en busca del confesor pero decide tomar un camino diferente al habitual, para que la "Señora del Cielo" no le salga al encuentro, pues, pensaba él: "me pedirá cuentas de su encargo y no podré ir en busca del sacerdote".
Pero su artimaña no funciona
Para su asombro, la Madre de Dios se le apareció en ese camino. Avergonzado, Juan Diego trató de disculparse con formulas de cortesía propias de la usanza indígena: "Mi jovencita, Hija mía la más pequeña, Niña mía, ojalá que estés contenta." Y luego de explicarle la enfermedad de su tío, como la causa de su falta de diligencia, concluyó: "Te ruego me perdones, porque con ello no engaño, Hija mía la menor, Niña mía, mañana sin falta vendré a toda prisa.
A lo cual le respondió la Virgen, con bondad y cariño:
"Escucha, y ponlo en tu corazón, hijo mío el menor, que no es nada lo que te asusta y aflige. Que no se perturbe tu rostro, tu corazón; no temas esta enfermedad, ni ninguna otra enfermedad y angustia.
¿No estoy yo aquí que soy tu Madre? ¿No estás bajo mi sombra y resguardo?, ¿No soy yo la fuente de tu alegría? ¿No estás por ventura en mi regazo? ¿Tienes necesidad de alguna otra cosa? Que ninguna otra cosa te aflija, ni te perturbe. No te apriete con pena la enfermedad de tu tío, por que de ella no morirá por ahora. Ten por cierto que ya sanó".
Señal para el "Mensajero de la Virgen"
Así que oyó esas bellísimas palabras, Juan Diego, muy consolado, creyó en la Virgen. Ahora era preciso cumplir con la misión. ¿Cuál era la señal? Ella le ordena subir al cerro del Tepeyac y cortar las flores que allí encontrara. Encargo imposible, dado que nunca las había, y menos todavía en ese tiempo de intenso frío y sequedad. Pero Juan Diego no duda. Sube el cerro y en la cumbre encuentra las más bellas y variadas rosas, todas perfumadas y llenas de gotas de rocío como si fuesen perlas. Las cortó y colocó en su tilma (poncho típico de los indios mejicanos). Al llegar abajo, Juan Diego mostró las flores a Nuestra Señora, quien las toca con sus manos celestiales y se las vuelve a poner en la tilma.
"Hijito mío, el más pequeño, esta diversidad de flores son la prueba y señal que llevarás al Obispo. Le dirás de mi parte que vea en ella mi voluntad y él tiene que cumplirla. Tú eres mi embajador en el que absolutamente deposito toda la confianza. Rigurosamente te ordeno que sólo delante del Obispo despliegues tu manta y descubras lo que llevas".
Juan Diego se dirigió nuevamente al palacio del Obispo Zumárraga y luego de mucho esperar y forcejear con los criados, lo hace pasar a su presencia. El "Mensajero de la Virgen" comenzó a narrar todo lo sucedido con Nuestra Señora y en cierto momento extiende su tilma, descubriendo la señal. Cayeron las más preciosas y perfumadas flores y, al instante, se estampó milagrosamente en el tejido la portentosa Imagen de la Perfecta Virgen Santa María Madre de Dios, que se venera hasta hoy en el Santuario de Guadalupe.
Profundo sentido eclesial y Misionero
Así fue la gran aparición, cuyo primer resultado fue la conversión a gran escala de los indígenas. "El acontecimiento Guadalupano - señala el episcopado de Méjico - significó el inicio de la evangelización, con una vitalidad que sobrepasó todas las expectativas. El mensaje de Cristo, por medio de su Madre, tomó los elementos centrales de la cultura indígena, los purificó y les dio el definitivo sentido de salvación." Y el Papa completa: "Es así que Guadalupe y Juan Diego tomaron un profundo sentido eclesial y misionero, siendo un modelo de evangelización perfectamente inculturada" (Misa de Canonización, 31/7/2002).
Por eso, determinó Su Santidad que en el día 12 de diciembre sea celebrada, en todo el Continente, la fiesta de Nuestra Señora de Guadalupe, Madre y Evangelizadora de América (Exhortación Apostólica Ecclesia in America).
(Fuente: www.diocesisdetlaxcala.mx/index.php/all-category/87-espir...)
=======================================================
Wikipedia knows all about this. The figure who is not the Mother of God is:
Saint Juan Diego Cuauhtlatoatzin[a] also known as Juan Diegotzil (1474–1548), a native of Mexico, is the first Roman Catholic indigenous saint from the Americas.[b] He is said to have been granted an apparition of the Virgin Mary on four separate occasions in December 1531 at the hill of Tepeyac, then outside but now well within metropolitan Mexico City.
The Basilica of Guadalupe located at the foot of the hill of Tepeyac claims to possess Juan Diego's mantle or cloak (known as a tilma) on which an image of the Virgin is said to have been impressed by a miracle as a pledge of the authenticity of the apparitions. These apparitions and the imparting of the miraculous image (together known as the Guadalupe event, in Spanish "el acontecimiento Guadalupano") are the basis of the cult of Our Lady of Guadalupe which is ubiquitous in Mexico, prevalent throughout the Spanish-speaking Americas, and increasingly widespread beyond.
As a result, the Basilica of Guadalupe is now the world's major centre of pilgrimage for Roman Catholics, receiving 22 million visitors in 2010, the vast bulk of whom were pilgrims. Juan Diego was beatified in 1990, and canonized in 2002.
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
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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.
Portugals beautiful waterfalls are scattered all over the place .. this beautiful one is near Viseu .. freedom
I found this daunting chap while trekking to northern India. We stopped to rest on the long road to Agra at a fairly imposing little structure on the side of the road. I was curious to see if I could find a drink or maybe a bit of food. As I approached, this guy stood out front.
I was pretty sure he didn't speak English. We regarded one another for a bit. I tried to survey the authenticity of his weapon and the his circumspect agility. He examined at my anachronistic garb and camera for a bit. Then I gave him the international symbol for, "Can I take a photo?" He stiffened proudly in a pose. I took a quick shot, nodded, then passed by to see what he was guarding within.
from the blog at www.stuckincustoms.com
LEGO Star Wars - Amazing what a little washing powder can do to add to the authenticity of the scene
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
Pride Month is a celebration of authenticity, self-expression, and the freedom to be exactly who you are—and this playful look captures that spirit perfectly. Ivanna Layne Urbano embraces a vibrant palette of rainbow-inspired colors, from her stunning multicolored hair to her bold eye makeup that radiates confidence and joy.
The whimsical unicorn and rainbow print adds a touch of fun and fantasy, reminding everyone that individuality should be celebrated, not hidden. Paired with a fearless attitude and unapologetic confidence, this outfit becomes more than just fashion—it becomes a statement of pride, acceptance, and self-love.
Pride is about honoring every color, every story, and every unique journey. Through this bright and cheerful ensemble, Ivanna showcases the beauty of living authentically and encourages others to embrace who they are without hesitation.
This Pride Month, let your true colors shine brighter than ever and celebrate the magic of being uniquely you.
Nails: NY - Tiffany Nails
Outfit: NYXA - VELISSE DreamPop UNICORN
Nyxa
LM: maps.secondlife.com/secondlife/Mediterranean%20Bay/120/37/21
LM 2:maps.secondlife.com/secondlife/Pioneer%20Junction/151/220/22
"This is the meaning of the spacious, supreme expanse of being, an infinite state of timeless equalness. Without having gone anywhere, you reach your primordial nature. This true nature, unwavering and spontaneously present, is not subject to restrictions and is free of bias."
―Longchen Rabjam
A Treasure Trove of Scriptural Transmission
There were some who questioned the authenticity of the last few photos published, and for that I feel deeply hurt. I have pointedly made an effort to document all my images in all honesty and with integrity. To question whether the Pygmy Killer Heron actually exists outside of Jurassic park is an insult, both to the predator, and to me as a professional. I think a certain jealousy exists among those less talented who aspire to my level greatness, and when unable to achieve those lofty heights, resort to juvenile critique.
For the record, this is NOT a "Shopped" image, but a true record of an actual incident. While I may have tried to make light of the matter in my previous two postings, the reality is that this colony of killers were quite disgusted by the smell emanating from Steve's unlit and highly illegal (in the US) Cuban stogie.
On that note, I close this matter. Courson, RIP.
David Kloke's beautiful Leviathan 63 sits on display in the North Creek Yard during a brief visit in September of 2013.
To date, the Kloke Locomotive Works has delivered two 1860s-era locomotive replicas; the Leviathan 63 seen here and the York 17, which now earns its living on the Northern Central Railway in New Freedom, PA. Although the two engines look very much alike to the general public, and have some mechanical commonality, including modern safety features, there are also a fair number of differences. Both locomotives were built using the engineering specifications and castings that were developed by O'Connor Engineering in the late 1970s for the construction of the Jupiter and 119 replicas at the Golden Spike National Historic Site in Promontory Summit, Utah. The Leviathan is a very close copy of the Jupiter. Both are Schenectady designs. York on the other hand, is a copy of the 119, with some cosmetic changes, such as the Yankee-style balloon stack, to make her resemble a wood-burner. Both York and 119 carry the Rogers brand on their steam chests. Both of the Kloke replicas have single-stage air compressors, air brake reservoirs hidden between the rear drivers, and air brakes, as required to operate on FRA Railroads.
The Leviathan was built primarily as a demonstration engine and aside from the air brakes, Mr. Kloke has done just about everything that is practical to keep her as authentic as possible. Her primary couplers are link & pin style, although the rear coupler can be fitted with a Janney knuckle, to facilitate pulling modern rolling stock. Leviathan's forward coupler is just for show and she cannot pull trains in reverse. Leviathan's headlight is a true oil lamp, although she also has super-bright, battery-powered LEDs inside the lamp box for actual operations. She has no generator on board, so headlight use must be limited. Her only cab lights are oil lamps.
The York, on the other hand, was built to be a working locomotive, capable of powering tourist trains under many conditions. York has Janney-type knuckle couplers at both ends, so she can pull a train in reverse and do yard switching. She has both front and rear box headlights, the latter of which is not prototypical. Although they are convincing from a distance, both lamps have two, large incandescent bulbs inside. The headlamps and cab lights are powered by a gasoline-burning generator that is hidden in the tender. York also has a strap-iron pilot, as opposed to the wooden cow-catcher on the Leviathan.
So although the two engines appear quite similar, they were built with different missions in mind and in the case of the York, some authenticity has been sacrificed for practicality.
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 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
(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...
Within the institute we are encouraged to try throwing ceramic, but then gently discouraged from continuing. Such activities with a long history have an earnest authenticity. By which I mean an unironic tweeness and moral superiority. Hand-made functional objects are now inextricably associated with William Morris and the arts and crafts movement, which grew up to support not only the aesthetics and practices, but the very social form of the artisan at the moment where it was (arguably already fatally) threatened by industrialization- specifically the alienation of production. Craft evokes a nostalgia for a make-believe idea of a pre-industrialised time when most people were artisans, and there was a direct relationship between work and reward. The fetishisation and marketing of these objects defines and is aimed at an upper-middle class aesthetic. In studying art practice, one learns how to make art for the art market; how to make art for the rich. The rich use taste to bring themselves together as a group and differentiate from the upper middle. The taste of the rich works against traditional ideas of beauty and morality. For an object to be worth 10,000 times its material, labour and use value, it has to divorce itself from the ideas of labour time, skills and cost of material, and be useless. There is an exclusivity in refined taste; liking things that one has to learn to like. Artists learn to dislike popular culture, decoration or craftsmanship for itself without meaning.
This work references directly this change in mindset, as the artist aligns themselves with the aesthetics of the ruling classes. The work consists of two pottery wheels facing each other. One of two arms holding a single pen is attached to each rotating wheel. Thus the pottery wheels have been crudely converted into a drawing machine (fig). The drawing can be controlled by changing the speed of the wheel in relation to each other or adjusting the length of the arm. The pottery wheels are rather beautiful, well-made, durable tools. The attachments added have a different beauty of being quickly thrown together, shoddy lively, variable. Traditional skilled observational drawing fits with the romantic idea of the artisan and a pre modern idea of art. By relinquishing the doing of the drawing to the machine, the skill, time, craft observation and labor have been removed or alianiated; The perceived morality of the drawing has been dislodged so that the drawing may be considered as worthfull. The machine is swapping time-honored skill and labor with current art values such as the beauty of line and composition for themselves, or the process (form) becoming the art. The way the idea of drawing is being contorted, is the same way that the wheels are being appropriated. It is the idea that the artist has free rein to examine any subject in terms of form and content without necessarily investing time or skill.
This indoctrination is one of the fundamental inauthenticities of art. It is a widely understood phenomenon. Picasso realised this and tried distance himself from his art training in the quote “It took me four years to paint like Raphael, but a lifetime to paint like a child..” This is why self-taught artists make a point of not having a formal education because admitting art has rules is a constraint against the authenticity of autonomy. This is also the allure of outsider art. In outsider art the role of the artist has been taken over by the gallerist or collector. This is emblematic of a more general shift in art at the moment.
(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...
Here is a collage I created of the Certificates of Authenticity of all the Limited Edition 17 Inch Dolls released by the Disney Store and Disney Parks, from Snow White in 2009 to Live Action Ball Gown Belle in 2017. They include dolls from Disney Princess movies and the Alice films, both animated and live action. They are photos I took of items in my collection (except for the Alice Through the Looking Glass Alice and Mad Hatter Doll Set, which are from a collector friend). They are 53 CoAs, for 55 dolls (Merida and Elinor shared a single CoA, as did the Harrods Anna and Elsa).
2009 Snow White (250/5000)
2010 Tiana (4164/5000)
2010 Belle (4401/5000)
2011 Purple Rapunzel (3630/5000)
2011 Mother Gothel (1346/1500)
2011 Alice (241/500)
2011 Queen of Hearts (356/500)
2012 Wedding Rapunzel (1081/8000)
2012 Merida (1262/7000)
2012 Cinderella (2955/5000)
2012 Lady Tremaine (346/1500)
2012 Merida and Queen Elinor (1706/2500)
2013 Ariel (1633/6000)
2013 Prince Eric (79/1500)
2013 Ursula (303/2000)
2013 Harrods Anna and Elsa (39/100)
2013 Coronation Anna (1202/2500)
2013 Snow Queen Elsa (102/2500)
2014 Snow Gear Anna (3923/5000)
2014 Coronation Elsa (1875/5000)
2014 Pink Aurora (3534/5000)
2014 Blue Aurora (2993/4000)
2014 Prince Phillip (863/3500)
2014 Maleficent (1998/4000)
2014 Harrods Pink Aurora (32/100)
2014 Harrods Blue Aurora (32/100)
2015 Summer Anna (962/5000)
2015 Princess Elsa (2942/5000)
2015 Kristoff (1627/3500)
2015 Live Action Ball Gown Cinderella (2352/4000)
2015 Live Action Wedding Cinderella (450/500)
2015 Disneyland 60th Anniversary Aurora (1367/3000)
2015 D23 Red Jasmine (226/500)
2015 Teal Jasmine (1834/5000)
2015 Street Rat Aladdin (2094/3500)
2015 Jafar (274/2500)
2015 Wedding Aladdin (155/250)
2015 Wedding Jasmine (155/250)
2015 Frozen Fever Anna (343/5000)
2015 Frozen Fever Elsa (1559/5000)
2016 Live Action Mandarin Alice (1233/4000)
2016 Live Action Iracebeth, the Red Queen (1159/4000)
2016 Live Action Platinum Alice (66/450)*
2016 Live Action Platinum Mad Hatter (66/450)*
2016 Winter Belle (1281/5000)
2016 Winter Beast (1774/3500)
2016 Gaston (613/2500)
2016 Platinum Ball Gown Belle (107/500)
2016 Platinum Ballroom Beast (107/500)
2016 Shanghai Disney Resort Snow White (381/1200)
2016 Moana (1531/6500)
2017 Celebration Moana (3031/5500)
2017 Live Action Ball Gown Belle (477/5500)
* Another collector's dolls
The Rundāle Palace, Latvia.
What you're seeing here is part of the recreation of the interior of the Rundāle Palace, Latvia.. 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
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.
A 1956 date places the Revell ad right in the thick of the company’s early push into mainstream popularity. By then, Revell had released high-profile military aircraft kits, and 1956 was also the year they introduced their iconic 1:48 scale series—so that Scorpion was likely part of their big lineup.
That was also a pivotal time for Revell’s marketing strategy. They were emphasizing authenticity and educational value, tapping into a patriotic fascination with American military technology. And having Woolworth’s distribute the kits gave them wide exposure during a period when parents, kids, and even model aviation buffs were swept up in Cold War-era enthusiasm for flight and engineering.
The bold “SCORPION” headline and the price points are pure mid-'50s Woolworth magic. This ad is doing double duty: selling a product and a dream. The dramatic aircraft illustrations, military jargon like “Sunday Punch of the Air Force,” and the descriptions ("no carving or drilling required!") are textbook Revell—marketing scale kits not just as toys but as authentic experiences of American air power.
The price range—79 to 98 cents—aligns well with 1956 kit pricing, and the lineup is telling: the B-52 Stratofortress was brand new to the U.S. Air Force then, the Thunderstreak was cutting-edge, and the Korean War–era rescue helicopter provided a recent real-world tie-in. This curated range wasn’t random—it was crafted to echo the era’s spirit of jet-age dominance and Cold War readiness.
Woolworth’s placement at the bottom suggests wide availability—“most stores”—which really underscores how Revell was chasing mass accessibility without diluting prestige. And honestly, this ad from Woolworth’s does more than sell model kits—it captures a moment when childhood wonder and geopolitical tension were neatly boxed in cellophane. The ad captures that sweet spot when aviation modeling was a badge of curiosity, craftsmanship, and patriotism.
[Sources: OldModelKits.com, Worthpoint.com, and ClickAmericana.com]
I uploaded this picture in response to a comment of mine, and I use flickr to respond via a link. This is not directed to anybody in particular: I know that I touch a very sensitive issue, but I’m willing to burn myself. I would really like to get to know your opinion, as I find it very important to talk about it! If you feel for it you're very welcome to read through the following text! :)
The topic: I find that many photographs of semi-professional to professional landscape photographers are oversaturated to a point that I can’t find beautiful any more. I would like to know: why do you do it?
Landscape photography claims to show reality, simply because the subject is non-moving and there for many people to see, now and in future. Non-photographers believe in the truth of our pictures, and that includes the colours. The photos show existing landscapes that I as a traveller would like to visit and see with my own eyes. If I see a photo of a mountain, than I automaticly think that is shows the mountain as it looked in reality. For instance: the internet is flooded by shrill green aurora curtains on daylike-blue starry skies. That is what we now all expect when we travel to Scandinavia in order to photograph aurora. And then we see it and we realise: it is not green at all. It is just slightly greenish. What happens? Some of us, like me, might be disappointed.
You get my point?
Especially since digital photography the trend of oversaturating colours has taken over the internet and photography communities. Glaring red evening skies, mediteranian green ice caves, mountains as red and orange as tomatoes and oranges - the list is endless. We, that see photos everyday, have become used to those extreme colours and contrasts and take it for granted. If there is colour in a picture it has to be extreme, has to be a superlative! Photoshop makes it so easy, and we all love colours! In the end, no one can define and say for sure, what authenticity is. The line between nature-photography and nature-art is incredibly thin!
I believe that many of us have crossed the line and should try to step back a bit. It might not be possible to show nature in an authentic way: but one can at least try to do so. I mean: what is the point of the whole oversaturation trend anyway? In the eyes of many, me included, those colours looks totally unrealistic and destroy the otherwise amazing pictures. And to all that argue that Velvia was a strongly saturating medium as well, I just say: those pictures I am talking about have long since passed the threshold of the Fuji Velvia. They are much more like the Fuji Fortia: a medium that pushed colours and contrasts like no other film. And that one was, at least to me, “too much” to be beautiful.
Also, to me it’s all about our respect towards nature. Why do humans always have to try to change nature? Why are we photographers not happy about the beauty nature shows us? WE decide what we sell, WE supply those pictures to the market, and we also have a responsibility to bear. So why do we need to enhance nature’s beauty in such a strange way, often even claiming that "this is exactely how it was"?
Might it be that it has become more important to impress with our pictures, no matter what?
Might it be that nature photography is more about us showing off than it is about us showing nature...?
?
Thanks for staying with me until now! It surely was a long text! :) Now I'm interested if anyone answers! :)
Masada is a rugged natural fortress, of majestic beauty, in the Judaean Desert overlooking the Dead Sea. It is a symbol of the ancient kingdom of Israel, its violent destruction and the last stand of Jewish patriots in the face of the Roman army, in 73 A.D. It was built as a palace complex, in the classic style of the early Roman Empire, by Herod the Great, King of Judaea, (reigned 37 – 4 B.C.).
The site has remained untouched for more than thirteen centuries. The buildings and other evidence of human settlement gradually collapsed and were covered over until they were revealed in the 1960s. There have been no additions or reconstruction, beyond an acceptable level of anastylosis, and inappropriate materials used in early conservation projects are being replaced. Certain significant archaeological elements, such as the Roman camps and siegeworks, remain virtually untouched. The authenticity is therefore of a very high level.
The Ten Thousand Buddhas Monastery in Sha Tin, Hong Kong.
Its designation as a monastery is a misnomer because there are no monks residing at the complex, which is managed solely by laypersons. Both the main temple building, and the pagoda are listed as Grade III historic buildings by the Government of Hong Kong.
Groundbreaking and construction of the temple began in 1951 under Yuet Kai and his followers, and the structure was finished six years later. It closed for three years at the end of the 20th century after one of its caretakers was killed in a mudslide caused by poorly maintained slopes nearby. The main journey up to the monastery is an attraction itself, as the path is lined on both sides with golden Buddhas, each unique and in different poses. Despite the common translation of its name, the monastery contains nearly 13,000 Buddha statues.
The Monastery was founded in 1951 by the Venerable Yuet Kai, who moved to Hong Kong from mainland China almost two decades before in 1933 to proselytize the teachings of Buddhism. The site previously housed a temple to Kwun Yam where a nun was killed during World War II. After the land was purchased by the owner of a local tobacco company, he consequently donated it to Yuet Kai for the purpose of establishing a Buddhist college. This, however, did not come to fruition and the Monastery was built in its stead. Yuet Kai and his followers carried out the building "by hand" and personally transported supplies from the base of the hill. This endeavour was funded through donations from the lay public; the construction of the Monastery was eventually completed in 1957, although the installation of Buddhist statues throughout the monastery complex continued into the new millennium.
Yuet Kai died in 1965, eight years after the Monastery first opened. An apocryphal story written by his followers claims that his body was found to be incorruptible eight months after his death, a result of the seated lotus position he was buried in. However, newspapers maintain that he was in fact embalmed; his intact body is exhibited in the main hall of the monastery.
Unlike an actual monastery, the Ten Thousand Buddhas Monastery does not have any monks living on site; the complex is instead maintained by laypeople. After Yuet Kai's death, his nephews assumed the role of overseeing the maintenance of the building. It was at this time that the Monastery began to decline in popularity. This was partly owing to the disruption caused by the construction of the Sha Tin New Town during the 1970s. Renovations to the Monastery buildings have taken place since; the latest renovation was described by the Antiquities Advisory Board as having compromised the building's historic "authenticity".
Information Source:
DLD*women (Digital-Life-Design) Conference is taking place for 2.th time in Munich, from 29 to 30th June 2011 "Innovation & Authenticity"
Bonhams : the Zoute Sale
Estimated : € 150.000 - 200.000
Sold for € 161.000
Zoute Grand Prix 2019
Knokke - Zoute
België - Belgium
October 2019
Few sports cars have proved as versatile as Porsche's perennial 911, a model that, for the past 50 years, has proved equally capable as a Grand Tourer, circuit racer or rally car. A 'modern classic' if ever there was one, the 911 first appeared at the 1963 Frankfurt Motor Show as the '901', but shortly after production proper commenced in 1964 had become the '911' following Peugeot's complaints about the use of '0' model numbers. The preceding Type 356's rear-engined layout was retained but the 911 switched to unitary construction for the bodyshell and dropped the 356's VW-based suspension in favour of a more modern McPherson strut and trailing arm arrangement. In its first incarnation, Porsche's single-overhead-camshaft, air-cooled flat six engine displaced 1,991cc and produced 130bhp; progressively enlarged and developed, it would eventually grow to more than 3.0 litres and, in turbo-charged form, put out well over 300 horsepower.
This desirable 1st Series (pre-A Programme) Porsche 911 was delivered new on 14th October 1965 to P.C. Southwest in San Antonio, USA as confirmed by its accompanying Porsche Certificate of Authenticity. Chassis number '302577' is one of the early, short-wheelbase cars of the type much favoured by the historic rallying fraternity, a situation that has led to unmodified examples such as this one becoming a great rarity and consequently much in demand.
In 2006 the car was brought back to Germany and in 2015 was bought by the current vendor, a Porsche collector, who commissioned a full restoration with no corners cut. Undertaken by Dutch specialists, the rebuild took two years to complete and was photographically documented (see history file). This restoration included a full engine and gearbox rebuild, a six-coat re-spray in the original Aga Blue livery, re-chroming of the brightwork, a new interior in Pepita, and an overhaul of the instruments. The body restoration was carried out by Garage Houwers of Winterswijk, while the matching engine and gearbox were rebuilt by Koban Tuning of Lichtenvoorde, Holland. Closest attention to detail was taken to bring everything back to original specification, even down to the tinted windows and the original Blaupunkt radio. In total, some €140,000 were spent to return the car to the almost 'as new' condition it is presented in today, with many invoices available. Only some 100 kilometres have been covered since the restoration's completion and this beautiful Porsche 911 is presented in commensurately excellent condition. Indeed, in 2019 at Techno Classica, Essen this car's fine quality was recognised by a concours award from the organisers, SIHA (trophy included in sale). The car is offered with its Porsche Certificate of Authenticity confirming 'matching numbers', German registration papers and the aforementioned restoration records.
In 2006 the car was brought back to Germany and in 2015 was bought by the current vendor, a Porsche collector, who commissioned a full restoration with no corners cut. Undertaken by Dutch specialists, the rebuild took two years to complete and was photographically documented (see history file). This restoration included a full engine and gearbox rebuild, a six-coat re-spray in the original Aga Blue livery, re-chroming of the brightwork, a new interior in Pepita, and an overhaul of the instruments. The body restoration was carried out by Garage Houwers of Winterswijk, while the matching engine and gearbox were rebuilt by Koban Tuning of Lichtenvoorde, Holland. Closest attention to detail was taken to bring everything back to original specification, even down to the tinted windows and the original Blaupunkt radio. In total, some €140,000 were spent to return the car to the almost 'as new' condition it is presented in today, with many invoices available. Only some 100 kilometres have been covered since the restoration's completion and this beautiful Porsche 911 is presented in commensurately excellent condition. Indeed, in 2019 at Techno Classica, Essen this car's fine quality was recognised by a concours award from the organisers, SIHA (trophy included in sale). The car is offered with its Porsche Certificate of Authenticity confirming 'matching numbers', German registration papers and the aforementioned restoration records.
The grand daddy of the digital age! Short section of the first transatlantic cable, a souvenir originally sold for 50 cents and came with a reproduced letter of authenticity from Cyrus W. Field, the pioneer of the transatlantic cable system. Brass bound on both ends. Brass plate reads: " Atlantic telegraph cable / GUARANTEED BY / TIFFANY & CO. / BROADWAY, NEW YORK 1858 ". Made of steel (sheathing material), brass (ferrules material), copper (conductor material), gutta percha (insulator material). See americanhistory.si.edu/collections/search/object/nmah_125... for more info about this sample.
4" x 3/4"
Given by Mrs. Hellam, 1967
ACC# 79.766
See flic.kr/s/aHsm5dTDVz for additional pictures inside the Annex.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums).
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.
Once I used to have lots of pretty shoes for all sorts of occasions now I near enough just have walking boots, as I walk somewhere every day as it's so good for my mental health.
Often, I need some space and stillness to self connect, only when I have reclaimed my balance can I jump up and walk the tightrope again.
I couldn't say farewell to Rundāle Palace and Latvia without posting this photo.
What you're seeing here is part of the recreation of the interior of the Rundāle Palace, Latvia.. 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
30 January 1981 and RM 1563 has had a few days off the road to be returned to 1960`s appearance in preparation for taking part in the road run over Route 2 commemorating twenty five years since RM 1 made its public debut on that route. For the sake of authenticity, the radiator grille would soon be returned to the correct 1960`s look - just a case of getting one made once the pattern for the T shaped strip in the centre of the grille and below the bonnet badge had been obtained.
On the next pit is an RML (2435) which would not normally be found in Mortlake Garage but was one of several that came in periodically from Hanwell for work to be done. Our engineers had very little `overtime` earning opportunities as there was never a queue of defective buses at Mortlake unavailable for service. Quite how it ever came about that buses were brought in from a known militant garage such as Hanwell was often a source of amazement that they were prepared to let their potential overtime go to another garage. It must have been indicative of a big backlog of work of which some had to be sent out to stand any chance of service levels being maintained or quickly returned to near normal.
Wiki was helpful this morning in illustrating what an authentic cat looks like. And then she did her meercat imitation as a bonus. Accept no substitutes.
for Our Daily Challenge topic ' Fake'
nicer bigger on black, please click, thanks
(my 272nd photo to make it into Explore)
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.
My Snow White and the Hag Doll Set is fully deboxed. Here Snow White is standing alone, supported by a Kaiser doll stand.
Detailed photos of my Snow White and the Hag Doll Set, the first in store release of the 2015 Disney Fairytale Designer Collection. I got it today in my local Disney Store raffle. The set is #2595 of 6000.
Snow White's in box pose is stiff, with her face pointing up too much, and her curly hair messy, especially on the right. She has the 2012 Classic Princess style body, with hard plastic legs, external hinge knee joints, and ball jointed ankles. She has golden yellow flats, matching the color of her skirt. She has a full length velvet cape with satin lining.
The Hag (or Witch) has a unique body and limbs. Similar to the DFDC Beast doll, she has an awkward stance if free standing. In fact, my doll's right leg cannot be straightened completely and her fixed ankles are bent, so her natural standing pose is stooped, making her stand about 10 inches tall. In the box pose, her feet is raised by plastic forms, so if they are removed for deboxing, her feet dangle in the air if she is reboxed. She doesn't have ankle joints, so she cannot point her toes to reach the floor of the display stand.
They did a fabulous job making the Hag an accurate representation of the animated movie character. I also like Snow White's anxious expression, which is appropriate for being next to the evil Hag. I did the best I could to make Snow's hair neater, but it is still messier than I would like. Her curly hair is heavily stiffened with hair product, so it was not easy for me to rearrange her hair using my fingers.
Snow White and the Witch Doll Set - Disney Fairytale Designer Collection
US Disney Store
Released in store 2015-09-29
Released online 2015-09-30
Purchased in store 2015-09-29
#2595 of 6000
$129.95
Item No. 6003040901262P
Rotten to the core
The Evil Queen, in her guise as the Witch, tempts Snow White with a red apple in this limited edition doll set. With finely detailed costumes, the pair are part of the Disney Fairytale Designer Collection's heroes and villains series.
Magic in the details...
Please Note: Purchase of this item is limited to 1 per Guest.
As part of the Disney Fairytale Designer Collection's heroes and villains series, Snow White and the Witch were carefully crafted by artists inspired by Disney's classic 1937 movie. Reimagined in exquisite detail, these limited edition dolls were brought to life with thoughtful attention, and uniquely capture the essence of the fairytale characters, creating a one-of-a-kind set that will be a treasured keepsake of collectors and Disney fans.
• Global Limited Edition of 6000
• Includes Certificate of Authenticity
• Snow White's red velvet cape features a satin lining
• Bodice features intricate gold embroidery with embroidered red rose, high white collar, and puff sleeves
• Golden skirt decorated with a delicate flower pattern, embroidered detailing, and jeweled accents
• Dramatic make-up
• Rooted hair and eyelashes, with red satin ribbon
• Witch's wine-colored shawl features subtle two-tone pattern, and fringed hem
• Black hooded outfit with lace overlay, and red satin lining
• Black ankle boots
• Rooted white hair
• Red apple in her hand
• Basket of green apples
• Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the names of Snow White and the Witch
• Includes special Disney Fairytale Designer Collection Gift Bag
• Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
• Plastic / polyester
• Snow White: 11 1/2'' H
• Witch: 10''
• Imported