View allAll Photos Tagged generosity
PictionID:54460303 - Catalog:1981 AC-56 Liftoff - Title:1981 AC-56 Liftoff - Filename:19810523 AC56 02 Liftoff.jpg - - ---- Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Macro Mondays - Generosity
"We make a living by what we get, but make a life by what we give."...Winston Churchill
HMM!
The perfection of a rose. Spring time is beautiful in the garden with all the flowers starting to bloom. Of course roses are such a favourite, they are so generous, blooming for many months.
For this reason I tell you, whatever you pray and ask for, believe that you have received it, and it will be yours. (Mark 11:24 NET)
Declare it and Claim it! God is a generous God. :)
Have a blessed Sunday! ;)
Again the early-morning sun was generous with its warmth. All the sounds dear to a horseman were around me - the snort of the horses as they cleared their throats, the gentle swish of their tails, the tinkle of irons as we flung the saddles over their backs - little sounds of no importance, but they stay in the unconscious library of memory.
~Wynford Vaughan-Thomas
I can't wait to start my early morning rides again.
PictionID:45185167 - Catalog:14_017637 - Title:Shuttle Centaur Details: Model Date: 1983 - Filename:14_017637.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
What a kind and generous thing to do for me, but, not surprising because you are always so very generous, kind and lovely, not only in your words but your photos as well. Please, if any of you get the opportunity, visit Nancy's stream. She has a such a talent to capture all that she sees in beautiful ways. Below is the link to her photostream.
Explored 11/10/08 #400
Letter generously translated by Immanuel Voigt, penned on 6.11.1914, the author writes to his mother Frau A. Promm in Cadolzburg Bavaria. Postage cancelled in Zawisna (Poland) two days later.
Early days and the author asks his mother not to send any parcels as they have been "overwhelmed" with gifts. Time would soon change all that.
Christies’ clothes have always been highly coveted by my other Barbie dolls, and it still holds true now for the FR and NuFace girls coming into my collection! Christie And The Beat and All-American Christie are all too happy to lend their crucial fashion items to Nadja and Annik!
Letter generously translated by Immanuel Voigt; penned on 30.08.1915, the author writes;
"The funeral of the two English flyers which our Corps commander v. Francois [General der Infanterie Hermann von François] took part. You can see him standing alone in his turned down coat. To the right behind the tree is our Division commander, of which to the right is our Regimental commander and the like, our Brigade commander."
The honour guard is being provided by men of Infanterie-Regiment „Graf Bülow von Dennewitz“ (6. Westfälisches) Nr. 55.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are northwest of Lettice’s flat, in the working-class London suburb of Harlesden where Edith, Lettice’s maid, grew up. Edith’s father, George, works at the McVitie and Price* biscuit factory in Harlesden as a Line Manager, and her mother, Ada, takes in laundry at home. They live in a small, two storey brick terrace house which opens out directly onto the street, and is far removed from the grandeur of Lettice’s Mayfair flat, but has always been a cosy and welcoming home for Edith. Usually even before she walks through the glossy black painted front door, on washing day Edith can smell the familiar scent of a mixture of Lifebuoy Soap, Borax and Robin’s Starch, which means her mother is washing the laundry of others wealthier than she in the terrace’s kitchen at the rear of the house. Yet with her father’s promotion, Edith’s mother is only laundering a few days a week now.
We find ourselves in the Watsford’s scullery at the back of the terrace behind the kitchen, which like most Victoria era homes, also serves as the wash house. Ada is busy looking for something between several large baskets of dirty laundry yet to be washed, and a basket of dry undergarments with lace trims that belong to the Watsford’s uppity landlady, Mrs. Hounslow, which require goffering**. “Now where did I put the other half of my goffering iron?” Ada mutters as she searches for the toothed bottom half of her black iron with its matching teeth and handle which sits atop the laundry copper***
Like all the houses in the terrace, the Watsford’s scullery has an old square-sided ceramic sink in the corner, set on bricks, joined to the same pipe as the one directly behind the wall in the corner of the kitchen, however the small room is dominated by the large built-in washing cauldron made of bricks, set above its own wood fire furnace with a copper cauldron in its centre. The distemper on the walls of the scullery are tinted ever so slightly blue, a traditional colour for laundries, as it made whites look even whiter. Around it stand wicker baskets for laundry, a dolly-peg**** and a very heavy black painted mangle***** with wooden rollers, whilst on the copper’s top a panoply of laundry items stand, including an enamelled water jug, bowls, irons, a washboard and various household laundry products. The room smells comfortingly clean: scents of soap and starch that have seeped into every fibre of the space.
“Ah! There you are!” Ada exclaims, withdrawing the bottom of her goffering iron from where it has been wedged between the brick side of the laundry copper and an empty basket on the floor. “Come here, you wretch of a thing! How did you get down there? I bet George put you down there mistaking you for a boot scrape for his dirty gardening boots!”
“Oh Mum! Mum!” Edith’s breathy cries proceed her, echoing through the Watsford’s terrace and announcing her presence before she bursts into the room.
“Goodness! Edith? What on earth!” Ada gasps in delighted surprise as she deposits the heavy goffering iron onto the top of the copper, and glances up to the open door leading from the kitchen into the scullery. “I wasn’t expecting you today, Edith love! You said you weren’t coming.” She laughs. “What a lovely surprise!”
“Oh Mum!” Edith gasps again, catching her breath as she falls into her mother’s welcoming open arms, burying her head into her shoulder which smells comfortingly of the sweet scent of Hudson’s Soap******.
Releasing her daughter, Ada holds her at arm’s length and admires her smart three-quarter length pilum coloured spring coat and her usual purple rose and black feather decorated straw cloche hat. However, what strikes her more about her daughter today than her outfit is the flush in her young cheeks, the gleam in her pale blue eyes and the radiant smile gracing her lips. “Look at you, my darling girl.” The older woman self-consciously pushes loose strands of her mousey brown hair back behind her ears. Chuckling awkwardly, she remarks with a downwards glance. “Don’t you look lovely today, Edith love. Did you find out what your surprise from Frank was in the end?”
“Oh did I what, Mum!” Edith swoons with a sigh, leaning against the laundry copper.
“Well?” Ada asks, smiling in delight because of a mixture of her daughter’s unexpected appearance in her scullery and her obvious happiness. “What was it? Grab that stool from over there, and sit down.” She indicates with a careworn hand to a small three legged stool near the copper on which stands a basket of laundry waiting to be pressed. “Tell me all about it.”
Edith does as her mother bids, and after placing the basket of frothy, lacy laundry on the flagstone floor, settles down upon the stool which she draws up closely before the door of the copper and her mother’s anxiously awaiting figure as Ada sinks down upon the wood pile next to the copper.
“Do you need a glass of water, Edith love?” Ada asks, standing up quickly again and picking up a battered cream enamel jug with a green handle and a green rained lip.
“No Mum.” Edith huffs. “I just… need to catch my breath a little. I’ve run all the way from the Underground*******.” She indicates with her hand for her mother to resume her perch on the wood pile again.
“Goodness! Run all that way to tell me about Frank’s surprise!” Ada remarks sinking back down again with another chuckle. “It must have been grand: grander than a trip to Clapham Common******** I’ll wager, since you’re so dressed up.”
“Oh, it’s much grander and more exciting than that, Mum!” Edith enthuses.
“So, tell me what you did then, Edith love.”
“Well, I did as Frank asked me to do, and as you’ve pointed out. I got dressed up and I wore my white blouse with the Peter Pan collar*********, just like he asked me to.”
“You knew you weren’t going to Clapham Common then, Edith love?”
“Well, I didn’t know for certain, Mum, but as I was saying to Hilda on the trip up from Mayfair…”
“Hilda went with you?” Ada asks in surprise, her eyes widening as she speaks.
“No! No, Mum. Of course, as you know Hilda and I both have Wednesday half-days off, so we caught the train together from Down Street**********, but as we weren’t spending our half-day together today, we caught the train together as far as Leicester Square, before she went off to the British Museum*********** to see some famous stone or other she wanted to look at, whilst I went on to Clapham Junction.”
“A stone! That sounds most peculiar. Going to see a stone in a museum! Hilda is always welcome to come and look at my flagstones any day she likes,” Ada says with a sweeping gesture towards her feet. “And clean them if it so pleases her.”
“Oh Mum!” Edith scoffs with a wave.
“Then again, Hilda is a little peculiar, and that’s a fact.” Ada opines. “Although I do like her in spite of those peculiarities.”
“Anyway Mum,” Edith says, drawing her mother back to her story. “Hilda and I had a conversation about what my surprise might be. Hilda said that it could still have been a picnic, even if I did feel a bit overdressed for the occasion.”
“There’s nothing wrong with dressing up for a picnic, Edith love.” Ada remarks.
“Hilda said the same thing, Mum.”
“Back when your father and I were courting, going on a picnic was a very fine occasion, and we always wore our very best bib and tucker************.”
“I know you did, Mum, but we didn’t go for a picnic in the end, although Frank did take me for a nice tea at some rather smart tea rooms along Lavender Hill*************.”
“So, Frank took you for a special tea then, Edith love? That is lovely!”
“He did, Mum, but that isn’t the surprise he promised me.” Edith goes on. “That came beforehand. I arrived and Clapham Junction Railway Station************** like we’d agreed, and he was there to collect me. From there he took me to a photographic studio nearby where a friend of his works, a Mr. Simpkin, as an assistant photographer. He took our photographs.”
“Oh, that is an even lovelier surprise, Edith love!” Ada smiles.
“But that isn’t the best of it, Mum!” Edith exclaims, barely able to contain herself, slipping the dainty lace glove off her left hand and holding her fingers out before her mother.
Ada looks at her daughter’s left hand, which is slightly careworn with housework, although not as badly as her own. Usually her hand is bare, but she cannot help but notice the gleaming thin band of silver glinting on her ring finger today. She gasps as she looks up into Edith’s beaming face.
“Oh Edith! Frank finally proposed!”
“He did, Mum! He did, and I said yes!”
Ada stands up from her perch on the pile of wooden logs, just as Edith gets to her own feet, and steps forward and embraces her daughter lovingly.
“Oh Edith!” Ada feels unshed tears stinging her eyes as they then start to leak from her lids and spill down her cheeks. “Edith I’m so happy for you***************, my darling, darling girl!”
Enveloped in her mother’s arms Edith sighs gratefully and presses herself closer to her mother. “Thank you, Mum. I’m so happy too!”
The two women break apart, both their faces awash with tears, but faces beaming with happiness.
“Oh Edith!” Ada laughs with relieved delight as she starts to spin herself and her daughter in the small square of flagstone covered floor in the laundry. “This is the most wonderful, wonderful news!”
Around and around they spin, laughing and squealing like young girls rather than women, until finally Ada’s longer pre-war ankle length skirt and old fashioned petticoats knock over a basket of laundry, sending the contents tumbling across the flagstones.
“Oh! Careful Mum!” Edith exclaims, bringing the two of them to a halt. “The washing.”
“Oh pooh to the washing, Edith love!” Ada exclaims, the smile still broad on her face and she stoops and gathers the sheets and pillow slips up. “It can always be thrown back into the copper for boiling again. It isn’t every day that my only daughter gets married! Oh, you just wait until I tell your Dad!”
“Well, I thought I might tell him myself,” Edith ventures. “If that’s alright, Mum.”
“Alright? Well of course it’s alright, Edith love!” Ada replies. “How could it not be? It is your news after all: well, yours and Frank’s that is! But can you wait that long until your Dad comes home from his afternoon shift? I mean, won’t you be expected back at Cavendish Mews?”
“Not today, Mum. Miss Lettice has gone off with Mr. Bruton to Essex, so I can stay until Dad gets home and my absence won’t be noticed.”
“Oh wonderful!” Ada claps her hands. “Your Dad and I been waiting for this announcement! Now I can tell you that not so very long ago, your young Frank came to visit us on a Sunday, and he asked us for your hand in marriage.”
“Really?” Edith asks. “That was very sneaky of him, especially when he told me that he’d ask when the time was right.”
“Well, I guess he felt that now was the right time, Edith love. He did confide in me that he felt awful telling you white lies like he did, but he had to do it, in order to keep it all a big surprise, and Your Dad and I kept quiet about it too.”
“Well, it certainly worked, Mum! I was so surprised when Frank asked me to marry him!”
“So how did he propose in the end, Edith love?” Ada asks, taking Edith’s hand and rubbing the silver band on her finger. “Tell me everything!”
“So, Mr. Simpkin had us settle in at the studio and he posed us for a photograph, knowing full well that Frank was going to propose, as I now know. He even handed Frank the ring behind my back. Mr. Simpkin had Frank stand in such a way that he could propose to me and slip the ring on my finger.”
“Did Frank get down on one knee, Edith love?”
“No!” Edith laughed, raising a hand to her lips girlishly. “He just blurted out, ‘Edith Watsford, would you do me the honour of becoming my wife?’ and he slipped the ring onto my finger, even before I could answer.” She sighs contentedly. “Of course he needn’t have worried that I was going to say no, because of course I didn’t!”
Edith bursts into a fresh barrage of happy tears before falling upon her mother’s neck again, who embraces her hard and joins in her crying. Breaking apart again, Ada looks down at the ring again.
“Frank apologised to me about the engagement ring being silver. He promises me that my wedding ring will be gold.”
“And so it will be, Edith love, but a silver ring is more than enough for now.”
“I told him the same, Mum. He’s even had our names engraved on the inside and 1925.”
“Well! Isn’t that a thing!” Ada replies, suitably impressed. “Have you told Nyrie, Mrs. McTavish yet, or has Frank gone to do that now whilst you’ve come here to tell me and your Dad?”
“No, we’ll tell Mrs. McTavish together next week, Mum. I couldn’t wait to break the news to you though.”
“Oh Nyrie will be over the moon when she hears: as thrilled as I am, and your Dad will be.” Ada sighs again. “My little girl, poised to become a woman.”
“We’re not getting married just yet, Mum. This is an engagement ring, not a wedding ring. And we’ve already decided that I won’t tell Miss Lettice our news yet, until we’ve set a date. And I’ll hang the ring from a chain about my neck to stop it spoiling with all the hard graft I must do at Cavendish Mews, and I’ll wear it proudly on my finger on Frank’s and my days out together.”
“That’s very wise, Edith love. I’m sure your Miss Lettice would be understanding of you wanting to work up until you’re wed, but,” Ada screws up her face. “Well, people like her can be fickle, and you might find she dismisses you and she just employs a new maid-of-all-work.”
“Oh, I’m sure she wouldn’t do that, Mum.” Edith assures her. “She says I’m invaluable to her.”
“No, you’re probably right, but I think you’re wise about keeping quiet about your news just for now. You might be surprised how much a marriage status can turn you from invaluable to dispensable maid in an employer’s eyes.”
“Well, like I said, I won’t let on until we’ve set a date.”
“Wise girl. You’ve got a good head screwed onto those shoulders of yours.”
“Well, you helped put it there, Mum. You and Dad.”
Ada looks around her and exclaims, “Goodness me! What are we doing, standing here in the scullery? It’s not every day that my only daughter announces she is getting married! Let’s go into the kitchen and I’ll see if I can’t find us a little something celebratory to toast your engagement with your father.”
Together the pair leave the laundry and the washing behind, laughing and celebrating Edith’s wonderful news.
*McVitie's (Originally McVitie and Price) is a British snack food brand owned by United Biscuits. The name derives from the original Scottish biscuit maker, McVitie and Price, Ltd., established in 1830 on Rose Street in Edinburgh, Scotland. The company moved to various sites in the city before completing the St. Andrews Biscuit Works factory on Robertson Avenue in the Gorgie district in 1888. The company also established one in Glasgow and two large manufacturing plants south of the border, in Heaton Chapel, Stockport, and Harlesden, London (where Edith’s father works). McVitie and Price's first major biscuit was the McVitie's Digestive, created in 1892 by a new young employee at the company named Alexander Grant, who later became the managing director of the company. The biscuit was given its name because it was thought that its high baking soda content served as an aid to food digestion. The McVitie's Chocolate Homewheat Digestive was created in 1925. Although not their core operation, McVitie's were commissioned in 1893 to create a wedding cake for the royal wedding between the Duke of York and Princess Mary, who subsequently became King George V and Queen Mary. This cake was over two metres high and cost one hundred and forty guineas. It was viewed by 14,000 and was a wonderful publicity for the company. They received many commissions for royal wedding cakes and christening cakes, including the wedding cake for Queen Elizabeth II and Prince Phillip and Prince William and Catherine Middleton. Under United Biscuits McVitie's holds a Royal Warrant from Queen Elizabeth II.
**To goffer something means to crimp, plait, or flute (linen, lace, etc.) especially with a heated iron.
***A wash copper, copper boiler or simply copper is a wash house boiler, generally made of galvanised iron, though the best sorts are made of copper. In the inter-war years, they came in two types. The first is built into a brickwork furnace and was found in older houses. The second was the free-standing or portable type, it had an enamelled metal exterior that supported the inner can or copper. The bottom part was adapted to hold a gas burner, a high pressure oil or an ordinary wood or coal fire. Superior models could have a drawing-off tap, and a steam-escape pipe that lead into the flue. It was used for domestic laundry. Linen and cotton were placed in the copper and were boiled to whiten them. Clothes were agitated within the copper with a washing dolly, a vertical stick with either a metal cone or short wooden legs on it. After washing, the laundry was lifted out of the boiling water using the washing dolly or a similar device, and placed on a strainer resting on a laundry tub or similar container to capture the wash water and begin the drying and cooling process. The laundry was then dried with a mangle and then line-dried. Coppers could also be used in cooking, used to boil puddings such as a traditional Christmas pudding.
****A dolly-peg, also known as a dolly-legs, peggy, or maiden, in different parts of Britain, was a contraption used in the days before washing machines to cloth in a wash-tub, dolly-tub, possing-tub or laundry copper. Appearing like a milking stool on a T-bar broomstick handle, it was sunk into the tub of clothes and boiling water and then used to move the water, laundry and soap flakes around in the tub to wash the clothes.
*****A mangle (British) or wringer (American) is a mechanical laundry aid consisting of two rollers in a sturdy frame, connected by cogs and (in its home version) powered by a hand crank or later by electricity. While the appliance was originally used to squeeze water from wet laundry, today mangles are used to press or flatten sheets, tablecloths, kitchen towels, or clothing and other laundry.
******Robert Spear Hudson (1812 – 1884) was an English businessman who popularised dry soap powder. His company was very successful thanks to both an increasing demand for soap and his unprecedented levels of advertising. In 1837 he opened a shop in High Street, West Bromwich. He started making soap powder in the back of this shop by grinding the coarse bar soap of the day with a mortar and pestle. Before that people had had to make soap flakes themselves. This product became the first satisfactory and commercially successful soap powder. Despite his title of "Manufacturer of Dry Soap" he never actually manufactured soap but bought the raw soap from William Gossage of Widnes. The product was popular with his customers and the business expanded rapidly. In the 1850s he employed ten female workers in his West Bromwich factory. His business was further helped by the removal of tax on soap in 1853. In time the factory was too small and too far from the source of his soap so in 1875 he moved his main works to Bank Hall, Liverpool, and his head office to Bootle, while continuing production at West Bromwich. Eventually the business in Merseyside employed about 1,000 people and Hudson was able to further develop his flourishing export trade to Australia and New Zealand. The business flourished both because of the rapidly increasing demand for domestic soap products and because of Hudson's unprecedented levels of advertising. He arranged for striking posters to be produced by professional artists. The slogan "A little of Hudson's goes a long way" appeared on the coach that ran between Liverpool and York. Horse, steam and electric tramcars bore an advertisement saying "For Washing Clothes. Hudson's soap. For Washing Up". Hudson was joined in the business by his son Robert William who succeeded to the business on his father's death. In 1908 he sold the business to Lever Brothers who ran it as a subsidiary enterprise during which time the soap was manufactured at Crosfield's of Warrington. During this time trade names such as Rinso and Omo were introduced. The Hudson name was retained until 1935 when, during a period of rationalisation, the West Bromwich and Bank Hall works were closed.
*******Harlesden is an interchange station on Acton Lane in north-west London. It is on the Bakerloo line of the London Underground and the Lioness line of the London Overground, between Stonebridge Park and Willesden Junction stations. The railway line here is the border between the Harlesden and Stonebridge residential area in the east, and the Park Royal industrial estate to the west. The southern end of Willesden Brent Sidings separates the station from the West Coast Main Line.
********At over eighty-five hectares in size, Clapham Common is one of London’s largest, and oldest, public open spaces, situated between Clapham, Battersea and Balham. Clapham Common is mentioned as far back as 1086 in the famous Domesday Book, and was originally ‘common land’ for the Manors of Battersea and Clapham. Tenants of the Lords of the Manors, could graze their livestock, collect firewood or dig for clay and other minerals found on site. However, as a result of increasing threats from encroaching roads and housing developments, it was acquired in 1877 by the Metropolitan Board of Works, and designated a “Metropolitan Common”, which gives it protection from loss to development and preserves its open character.
*********A Peter Pan collar is a style of clothing collar, flat in design with rounded corners. It is named after the collar of Maude Adams's costume in her 1905 role as Peter Pan, although similar styles had been worn before this date. Peter Pan collars were particularly fashionable during the 1920s and 1930s.
**********Down Street, is a disused station on the London Underground, located in Mayfair. The Great Northern, Piccadilly and Brompton Railway opened it in 1907. It was latterly served by the Piccadilly line and was situated between Dover Street (now named Green Park) and Hyde Park Corner stations. The station was little used; many trains passed through without stopping. Lack of patronage and proximity to other stations led to its closure in 1932. During the Second World War it was used as a bunker by the Prime Minister, Winston Churchill, and the war cabinet. The station building survives and is close to Down Street's junction with Piccadilly.
***********The British Museum is a public museum dedicated to human history, art and culture located in the Bloomsbury area of London. Its permanent collection of eight million works is the largest in the world. It documents the story of human culture from its beginnings to the present. Established in 1753, the British Museum was the first public national museum.
************“Best bib and tucker” is an informal, old fashioned idiom that means one's best, most formal clothes. It's a humorous way of saying someone is dressed up nicely, as if for a special occasion. The phrase originates from the time when men's shirts often had a frill at the front (the "bib") and women might wear a decorative lace piece over their neck and shoulders (the "tucker").
*************Lavender Hill is a bustling high street serving residents of Clapham Junction, Battersea and beyond. Until the mid Nineteenth Century, Battersea was predominantly a rural area with lavender and asparagus crops cultivated in local market gardens. Hence, it’s widely thought that Lavender Hill was named after Lavender Hall, built in the late Eighteenth Century, where lavender grew on the north side of the hill.
**************Clapham Junction is a major railway station near St John's Hill in south-west Battersea in the London Borough of Wandsworth. Despite its name, Clapham Junction is not in Clapham, a district one mile to the south-east. A major transport hub, Clapham Junction station is on both the South West Main Line and Brighton Main Line, as well as numerous other routes and branch lines which pass through or diverge from the main lines at this station. It serves as a southern terminus of both the Mildmay and Windrush lines of the London Overground.
***************In more socially conscious times it was traditional to wish the bride-to-be happiness, rather than saying congratulations as we do today. Saying congratulations to a bride in past times would have implied that she had won something – her groom. The groom on the other hand was to be congratulated for getting the lady to accept his marriage proposal.
This cheerful laundry scene is not all you may suppose it to be, for the fact is that all the items are from my 1:12 miniatures collection.
Fun things to look for in thus tableau include:
The red brick copper in the centre of the image is a very cleverly made 1:12 artisan miniature from an unnamed artist. Believe it of not, it is made of balsa wood and then roughened and painted to look like bricks. I acquitted it from Doreen Jeffries’ Miniature World in the United Kingdom.
The great wrought mangle with its real wooden rollers is made of white metal by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces.
The dolly-peg is an antique Victorian dollhouse miniature and it’s tub is sitting behind it. I am just lucky that something from around 1860 just happens to be the correct scale to fit with my 1:12 artisan miniatures.
There is a panoply of items used in pre-war laundry preparation on the white painted surface of the copper. There are two enamel rather worn and beaten looking bowls and an enamel jug in the typical domestic Art Deco design and kitchen colours of the 1920s, cream and green. Aged on purpose, these artisan pieces I acquired from Kathleen Knight’s Dolls’ House Shop in the United Kingdom. The grater and the two small irons also come from there. The boxes of Borax, Hudson’s Soap and Robin’s Starch and the bottle of bleach in the green glass were made with great attention to detail on the labels by Little Things Dollhouse Miniatures in Lancashire.
Before the invention of aerosol spray starch, the product of choice in many homes of all classes was Robin starch. Robin Starch was a stiff white powder like cornflour to which water had to be added. When you made up the solution, it was gloopy, sticky with powdery lumps, just like wallpaper paste or grout. The garment was immersed evenly in that mixture and then it had to be smoothed out. All the stubborn starchy lumps had to be dissolved until they were eliminated – a metal spoon was good for bashing at the lumps to break them down. Robins Starch was produced by Reckitt and Sons who were a leading British manufacturer of household products, notably starch, black lead, laundry blue, and household polish.
Reckitt and Sons who were a leading British manufacturer of household products, notably starch, black lead, laundry blue, and household polish also produced Jumbo Blue, which was a whitener added to a wash to help delay the yellowing effect of older cotton. Rekitt and Sons were based in Kingston upon Hull. Isaac Reckitt began business in Hull in 1840, and his business became a private company Isaac Reckitt and Sons in 1879, and a public company in 1888. The company expanded through the late Nineteenth and early Twentieth Centuries. It merged with a major competitor in the starch market J. and J. Colman in 1938 to form Reckitt and Colman.
My very good friend, Bob, died last night in St Pauls Hospital.
Bob lived with a lot of pain and disability yet he was upbeat and funny. He had 1001 corny jokes and a memory fit to remember them. He was generous, caring and a super good cook.
Bob will be terribly missed by his wife, Karen, and the rest of his close family. There are so many more people who loved him including, I'm sure, his medical team.
Rest well dear friend.
Divided reverse. Letter generously translated by Nettenscheider, authored in the Voges Mountains on 17.9.1915 and addressed to a Fräulein Regina Straub in Opfenbach near Lindau. Einheitsstempel: ? Komp. Landsturm Inf. Batl. Kempten. Postage cancelled 18.9.1915.
Bavarian Landsturmmänner from bayer. Landsturm Infanterie Bataillon 'Kempten' (I. B. 13) circa July 1915. These fellows are still wearing their brigade collar insignia which should have been removed in April 1915.
____________________________________________
Notes:
b. Ldst.-I.-Btl. Kempten (I. B. 13). Mobil ab 1.9.1914. (1914 zugeteilt der 30. b. Res.Div., Armee-Abtlg. A, Kriegsbesatzung Straßburg i. Elsaß, Armee-Abtlg B, A).
On backpacking trip to climb Mt. Langley in the Eastern Sierra's, this guy came upon us at about 13,000 feet. First time in my 15 years of backpacking I had ever seen these in the wild. Wow! He was not afraid of us, eventually he got within about 50 feet us. Unfortunately those closer shots did not come out, as the sun was behind him, totally underexposing the shot(s). A magnificant animal.
Be generous! I know what is your dream about these silky and hot soles.When you've finished write me a letter to tell me thanks. I'm waiting.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today Lettice’s oldest childhood chum, Gerald Bruton is visiting. Although also a member of the aristocracy Gerald’s fate is very different to Lettice’s. He has been forced to gain some independence from his rather impecunious family in order to make a living. Luckily his artistic abilities have led him to designing gowns from a shop in Grosvenor Street, a business which, after promotion from Lettice and several commissions from high profile and influential society ladies, is finally beginning to turn a profit. The two are taking tea from Lettice’s beautiful and avant-garde Royal Doulton Falling Leaves tea set whilst they wait for Edith, Lettice’s maid, to prepare a light cold luncheon for them. Across the low black japanned coffee table between them is spread a long papyrus* scroll featuring beautiful and wonderfully colourful Egyptian hieroglyphic writing and images. Arriving in a wooden box also marked with hieroglyphs, it is one of two Lettice has in her possession.
“There really are remarkable, Lettice darling!” Gerald enthuses as he runs his hands with reverence across the fine fibrous paper. “And in such condition for something so ancient.”
Lettice looks across the table at her friend and laughs loudly.
“What’s so funny?” Gerald asks in innocent surprise, glancing up from the scroll at Lettice.
“Oh Gerald, you silly thing!” Lettice giggles, raising a dainty hand with prettily manicured nails to her smiling lips. “This isn’t a real Egyptian papyrus scroll! I know some of my clients can afford to have real papyri on their walls, but this is a very well executed imitation!”
“An imitation?” Gerald’s eyes grow wide. When Lettice nods, he goes on, “Well, it certainly is an excellent copy, I’d never have known.”
“It came from Lancelot de Vries antiques and curios shop in the Portobello Road**.” Lettice elucidates.
“Ahh,” Gerald murmurs, settling back in the comfortable white upholstered rounded back of Lettice’s tub armchair. “That explains it then. No wonder it’s so good. Old Lottie,” He casually uses a female nickname*** instead of the antique dealer’s real name, indicating that he knows Mr. de Vries well. “Is so incredibly talented that he could have made a successful career out of forging old masters, if he hadn’t decided to tow the straight and narrow and become an antiques and objet d'art dealer.”
“Gerald!” Lettice gasps.
“It’s true! Just look at the quality in this piece.” He waves his hand expansively towards the unfurled scroll. “I could have sworn it was the genuine article.”
“Well, I don’t know about you, Gerald darling, but I don’t fancy spending the money on a real papyrus scroll from ancient Egypt just to hang on a wall until this Tutmaina**** craze ends.”
“So, this isn’t for you then, Lettice darling?”
“No. I’m taking this on approval from Mr. de Vries, who just received a shipment of them. He’s selling them in his shop. They race out the door quicker than you can say knife, apparently. I’m going to show these to Mrs. Hatchett and see whether she would like an Egyptian themed reception room.”
“Knowing Dolly Hatchett as well as I do, and knowing just how much she admires you and your taste,” Gerald opines. “I think something more oriental,” He waves his hands around Lettice’s drawing room, indicating to her Chinoiserie furniture, her Japanese screen and her Chinese ceramics. “Will appeal to her more.”
“But she gave be carte blanche to decorate her suite of rooms as I see fit, Gerald.”
“Then why are you asking her for her opinion?” Gerald looks at his best friend with a knowing look. He doesn’t wait for a reply from her. “I’ll tell you why. Because you know that even though she made you that promise, she will want to be consulted. This is a bigger project than ‘The Gables,” He refers to the Hatchetts’ Sussex house in Rotherfield and Mark Cross which Lettice partially redecorated in 1922. “This is all about promoting Charles Hatchett’s power and influence as an MP. Dolly won’t want to set a foot wrong. She knows she can’t afford to as much for her own sake as for Charles’. She has been a social pariah, relegated as the pretty flibbertigibbet Gaiety Girl***** from the chorus line of ‘Chu-Chin-Chow’****** who dared to look beyond her class and marry a successful banker with political aspirations. Now she is a successful MP’s wife, so she needs to show that she has impeccable taste, even if the taste really isn’t her own.”
Lettice sighs heavily. “You’re right Gerald darling. It’s true”
“Of course I’m right.” Gerald picks up his cup of tea and takes a sip from it. “However, I also know that as such an arbiter of what is fashionable, if you told Dolly Hatchett that you wanted to paint her reception room violent purple with green polka dots because it was the height of fashion, she’d let you, even if she hated it.”
“You know I would never do that to anyone, Gerald darling.” Lettice takes up her own cup of tea from the edge of the table which houses her telephone and a vase of fresh red roses from her fiancée, Sir John Nettleford-Hughes.
“I know.” he assures her.
The movement near to them, brings Gerald’s attention to the roses. Nodding at them, he asks, “Are those from your intended?”
Lettice looks at the fat blooms with their rich red velvety petals which are dispersed with fluffy white pompoms of Gypsophila****** and considers them, as if seeing them for the first time. “Yes.” she replies rather flatly.
Old enough to be her father, Lettice is engaged to be married to wealthy Sir John Nettleford-Huges. His engagement to Lettice came as something of a surprise to London society as he was always considered to be a confirmed old bachelor, and according to whispered upper-class gossip intended to remain so, so that he might continue to enjoy his dalliances with a string of pretty chorus girls of Lettice’s age and younger. After an abrupt ending to her understanding with Selwyn Spencely, son and heir to the title Duke of Walmsford, Lettice in a moment of both weakness and resolve, agreed to the proposal of marriage proffered to her by Sir John. More like a business arrangement than a marriage proposal, Sir John offered Lettice the opportunity to enjoy the benefits of his large fortune, be chatelain of all his estates and continue to have her interior design business, under the conditions that she agree to provide him with an heir, and that he be allowed to discreetly carry on his affairs in spite of their marriage vows. He even suggested that Lettice might be afforded the opportunity to have her own extra marital liaisons if she were discreet about them.
“What of them?” Lettice goes on.
“Oh nothing.” Gerald remarks dismissively with an air of laissez-faire********. “I was just wondering.”
“I’ve known you all my life, Gerrald darling.” Lettice shakes her head and looks seriously at her best friend. “You were doing more than wondering. What is it? Come on. Spit it out!”
“Well, it’s just that when I was visiting Cyril at Hattie’s recently, Hattie showed me a book that had belonged to her mother. It’s called Floral Symbolica*********. She thought I might like to read it because it discusses the meaning of flowers, so that when I gave Cyril a bouquet of blooms, it would express my love for him.”
“And?” Lettice smiles.
“Well, dark red roses like those, are supposed to represent a more sophisticated and serious affection than a bright red rose, expressing eternal love, loyalty, and a heartfelt devotion.”
“And?”
“Oh look!” Gerald sighs sadly. “There’s no nice way for me to tell you this, but Cyril is friends with Paula Young, who I know is your intended’s latest conquest.”
Lettice’s heart begins to race at the mention of the young and pretty West End actress’ name. With a slight tremor, she lowers her teacup back into its saucer. “I know that too, Gerald darling. You know I do. John has been very forthright and honest about that facet of his life, and I know he won’t stop.”
“Well, Cyril knows about it too, and of course he knows through me that you and Sir John are engaged to be married.”
Lettice gulps as a shudder runs through her and she feels the blood drain from her face. “But how does he know about Miss Young and John?”
“Through Miss Young herself, I assume. From what Cyril’s mentioned about her, she is something of a parvenu, and she is rather indiscreet about her discretions. He told me as much the other night when I stayed with him at Hattie’s.”
“Oh no!” Lettice gasps, raising her hands to her cheeks which suddenly feel hot to the touch as they fill with embarrassed colour. “But Cyril is coming to Sylvia’s weekend house party now, and so are John and I! Oh Gerald!” Tears well in her eyes and threaten to spill over.
Gerald immediately thrusts his cup noisily back into its saucer and leaps up with sudden urgency. He scuttles around the low coffee table and wraps his arms around Lettice, pulling her to his chest as the tears start to spill from her sparkling blue eyes.
“Don’t worry, dear Lettice.” Gerald assures her. “I’ve spoken to him. I’ve told Cyril in no uncertain terms that he can’t mention that he knows anything about Sir John’s and Miss Young’s liaison to anyone, especially at the party, and that he is to keep mum**********.”
“Oh Gerald!” Lettice sobs. “John promised me that he would never do anything to shame me in public as far as his…” She intakes a large gulp of air. “His dalliances.”
“Well,” Gerald says in defence of Sir John, gently chuckling sadly as he strokes Lettice’s back comfortingly through her French blue cardigan***********. “I suppose he doesn’t imagine that you would ever know a poor West End musician who just happens to be a friend of sorts with his latest flame.”
Lettice sniffs and pulls a clean and freshly laundered lace trimmed handkerchief from the left-hand sleeve of her cardigan and dabs at her eyes and nose, as Gerald crouches down in front of her, so that he can look her squarely in the face.
“He won’t, will he?” She sniffs again.
“Cyril?” Gerald asks. When Lettice nods shallowly he goes on, “No of course he won’t. I know that he may not be the most discreet of people, but I really have made it perfectly clear to him how important it is that he doesn’t let on about any of it. For all his faults, he likes you very much, Lettice, and he’d never want to embarrass or hurt you.”
“Well, if you’re sure.” Lettice gulps again.
“Of course I am, Lettuce Leaf!” he replies, using his childhood nickname for her, which he knows she hates, in order to try and break her moment of worry by introducing a note of levity.
“Don’t call me that Gerald! You know how I hate it!” she replies.
“That’s better.” Gerald smiles. “Now dry those eyes. Luncheon will be ready soon, and you don’t want to sit at the table all red and puffy eyed, do you?”
Just at that moment, Lettice’s Bakelite************ and chrome telephone starts to ring and jangle on the small side table next to her.
BBBBRRRINGGG!
Both Lettice and Gerald glance with startled eyes at it in alarm, as though it has overheard their conversation and has an opinion of its own to express.
BBBBRRRINGGG!
Lettice sniffs and takes a deep intake of breath. “I suppose it would be rather awful of me to expect Edith to answer the telephone when I’m right alongside it, wouldn’t it?”
“Beastly, Lettice darling!” Gerald replies.
BBBBRRRINGGG!
“You know how she feels about that ‘infernal contraption’,” Gerald goes on quoting Lettice’s maid’s name for the telephone. “If you must irritate her, please do so after she’s served us luncheon. I don’t know about you, but I can barely boil a kettle, never mind cook a meal.”
BBBBRRRINGGG!
Gerald pauses and considers something. “Then again, maybe you should make her answer it. She might get so upset by having to do so, that she’ll hand in her notice.”
BBBBRRRINGGG!
Lettice sniffs again and dabs her eyes for good measure as she goes to lift the receiver.
“And, if she does give notice,” Gerald quickly adds as Lettice grasps the receiver. “I’ll hire Edith as a seamstress for my atelier. Her talents as a needlewoman are wasted here.”
“Not a chance!” Lettice replies defiantly. “She’s coming with me, not going with you.”
BBBBRRR…
Lettice picks up the handset out of its gleaming chrome cradle mid ring, causing the shrill jingle of the telephone to stop and quickly peter out.
“Mayfair 432,” Lettice announces in clearly enunciated syllables.
As Gerald returns to his tub chair, he can hear a deep male voice resonate from somewhere down the line, recognising them as Sir John’s tones, not that he can make out the words. The shock of knowing the man he and Lettice were just talking about is on the other end of the telephone call makes him freeze for a moment as a shiver runs up his spine.
“John darling!” Lettice exclaims almost a little too jovially. “How are you?” She listens to the response. “Oh, that’s good. Are we still having dinner at Le Bienvenue************* tonight?” She listens again. “Oh hoorah. Jolly good.” Sir John’s voice speaks again at the other end of the line, his tone serious. At length he pauses. “Oh no! Oh, poor Clemance. I must pay a call upon her then and do some sick visiting.” Sir John speaks up urgently. “Oh very well John. I won’t.” He speaks again. “No of course, John darling. You’re quite right. I don’t want to get sick before Sylvia’s party. I’ll telephone the Regent Street Flower Box directly and arrange for Monsieur Blanchet to send her a lovely bunch of flowers to brighten her day. You know Gerald and I were just talking about the meaning of flowers, John darling.” Sir John speaks again. “Yes. Yes, he’s here. We’re about to have luncheon, so I can’t speak for too long.” Lettice listens again. “Yes… yes… what about the party?” Sir John’s voice drones on, too indistinctly for Gerald to hear anything, and he feigns that he is not paying attention by looking down at his well manicured nails and rubbing them as if trying to buff them with the pads of his fingers on the opposite hand. “Oh.” Lettice sighs and her shoulders slump. “You want to ask her then do you?” Sir John speaks again. “Oh you did, John dear?” He mumbles something else. “She did? That was very kind of Sylvia to consider me like that.” There is more indistinct chatter at the other end of the telephone line. “Well,” Lettice tries to muffle a resigned sigh. “Well, if you feel you must, then I suppose you must.” Sir John’s voice seems to perk a little and he sounds less dour. “No. No, I don’t mind. Of course I don’t, especially if it will make you happy, dear John.” Gerald can see a light dim in her eyes. “Very well. Alright…” she falters for a moment and gulps. “I’ll see you at eight then.” she adds a little too brightly. “Yes, goodbye then.”
Lettice hangs the handset back on the cradle, the action causing the telephone to utter a single echoing ting as she does. She stares ahead of her, but her look is blank, suggesting that she sees nothing.
“What was that all about?” Gerald asks in concern as he looks at Lettice’s suddenly wan face.
“It was just John.” Lettice replies flatly.
“Yes, I could gather that, Lettice darling. What did he say?”
“Clemance is sick in bed with a nasty head cold. The doctor has told her to stay abed and keep warm to avoid it going to her lungs, so she won’t be coming to ‘The Nest’ now.”
“Oh, that is a pity. I was so looking forward to meeting Sir John’s sister. You speak of Mrs. Pontefract so highly.”
“So now, since Clemance isn’t coming,” Lettice continues, speaking as though she hasn’t heard Gerald talk. “He’s decided to invite Paula Young to come and spend the weekend with us.”
“What?” Gerald sits bolt upright in his seat.
“Yes. He asked Sylvia if she would mind, since she knows about his affair with Miss Young, and he feels that the rarified artistic company in attendance will be quite fine with his little arrangement of having both his fiancée and his mistress in the same house at the same time.”
“And what did Sylvia say to that?”
“Well, Sylvia is a bit of a free spirit when it comes to the sanctity of marriage, and matters of love and lust. She said she didn’t mind if he did ask Miss Young to join him, but only under the proviso that John asked me and got my permission first.”
“Which you evidently granted.” Gerald replies in breathless disbelief.
“I did.” Lettice replies flatly.
“You could have said no, Lettice. You should have said no!”
“Oh, how could I, Gerald darling?”
“Very simply.” he replies, folding his arms akimbo over his muted toned Fair Isle jumper************** and looking sternly at his best friend. “No darling, I’m sorry but you can’t invite that trollop*************** you share your bed with most nights to Miss Fordyce’s party.”
“I can’t Gerald darling.” Lettice defends.
“Well, I think you can. Just telephone him back right now. Where is he? Belgravia? His club?”
“He’s at home in Belgravia.”
“Well then, telephone him immediately and just tell him you’ve had a change of heart, and that no, Miss Young can’t come to the party at ‘The Nest’.”
“It’s not that simple, Gerald darling.” Lettice tries to explain, attempting to speak whilst using all her power to prevent herself from crying again. “This engagement is complex. John doesn’t want jealousy in his relationships. He certainly doesn’t want a jealous wife. He told me from the start that he has no intention of desisting from his dalliances, and that if I said yes to his proposal, I must accept him on those terms. He’ll be furious if I tell him no, now. It will be like me flying in the face of everything I agreed to when I said yes to him.”
“You don’t actually have to go through with it, you know, Lettice darling?”
“What? Going to stay with Sylvia at ‘The Nest’? I can’t Gerald darling! She’s throwing this party to show off her new feature wall. I’m her guest of honour. I can’t possibly withdraw so late in the piece, and with no real reason to decline. It would be rude, and undignified.”
“No, Lettice!” Gerald replies dourly. “I mean, you don’t have to go through with the marriage to Sir John. You are perfectly entitled to break it off, if you feel so inclined.”
“And risk the fury of Mater?” Lettice looks at Gerald in alarm and shakes her head vehemently. “No thank you! I think I’d rather put up with a hundred Miss Youngs than Mater in a black mood over my lack of securing an eligible husband! All the time she is investing in wedding plans. If it is all for naught, she will be fit to be tied! She sent me a clipping from the Wiltshire Times and Trowbridge Advertiser**************** a few weeks ago.”
“Why? What did it say?”
“Jonty Hastings is getting married.”
“Howley Hastings is getting married?” Gerald guffaws, using the childhood nickname given Jonty Hastings by he, Lettice and the other children of the big houses in the district who used to play with him, because of his propensity to cry whenever he was teased about anything. “Who’d want to marry Howley Hastings?”
“Sarah Frobisher apparently, according to the article.” Lettice replies.
“Sarah Frobisher? Sarah Frobisher?” Gerald ruminates, rolling the name around his mouth and off his tongue as he considers where he has heard that name before. “Wasn’t she that rather horsey looking niece of the Miss Evanses?” He refers to the two elderly genteel gossipy spinster sisters who live in Holland House, a Seventeenth Century manor house, in Glynes village at the foot of Lettice’s and his family estates in Wiltshire. “You know, the gawky one with protruding teeth and spectacles who always laughed nervously whenever a boy spoke to her. Her father was in trade*****************. Yes, the Frobisher Clothing Mills in Trowbridge.”
“Yes, I think that’s her.”
“Well, those two deserve each other then, if you ask me, if she’s still as gawky now as she was when we were children. They can dance the Wibbly Wobbly Walk***************** together into the happily ever after, and good riddance to them both.”
“Oh! That’s cruel, Gerald. Don’t be beastly!” Lettice chides her best friend sharply. “You aren’t a spiteful person.”
“Well,” Gerald mumbles contritely. “You have to admit that Howley can’t dance. Think about your poor trampled feet the last time you had to dance with him. Why on earth did Sadie send you a clipping about Howley marrying that Frobisher creature?”
“I think to highlight the fact that another one of the few eligible bachelors she was able to find to invite to her 1922 husband hunting Hunt Ball for me is no longer eligible. Pickings are slim.”
“All I am saying, Lettice darling,” Gerald goes on kindly. “Is that, slim pickings or not, if you’re not going to be happy in the end, I happen to think that marrying Sir John is a mistake. An unhappy and loveless marriage isn’t worth it.”
“Now don’t you start too, Gerald!” Lettice quips. “I have enough problems with Margot and Dickie trying to dissuade me from marrying John. Even Cilla seems lukewarm about the idea, and John’s almost like an honourary uncle to her.”
“I’m not!” Gerald defends, holding up his palms. “I only said ‘if’. If has a great deal of meaning and implication for such a tiny word, you know. For example: if however, you think you will be happy with your lot in life with Sir John, marry him. As I have said to you before, I cannot even marry the person I love.”
“Oh yes, how foolish of me.” Lettice replies. “Forgive me for wallowing.”
“There is nothing to forgive, Lettice darling. You’re my best friend! I only want you to be happy.”
“Thank you, Gerald darling.” Lettice replies gratefully. “Meanwhile, now you can tell your Cyril that he won’t need to bite his tongue and keep his own counsel quite so much, if Miss Young is going to be at ‘The Nest’. John will be all over her, I’m sure. And if he isn’t, from what I can gather from John, she certainly will be.”
“Well,” Gerald sighs. “That will certainly enliven what is already going to be a rather lively weekend, I suspect.”
At that moment, Edith walks into the drawing room.
“Luncheon is served, Miss.” she announces with a bob curtsey.
“Thank you, Edith.” Lettice says gratefully.
“Yes, thank you Edith.” Gerald adds. “It’s good of you to feed me at such short notice.”
“Oh, it’s no trouble, Sir.” Edith replies with a beaming smile, thankful at Gerald’s recognition of her efforts. “It’s always a pleasure to have you at Cavendish Mews.”
As Lettice and Gerald both stand, and Edith turns to go, Gerald stops her. “By the way, Edith?”
“Yes Sir?” she asks, stopping and looking back at him.
“How’s your sewing going?”
“My sewing, Sir?” Edith asks, perplexed.
“Gerald!” Lettice cautions her friend.
“Yes, your frock making. Have you made anything new lately?”
“Oh,” Edith replies with a happy sigh and a smile. “It’s going well, thank you for asking, Sir, especially since Mrs. Boothby’s so…” She quickly swallows the word son, as she isn’t sure whether Lettice knows that the old Cockney charwoman****************** who comes to Cavendish Mews from Poplar every few days to help Edith with the harder housekeeping jobs, has a son, never mind a disabled one. “Found me a sewing machine. Now I don’t have to go to my Mum’s to do any sewing or alterations. I can do them here in my room.”
“Very good Edith. And have you made anything lately?” Gerald persists. “A new frock, perhaps?”
“Oh no, Sir.” Edith replies. “But I did make myself a lovely new white blouse with a Peter Pan collar******************* and black buttons a month ago now. I wear it on my days off quite a bit at the moment.”
“Well,” Lettice says breezily with a sigh. “That’s all very interesting, Edith, but Mr. Bruton and I have held you up and away from your chores long enough. You may go. We can serve ourselves since it’s just a casual cold luncheon for two today, so there is no need for you to wait table.”
“Yes, Miss. Very good, Miss.” Edith bobs another curtsey and scuttles away through the adjoining dining room and disappears through the green baize door that leads to the service area of the flat.
“Spoil sport.” Gerald mutters.
“I told you, Gerald.” Lettice repeats. “Edith isn’t for turning. When I get married, she’ll be coming with me.”
“I don’t think she’ll fancy being buried in the Wiltshire Downs, Lettice darling.”
“Perhaps not, Gerald darling, but I think she’ll quite enjoy an elevated position as housekeeper of John’s and my Belgravia townhouse after I become Lady Nettleford-Hughes.”
“You are positively Machiavellian sometimes, Lettice darling.” Gerald concedes in defeat as he proffers Lettice his arm.
The two walk out of the Cavendish Mews drawing room and into the dining room, where a cold luncheon of galantine of fowl******************** with a fresh garden salad await them on the dining room table.
*Papyrus paper is called papyrus, named after the Cyperus papyrus plant from which it is made. The word "papyrus" itself refers to both the plant and the writing material created from its stems. Documents written on this material are also referred to as papyri.
**Portobello Road Market in Notting Hill, London, is a world-famous street market known for its antiques, vintage clothing, and diverse food stalls. It's one of London's oldest markets, dating back to the Nineteenth Century. The market stretches along Portobello Road, from Westbourne Grove to Golborne Road, and is particularly vibrant on Saturdays.
***Historically, queer slang emerged as a way for queer people to communicate discreetly, forming a sense of community and shared identity. Using female names or terms could be a way to signal belonging within this coded language. It was also used for protection, allowing homosexual men to talk about one another discreetly in public without the implication of homosexuality and the repercussions that came with it as a criminal act.
****Tutmania was a worldwide media frenzy and cultural obsession that followed the 1922 discovery of King Tutankhamun's tomb by Howard Carter and his team, sparking a popular fad for ancient Egyptian art, design, and culture in the Western world and a resurgence of national pride in Egypt itself. Egyptian motifs appeared on clothes, jewellery, hairstyles, fabrics, furniture and in architecture, and it helped solidify the Art Deco movement of design with its clean lines. The discovery of the tomb itself was one of the most significant archaeological finds of the Twentieth Century, made the previously lesser-known pharaoh one of the most famous figures in history.
*****Gaiety Girls were the chorus girls in Edwardian musical comedies, beginning in the 1890s at the Gaiety Theatre, London, in the shows produced by George Edwardes.
******‘Chu Chin Chow’ is a musical comedy written, produced and directed by Oscar Asche, with music by Frederic Norton, based on the story of Ali Baba and the Forty Thieves. It was the most popular show in London’s West End during the Great War. It premiered at His Majesty’s Theatre in London on the 3rd of August 1916 and ran for 2,238 performances, a record number that stood for nearly forty years!
*******Gypsophila, known commonly as Baby’s Breath, is a genus of flowering plants in the carnation family. They are native to Eurasia, Africa, Australia, and the Pacific Islands. Turkey has a particularly high diversity of Gypsophila, with about thirty-five endemic species. Some Gypsophila are introduced species in other regions.
********Laissez-faire is the policy of leaving things to take their own course, without interfering.
*********‘Floral Symbolica; or, The Language and Sentiment of Flowers’ is a book written by John Ingram, published in London in 1870 by Frederick Warne and Co. who are perhaps best known for publishing the books of Beatrix Potter. ‘Flora Symbolica; or, The language and Sentiment of Flowers’ includes meanings of many species of flowers, both domestic and exotic, as well as floral poetry, original and selected. It contains a colour frontispiece and fifteen colour plates, printed in colours by Terry. John Henry Ingram (November the 16th, 1842 – February the 12th, 1916) was an English biographer and editor with a special interest in Edgar Allan Poe. Ingram was born at 29 City Road, Finsbury Square, Middlesex, and died at Brighton, England. His family lived at Stoke Newington, recollections of which appear in Poe's works. J. H. Ingram dedicated himself to the resurrection of Poe's reputation, maligned by the dubious memoirs of Rufus Wilmot Griswold; he published the first reliable biography of the author and a four-volume collection of his works.
**********We usually associate the term “to keep mum” with the Second World War, when it was a byline used on posters to dissuade gossip and the inadvertent sharing of vitally confidential for the war effort with fifth-columnists. However, the word "mum" meaning to be silent, not to speak, first appeared in William Langland's Fourteenth Century poem Piers Plowman, though the full phrase "mum's the word" gained popularity in the Sixteenth and Seventeenth centuries. The word itself is onomatopoeic, derived from the "mmm" sound made by a closed mouth.
***********French blue is a sophisticated, deep blue colour that is characterized by its muted quality, subtle violet or grey undertones, and a rich, smoky depth, reminiscent of classical French design, the Mediterranean sky, or the deep blue uniforms of historical French soldiers.
************Bakelite, was the first plastic made from synthetic components. Patented on December 7, 1909, the creation of a synthetic plastic was revolutionary for its electrical nonconductivity and heat-resistant properties in electrical insulators, radio and telephone casings and such diverse products as kitchenware, jewellery, pipe stems, children's toys, and firearms. A plethora of items were manufactured using Bakelite in the 1920s and 1930s.
*************Le Bienvenue is the former name of L'Escargot, which is London's oldest French restaurant. Georges Gaudin opened Le Bienvenue at the bottom of Greek Street in Soho in 1896. He became famous for serving snails, and was reportedly the first in England to do so. Le Bienvenue even featured a snail farm in its basement, a unique talking point for customers. In 1927, two years after this story is set, Gaudin moved to larger premises at 48 Greek Street, the current location, in a Georgian townhouse built in 1741 which was once the private residence of the Duke of Portland and a pastoral getaway in what was then a rural part of London. When he moved, patrons of the restaurant encouraged him to rename it after his most popular dish, leading to the name L'Escargot.
**************Fair Isle is a traditional knitting style used to create patterns with multiple colours. It is named after Fair Isle, one of the Shetland Islands. Fair Isle knitting gained popularity when the Prince of Wales (later King Edward VIII) wore Fair Isle jumpers in public in 1921. Traditional Fair Isle patterns have a limited palette of five or so colours, use only two colours per row, are worked in the round, and limit the length of a run of any particular colour.
***************The term "trollop" was introduced in the early 1600s, with the earliest known evidence of its use appearing in the writings of George Wither in 1615. The term, a noun, was already established in the English language by that time.
****************The Wiltshire Times and Trowbridge Advertiser is weekly newspaper which serves the towns of west Wiltshire, including Trowbridge. Printed in Trowbridge it was established in 1854 by Benjamin Lansdown, as The Trowbridge and Wiltshire Advertiser. Benjamin was born in Trowbridge and was the son of a woollen mill employee but this was not the path he wished to follow and he was apprenticed as a printer alongside Mr John Sweet. He bought a hard press and second-hand typewriter before starting his own newspaper, along with establishing his own stationery shop in Silver Street around 1860. He moved the business into 15 Duke Street around 1876. Duke Street became home to the impressive R. Hoe & Co printing press that allowed printers to use continuous rolls of paper, instead of individual sheets, to speed up the process and countless copies of the newspaper rolled off the press at Duke Street for many years. The newspaper was based there for more than one hundred years and the business remained within the Lansdown family for generations until it was finally sold in the early 1960s. Over the years in had various names including The Trowbridge and North Wiltshire Advertiser from 1860 until 1880, The Wiltshire Times and Trowbridge Advertiser from 1880 until 1949, The Wiltshire Times between 1950 and 1962 and The Wiltshire Times & News between 1962 and 1963. It then became known as the Wiltshire Times – the banner it holds today. In 2019, the Wiltshire Times and its sister paper the Gazette & Herald moved to offices on the White Horse Business Park in North Bradley, stating that its Duke Street building was no longer fit for purpose. These offices later closed in 2020 as the three Covid-19 pandemic lockdowns struck. The Wiltshire times is still serving the local community both in a paper and an online format with a small team of journalists who passionately believe in the value of good trusted journalism and providing in-depth local news coverage.
****************The term to be “in trade” most commonly means engaging in commercial activity, such as regularly buying, selling, or offering goods or services as part of a business. It can also refer to the goods themselves (stock-in-trade) kept by a business for sale, or a characteristic skill or behaviour consistently used in a particular line of work. Used as a slur by the British upper-classes, “in trade” implied that because a man had to work for his living, even if he was a steel magnate or something equally successful, he was not as good as, and would never be a gentleman, who traditionally did not work to earn money. Money and money talk was considered vulgar by the upper-classes. A man who was “in trade” would never marry the daughter of an aristocrat or member of the landed gentry.
*****************‘They All Walk the Wibbly Wobbly Walk’ is a song written by Paul Pelham and J. P. Long sung by the famous British music hall performer Mark Sheridan in 1912. It was a song often sung during the Great War, and associated by the British general public with the survivors of the conflict who trembled due to shell shock or had misshapen walks thanks to injuries inflicted upon them.
******************A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
*******************A Peter Pan collar is a style of clothing collar, flat in design with rounded corners. It is named after the collar of Maude Adams's costume in her 1905 role as Peter Pan, although similar styles had been worn before this date. Peter Pan collars were particularly fashionable during the 1920s and 1930s.
********************A galantine of fowl is a traditional French cold dish made from a deboned fowl, typically chicken, which is stuffed with a forcemeat (a mixture of ground meats and other ingredients), then rolled into a cylindrical shape, and poached in stock. It is served cold, often coated in a clear, gelatinous aspic, and can be elaborately decorated with ingredients like pistachios, truffles, and vegetables.
This 1920s upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures.
Fun things to look for in this tableau include:
The boxed and unboxed Egyptian papyrus scrolls you see on Lettice’s black japanned coffee table are 1:12 size miniature made by the British miniature artisan Ken Blythe. Famed for his books, Ken Blythe also made other miniature artisan pieces from paper, including these scrolls, which can be fully wound out to reveal Egyptian hieroglyphics. To make a pieces as authentic as this makes them true artisan pieces. Most of the Ken Blythe books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words of the titles, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, and a great many pieces from his daughter from his estate. His legacy will live on with me and in my photography which I hope will please his daughter.
Lettice’s tea set sitting on the coffee table is a beautiful artisan set featuring a rather avant-garde Art Deco Royal Doulton design from the Edwardian era called “Falling Leaves”.
Lettice’s drawing room is furnished with beautiful J.B.M. miniatures. The Art Deco tub chairs are of black japanned wood and have removable cushions, just like their life sized examples.
The fireplace is a 1:12 miniature resin Art Deco fireplace which is flanked by brass accessories including an ash brush with real bristles.
The carpet beneath the furniture is a copy of a popular 1920s style Chinese silk rug, and the geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.
Letter generously translated by Xiphophilos; authored in "Weste Kriegsschauplatz" in June 1915 and addressed to the author's cousins in Gundelsheim. Einheitsstempel; 12 Kompagnie, Landw. Inf. Reg. No. 122.
A pleasantly sharp Ausmarschbild depicting Landwehrmann Franz Majan of 12 Kompagnie, 4. Württembergisches Landwehr-Infanterie-Regiment Nr. 122.
______________________________________________
Notes.
w. Landwehr-Infanterie-Regiment Nr. 122
Aufgestellt in Ulm (R.Stb., I., II., III.)
Unterstellung:Festungsbesatzung Ulm, 5. b. L.I.Brig.
Kommandeur:Oberstleutnant Glück (w. I.R.Nr. 127)
I.:
II.:Oberstleutnant z. D. Vorwinkel (Bez.-Kdr. Mergentheim)
III.:Major z. D. Bazing (Bez.-Offz. Ulm)
Verluste:25 Offz., 744 Uffz. und Mannschaften.
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Trekking in Nepal is part of adventure trekking tourism and Adventure Trekking in Nepal and Trekking in Himalaya. Natures to renew one’s own self regard, to relive oneself, to realize Nepal beauty, to interact with its generous, friendly peoples are highlights of trekking in Nepal. Trekking is one long term activity that draws repeat visitors. So, Nepal is final purpose for trekking. Offers numerous options walking excursion to meet snowy peaks, their foot hills, valleys but however there is amazing for each who hope trek in Nepal hill, mountain area. Typical trekking and hiking in Nepal as unique combination of natural glory, spectacular trekking trips to hard climbing and Everest Base Camp Trek is most rewarding way to skill Nepal natural beautification and cultural array is to walking, trekking, width and the height of country. Trekking is important of travel Nepal for trekking tours Himalaya on description Nepal tour of large range of ecological features for Nepal Travel Holiday. The country nurtures a variety of flora and scenery. Addition to natural atmosphere is rich Himalayan culture. Many of visitor trek to different part of Nepal every year to experience its rustic charm, nature and culture. Most treks through areas between 1000 to 5185m, though some popular parts reach over 5648 meters. Trekking is not climbing, while the climb of Himalayan peaks and enjoy walking holiday in Nepal and trekking tours Nepal might be an attraction for travelers. Every travelers knows for the trekking in Nepal from all over the words an inspiring knowledge. Attraction for your Travel Holiday in Nepal of beauty and its excellent culture.
Annapurna trekking www.trekshimalaya.com/annapurna_region.php region of Nepal enjoy with magnificent view close to highest and impressive mountain range in the world. Day exploration in Pokhara and morning morning flight to Jomsom or drive to Besishisahar from Kathmandu begin of trek. High destination, Muktinath 3800m and in generally highest point of whole Annapurna is 5416m. Thorangla la is situated in Buddhist Monastery, an eternal flame, and Hindus Vishnu Tempe of Juwala Mai making it a pilgrimage site for both Hindus and Buddhists and Muktinath is on the way down from popular trekking it call Thorang la pass which is incredible view in Annapurna region. Whenever possible we will arrive at lodging mid-afternoon, which should www.adventurestrekking.com leave plenty time for explore the local villages, enjoy the hot springs at Tatopani, continue to Ghorepani where there is forever the possibility of sunrise hike to Poon Hill for spectacular views of Dhaulagiri, Fishtail, Nilgiri and the Annapurna Himalaya range. Continue on to Birethanti finally between with the Baglung road where we will catch cab to Pokhara, next day drive or fly to Kathmandu.
Everest trekking www.trekshimalaya.com/everest_region.php region, although fairly effortless compare to some of other trek, takes you high along trails to Tengboche monastery Everest Solu Khumbu is the district south and west of Mount Everest. It is inhabited by sherpa, cultural group that has achieve fame because of the develop of its men on climbing expeditions. Khumbu is the name of the northern half of this region above Namche, includes highest mountain (Mt. Everest 8848m.) in the world. Khumbu is in part of Sagarmatha National Park. This is a short trek but very scenic trek offers really superb view of the world's highest peaks, including Mt. Everest, Mt. Lhotse, Mt. Thamserku, Mt. Amadablam and other many snowy peaks. Fly from www.adventurestrekking.com Kathmandu to Lukla it is in the Khumbu region and trek up to Namche Bazzar, Tyangboche and into the Khumjung village, a very nice settlement of Sherpas people. This trek introduction to Everest and Sherpa culture with great mountain views, a very popular destination for first time trekkers in Nepal. Justifiably well-known world uppermost mountain (8848m.) and also for its Sherpa villages and monasteries. Few days trek from Lukla on the highland, takes you to the entry to Sagarmatha National Park and town of Namche Bazaar is entrance of Everest Trek. Environment of the towering Himalayas is a very delicate eco-system that is effortlessly put out of balance.
Langtang trekking www.trekshimalaya.com/langtang_region.php region mixture of three beautiful trek taking us straight into some of the wildest and most pretty areas of Nepal. Starting from the lovely hill town of Syabrubensi our trek winds during gorgeous rhododendron and conifer forests throughout the Langtang National Park on the way to the higher slopes. Leads up to the high alpine yak pastures, glaciers and moraines around Kyanging. Along this route you will have an chance to cross the Ganja La Pass if possible from Langtang Valley. Trail enters the rhododendron (National flower of Nepal) forest and climbs up to alpine yak pastures at Ngegang (4404m). From Ngegang we make a climb of Ganja La Pass (5122m). We start southwest, sliding www.adventurestrekking.com past Gekye Gompa to reach Tarkeghyang otherwise we take a detour and another unique features of trekking past, the holy lakes of Gosainkund (4300 m.) cross into Helambu via Laurebina to Ghopte (3430 m) and further to Trakegyang. Northern parts of the area mostly fall within the boundaries of Langtang National park.
Peak Climbing in Nepal www.trekshimalaya.com/peak_climbing.php is great view of Himalayas and most various geological regions in asia. Climbing of peaks in Nepal is restricted under the rules of Nepal Mountaineering Association. Details www.adventurestrekking.com information and application for climbing permits are available through Acute Trekking. First peak climbing in Nepal by Tenzing Norgey Sherpa and Sir Edmund Hilary on May 29, 1953 to Mt. Everest. Trekking Agency in Nepal necessary member from Nepal Mountaineering Association. Our agency will arrange equipment, guides, high altitude porters, food and all necessary gears for climbing in Nepal. Although for some peaks, you need to contribute additional time, exertion owing to improved elevation and complexity. Climbing peaks is next step beyond simply trekking and basic mountaineering course over snow line with ice axe, crampons, ropes etc under administration and coaching from climbing guide, who have substantial mountaineering knowledge and for your climbing in mountain.
Everest Base Camp Trek well noon its spectacular mountain peaks and the devotion and openness of its www.adventurestrekking.com inhabitants, the Everest region is one of the most popular destination for tourists in Nepal. While numerous of the routes through the mountains are difficult, there are plenty places to rest and enjoy a meal along the way. Additionally, don't worry about receiving lost. Just ask a local the way to the next village on your route, and they will direct you. Most Sherpas under the age of fifty can at least understand basic English, and many speak it fluently.
Annapurna Base Camp Trek is the major peaks of the western portion of the great Annapurna Himalaya, www.adventurestrekking.com Annapurna South, Fang, Annapurna, Ganagapurna, Annapurna 3 and Machhapuchhare and including Annapurna first 8091 meters are arranged almost exactly in a circle about 10 miles in diameter with a deep glacier enclosed field at the center. From this glacier basin, known as the Annapurna base camp trek (Annapurna sanctuary trek), the Modi Khola way south in a narrow ravine fully 12 thousand ft. deep. Further south, the ravine opens up into a wide and fruitful valley, the domain of the Gurungs. The center and upper portions of Modi Khola offer some of the best short routes for trekking in Nepal and the valley is situated so that these treks can be easily joint with treks into the Kali Gandaki (Kali Gandaki is name of the river in Nepal) region to the west.
Upper Mustang Trekking name Make an escapade beginning from world deepest gorge Kaligandaki valley www.adventurestrekking.com into world's highest area of Lo-Mangthang valley that passes through an almost tree-less barren landscape, a steep stony trail up and down hill and panorama views of high Annapurna Himalaya including Nilgiri, Annapurna, Dhaulagiri and numerous other peaks. The trek passes through high peaks, passes, glaciers, and alpine valleys. The thousands years of seclusion has kept the society, lifestyle and heritage remain unaffected for centuries and to this date.
Helicopter Tour in Nepal having high mountains and wonderful landscape of countryside but is effortlessly reachable by www.adventurestrekking.com land transport, is known as helicopter tours country. Helicopter services industry in Nepal is now well well-known with many types and categories of helicopters for the fly to different of Nepal. The pilots are very knowledgeable expert with 1000 of flying hours knowledge in Nepal. We have service for helicopter is outstanding reputations and established records for reliable emergency and rescue flight too. Here we would like to offer some of amazing helicopter tour in Himalaya country of Nepal. Further more details information about Nepal tour itinerary for helicopter tour in different part of Nepal contact us without hesitation.
Kathmandu Pokhra Tour is an exclusive tour package specially designed for all level travelers. Kathmandu Pokhara tour package www.adventurestrekking.com is effortless tour alternative for Nepal visitors. This tour package vacation the historically significant and ethnically rich capital (Kathmandu ) of Nepal and the most stunning city of world by the nature, Pokhara. Mountain museum and world peace stupa are another charming of Pokhara tour. Pokhara is the center of escapade tourism in Nepal. Package tour to Kathmandu Pokhara is design to discover highlighted areas of Kathmandu and Pokhara valley. Nepal is the country which is socially and geographically different that’s why we powerfully recommend you discover Nepal to visit once in life time. It is hard to explore all Nepal in one Nepal tours trip in this way we design this trip to show you the highlights of Nepal especially in Kathmandu and Pokhara.
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Letter on reverse generously translated by xiphophilos; penned 15.1.1915 and addressed to the sender's mother in Dortmund. Postage cancelled in Gent the day before!
Curiously wearing a miniature Landwehr or Reserve cross between the cockades on his Schirmmütze, this Unteroffizier possibly belongs to either Reserve-Fußartillerie-Regiment Nr. 7 or Landwehr Fußartillerie-Bataillon Nr. 7?
Letter generously translated by xiphophilos; penned by Unteroffizier Jakob Dös and addressed to Jakob Kloos in Schwabenheim. Soldatenbrief I.R. 68. Postage cancelled 20.1.1916 (25. Reserve Division).
Argonne Forest ca. 1916, troops unload mail bags onto a small, narrow-gauge railway station dubbed „Mudraplatz“ after General Bruno von Mudra.
Here is a model that has been in the works for a while now. This a Southern Pacific M-6a, specifically number 1785, which is currently preserved in Woodburn, Oregon. I was lucky enough to visit this locomotive in November of 2021, so I was able to gather many pictures and measurements to reference when modeling. The rods shown in these photos are not the final designs, and are merely placeholders. The 120-C tender's original design was made by Chris Stone, who generously shared the file with me. His prototype locomotive, SP 2355, and mine share the same tender model, with small differences here and there. I was able to modify the design to very accurately depict 1785's tender as it sits today. I plan to bring this model to physical form before the end of 2022, as one of the 4 projects on my list this year.
Brief note on reverse generously translated by xiphophilos; the author writes the photograph was taken on New Year's Day 1918 near Verdun.
Veterans of the fighting in the Carpathian Mountains, these fellows wear the distinctive Karpatenkorps-Abzeichen on their caps.
The Karpaten-Korps was a German formation subordinate to the Austro-Hungarian 7th Army, which at that time was led by Archduke Karl, the later Austrian Emperor. Their role was to support the Austro-Hungarian forces against the Russians in the Hungarian Carpathians from August 1916 onward.
antique-photos.com/en/unidatabase/german-empire/458-karpa...
This picture is 3 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
This is Blackie Pagano, tube amplifier technician extraordinaire, who I met on a film shoot in New York. He was so generous with his time and kindly let me shoot a few stills after we wrapped for the day.
Letter on reverse (below) generously translated by xiphophilos: authored on 25.6.1916 in Iseghem Belgium.
Pleasingly, Kraftradfahrer Max Eichler wears the elusive motorcyclist's badge on his collar. Similar to the Kraftfahrer badge, photographic examples of these yellow metal badges are quite scarce.
Motorcycles were generally used to deliver dispatches and messages between headquarters and were more often than not, restricted to rear echelon operations.
_____________________________________________
Notes:
Vorschrift: Nr.636
Seine Majestät der Kaiser und König haben zu bestimmen geruht, da0 die Kraftradfahrer die Uniformen der Kraftfahrtruppen tragen. Zur Unterscheidung von diesen führen sie auf dem schwarzen Spiegel der Lederröcke an Stelle des Kraftwagenabzeichen ein Kraftrad nach der Allerhöchst genehmigten Probe. Die Inspektion des Kraftfahrtwesens hat das Weitere zu veranlassen.
Berlin, den 13.August 1915
Kriegsministerium
In Vertretung v. Wandel
Letter generously translated by xiphophilos; penned sometime around 4.5.1915 and addressed to the author's parents (Jakob Scheidt, Seilermeister [master rope maker] in Hofkirchen). Postage cancelled in München the same date.
A trio of Bavarian Landsturmmänner (or Landwehrmänner) conveniently wearing three different kinds Wachstuchmützen worn by this fourth-tier formation. Links nach rechts;
Wachstuchmütze M.1914; Wachstuchmütze M.1913; one of the aforementioned Wachstuchmützen covered by a stone-grey coloured cover.
Sometimes, a stranger approaches me before I approach her, just as in this case with Jade; the woman with the camera.
While I was interviewing Sebastian, my previous stranger, Jade approached and said: "I've heard your question about the message to the world and I have my answer to that."
A few minutes later we were engaged in a very long conversation, getting to know each other.
"I've been spreading my message for a long time so I'll share it with you," Jade said.
"Go green, use less plastic, less pollution, more life. Nature is so generous with us, I wish people would treat Nature in a kind way and not consume so much plastic."
Jade, 34y/o, has moved from Vietnam to Finland about six years ago. She has met her Finnish husband online and after they got to know each other--he visited her village and stayed for four months there: "escaping the Finnish winter," they decided to get married and build a family.
They have a five year old son whom Jade is very proud of.
"He is my inspiration and the reason I've decided to become a full-time photographer."
However, her journey took her first to law school in Vietnam where she studied law for seven years and was later employed in a law firm.
She never really liked to work as a lawyer, but she liked to teach and thought she would learn to become a teacher.
After a while she knew that it wasn't really her call.
"I like to do creative work," she said, "I love carpentry".
As the story unfolded, I found out that Jade's husband is a professional carpenter.
"Having carpentered our kitchen, he said that he has built the heart of our home."
Naturally, the kitchen is the heart of any home, I think.
Life takes us on different journeys and when Jade moved to Finland, she worked at first as a barista in a café.
Photography came into her life when her son was born. She took many photos of him and published them on her social medias. www.facebook.com/gin.ply
www.instagram.com/jadeylitalophotography/
As a result she got many compliments and positive feedback for her work. But it was not until her son became four and a half years old and told his mommy how proud he was of her photography, that she made the change.
"If he could believe in me, I had to believe that I could do it, too."
It is not easy to quit a job that pays you a salary on regular basis, but when Jade had to refuse a photo session with a client--because she didn't have time--she decided to quit for good and to devote herself to photography.
When I asked what she would advise her younger self, Jade said: "Listen to yourself, ask what do you really want to do in life, follow it and believe you can do it!"
"Life to me means love, joy, pain and sorrow. As long as I can feel those emotions, I still love life.
"There are many things that inspire me; the human heart, human mindset, nature, art, myself ..."
"What do you love about yourself, Jade?"
"I love my body with all its cells, parts and my soul. I love the way I always feel thankful and appreciate everything that I have."
Our conversation went on and on and when we parted we hugged--now that the restrictions were lifted--and we wished each other well and the hope that we might meet again.
I have taken several portraits of Jade, but she asked me to publish only these two. "Maybe I'll change my mind later; I'll let you know", she said.
Your wish is my command, as the saying goes. Thanks, Jade, it was really wonderful to connect and thanks for the cookie, too. www.flickr.com/photos/timelessriver/51543153429/in/photos...
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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PictionID:54252413 - Catalog:14_034164 - Title:Atlas Details: Launch and Explosion of Atlas Missile Date: 1963 - Filename:14_034164.tif - - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
after my new year trip into the mountains I needed some new gaiters. I asked on another forum if anyone had any recommendations, and a member there offered to send me a set of canvas gaiters in more or less pristine condition, completely free. Here they are. These are not cheap.
I think such generosity deserves acknowledging.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not at Cavendish Mews. Instead, we have travelled east across London, through Bloomsbury, past the Smithfield Meat Markets, beyond the Petticoat Lane Markets* frequented by Lettice’s maid, Edith, through the East End boroughs of Bethnal Green and Bow, and through the 1880s housing development of Upton Park, to East Ham. It is here that we have followed Edith and her beau, grocery delivery boy Frank Leadbetter, to the Premier Super Cinema**, where the pair are treating themselves to one of their favourite Sunday pleasures: a feature film with a newsreel and cartoon before the main event.
Even though spring is finally in the air, it is cold out on the streets of London today, with a biting cold wind, so the warmth of the cinema’s foyer is a welcome respite from the weather outside after the journey up the High Street from the East Ham railway station. The foyer is brightly lit and cheerful. The cinema, renovated in 1922, isn’t called a picture palace for nothing, and no expense was spared with thick red wall-to-wall carpets covering the floors and brightly coloured up-to-date Art Deco wallpaper covering the walls, upon which the latest films are advertised in glamourous and colourful posters. Throughout the space, button backed*** armchairs and settees are arranged in intimate clutches around small tables, allowing patrons like Edith and Frank to await the commencement of their session in comfort. It is at one of these clusters that Edith sits patiently in her black three-quarter length coat and black dyed straw cloche decorated with lilac satin roses and black feathers, with her green leather handbag at her feet as she awaits her beau.
“Here we are then,” Frank says cheerfully. “Tea for my best girl.” He places two utilitarian white cups in saucers from the nearby cinema kiosk on the table that he and Edith are occupying in front of a vase of fresh, fragrant flowers. He takes his seat opposite her, enjoying the luxury of his plush seat as he does. “And,” He fishes into his coat pocket withdrawing a purple box and presents it to his sweetheart with a flourish. “A box of Gainsborough Dubarry Milk Chocolates****!”
“Oh Frank!” Edith exclaims in delight, her cheeks flushing red as she speaks. “You are good to me.”
“Nothing too good for my best girl!” Frank assures her.
Edith smiles as she looks at the beautifully decorated box featuring a lady with cascading auburn hair highlighted with gold ribbons, a creamy face and décollétage sporting a frothy white gown and gold necklace. She traces the embossed gold lettering on the box’s lid with reverence.
“You’re being very solicitous today, Frank.” Edith remarks as she picks up her teacup, staring at Frank as she takes a sip of hot, milky tea from her cup.
“Am I?” Frank replies in a question, his voice full of nonchalance as he picks up his own cup.
“You are, Frank.” Edith opines. “You know you are.”
“How so, Edith?”
“Well for a start, you agreed to come and see ‘Peter Pan’*****.” Edith replies, placing her cup back into her saucer.
“I like ‘Peter Pan’, Edith!” Frank retorts. “I have read the book, I’ll have you know.”
“Yes, but when you may have one of your last chances to see the ‘Thief of Bagdad’****** with swashbuckling Douglas Fairbanks, and you demur to my choice...” Edith does not complete her sentence, but stares across at her sweetheart.
“Oh fie the ‘Thief of Bagdad’!” Frank scoffs. “It will still be running here for a week or two yet. We can see it next Sunday.” He waves Edith’s repark away with a dismissive hand. “Anyway, I chose the last film we saw, ‘Chu-Chin-Chow’*******, and that had enough swashbuckling with villain Abou Hassan being stabbed by Zharat and his forty thieves done away with.”
Edith looks sceptically at Frank. “And this box of chocolates on top of our slap-up tea at Lyon’s Corner House******** in Tottenham Court Road?”
“What?” Frank retorts with incredulity. “Can’t a chap spoil his girl once in a while?”
“Oh, please don’t misunderstand me, Frank!” Edith quickly pipes up with a smile. “I’m not complaining!”
“I should hope you wouldn’t be.”
“But I can’t help being a little bit suspicious.” Edith arches her eyebrow over her right eye and purses her pretty pale lips.
“Well I like that!” Frank answers back, folding his arms akimbo across his chest in defence.
“This wouldn’t have anything to do with the fact that I went to see a clairvoyant the week before last, would it, Frank?” Edith fishes. “And that I didn’t see you last Sunday, because you had to take care of your granny?”
“Clairvoyant? What clairvoyant, Edith?” Frank asks, pleading innocence.
“Oh come on Frank!” Edith laughs. “You know Mrs. Boothby loves a gossip!” she goes on, mentioning Lettice’s charwoman********* who comes to help Edith with all the hard graft around Cavendish Mews a few days a week. “You can’t imagine us not talking, Frank.”
Ignoring her gentle chuckle, Frank continues to decry his irreproachability. “I don’t know what you and Mrs. Boothby talked about.”
“She told me that she saw you Tuesday week ago, the same day I went to see Madame Fortuna the clairvoyant in Swiss Cottage**********, and she told you that I was going to see her. There’s no use trying to say she didn’t, because I know that for all her tall tales and gilding of the lily***********, Mrs. Boothby wouldn’t do that with a story about you.”
Frank unfolds his arms and picks up his teacup, taking a sip of tea. “Alright, so I did meet her that day, Edith, and yes, she told me that you were going to see a clairvoyant, although her description of her was perhaps a little bit less kind than that.”
“Oh yes.” Edith chuckles. “She told me that it was a lot of mumbo-jumbo too, Frank.”
“Well, I don’t know if I’d disagree with her, Edith.” Frank says in concern, cocking an eyebrow. “You know I am a believer in facts, not fiction.”
“Well, I happen to be a believer in Madame Fortuna, and what she had to say.” Edith replies defiantly. “Which I don’t believe to be fiction.”
“And what else did Mrs. Boothby disclose about our meeting in Binney Street, Edith?” Frank asks.
“Oh, not so very much, Frank.” Edith replies with a smirk. “Just that you were out delivering groceries when she saw you.”
“And?” Frank queries.
Edith sighs. “And that she told you how distracted I’ve been about not having a commitment from you about getting married.”
“Which is utter pish-posh************, Edith, and well you know it.” Frank says seriously. “You know I’m committed to marrying you. You’re the only girl for me.”
“I know that, Frank. But Mrs. Boothby also said that you should be a bit more demonstrative with your dedication.”
“I doubt Mrs. Boothby would have used either the word ‘demonstrative’ or ‘dedication’.” Frank laughs.
“Maybe not, Frank.” Edith concurs, chuckling as well. “But she made the point clear, as I’m sure she did with you, Frank.”
“Indeed, she did.”
“So, this is you being more demonstrative of your dedication to me.” Edith says with a smile, toying with the box of chocolates, turning the pretty packaging over in her careworn hands.
Frank thinks for a moment ruminating over in his mind as to whether to tell his sweetheart about Mrs. Boothby’s suggestion that he get on with asking Edith’s parents for their daughter’s hand in marriage, which he did do last Sunday on his afternoon off: a visit which resulted in both George and Ada Watsford readily agreeing to the match. Then he thinks otherwise. Frank may not yet be able to afford a gold wedding band like those which he and Edith saw in the window of Schwar and Company************* along Walworth Road in the South London suburb of Elephant and Castle************** a bit over a month ago, but he has almost finished paying off a silver ring intended for Edith at a smart jewellers shop along Lavender Hill***************, not far from his boarding house in Clapham Junction. Although simple, Frank is having his and Edith’s names engraved on the inside of the band, along with the year 1925. He still wants to surprise Edith with his proposal and the ring, so he decides not to say anything about visiting her parents, knowing that after his conversation with them, that they will not steal Frank’s thunder and give the game away, although it will be far harder for Ada, who is very close to her daughter.
Frank raises his hands. “Guilty as charged, Edith.”
“Oh Frank!” Edith exclaims, a smile of delight breaking out across her lips. “You really are sweet!”
Edith reaches out her hand to him across the polished wooden surface of the pedestal table. Frank stretches out his own hand and allows her to enmesh her fingers with his and squeeze them. The action is only small, but so intimate and full of emotion that Frank takes great comfort from it. Even though Edith does not know his grand plans yet, he knows that everything is alright between the two of them now, and any doubts Edith may have had about his commitment to her have been dispelled by his actions, Mrs. Boothby’s consoling words with Edith at cavendish Mews, whatever prediction Madame Fortuna the clairvoyant made, or most likely a mixture of all of these things. Frank smiles reassuringly across at his sweetheart, who returns his smile wholeheartedly.
“I keep telling you, Edith.” Frank murmurs as his cheeks colour. “You’re not only my best girl, you’re my only girl.” He returns her gentle squeeze with one of his own.
“Well, just you keep telling me that, Frank.” Edith replies softly, looking across at Frank with loving eyes a-glitter with emotion. “I may know it, but I’ll never tire of hearing it.”
“With pleasure, Edith, my best and only girl.” Frank answers.
Just then, the double doors near to them open and with the voluble burble of cheerful chatter, people begin to file out the door in pairs or small groups. Edith and Frank watch the passing parade of mostly women and a smattering of men in their Sunday best as they exit the cinema auditorium, all murmuring about the film they have just seen. As the crowd thins to a trickle with the stragglers leaving the theatre and the vociferous burble of voices dissipates, Frank turns to Edith.
“By the by, what did the clairvoyant, madame whatshername tell you, anyway?”
“Never you mind, Frank Leadbetter!” Edith replies with an air of mystery as she stands up, snatching up the box of chocolates as she does. “She told me the truth. That’s all you have to worry about.”
Frank gets up and follows Edith as they join the crowd of chattering cinema goers as they go into the brightly lit auditorium, and make their way to their plush red velvet seats.
Inside the theatre a fug of cigarette smoke fills the auditorium, a mixture of that created by the previous audience and a few new patrons who just start to light up before the house lights go down. The space is filled with the faint traces of various perfumes, which mix with the stronger traces of cigarettes, fried food, and body odour. Around them quiet chatter and the occasional burst of a cough or a laugh resound. It feels cosy and safe. At the front of the theatre, in a pit below the screen, a middle aged woman whom they have come to recognise by sight from their many trips to the Premier Super Cinema, appears dressed in an old fashioned Edwardian gown with an equally outmoded upswept hairdo that went out of fashion before the war. She starts to play the upright piano with enthusiasm, dramatically banging out palm court music for the audience before the beginning of the newsreel.
Settling in their plush red velvet seats in the middle of the auditorium, Frank winds his arm around Edith’s shoulder. “I love you, my best girl.”
Behind them the projector whirrs to life as the lights dim. Suddenly the screen is illuminated in blinding, brilliant white as the pianist in the pit below the screen starts to play the playful opening bars to the music to accompany Peter Pan.
“I love you too, Frank Leadbetter.” Edith replies as she opens her box of Gainsborough Dubarry Milk Chocolates and proffers the open end to Frank so that he may help himself to one of the delicious, foil wrapped chocolates inside.
*Petticoat Lane Market is a fashion and clothing market in Spitalfields, London. It consists of two adjacent street markets. Wentworth Street Market and Middlesex Street Market. Originally populated by Huguenots fleeing persecution in France, Spitalfields became a center for weaving, embroidery and dying. From 1882, a wave of Jewish immigrants fleeing persecution in eastern Europe settled in the area and Spitalfields then became the true heart of the clothing manufacturing district of London. 'The Lane' was always renowned for the 'patter' and showmanship of the market traders. It was also known for being a haven for the unsavoury characters of London’s underworld and was rife with prostitutes during the late Victorian era. Unpopular with the authorities, as it was largely unregulated and in some sense illegal, as recently as the 1930s, police cars and fire engines were driven down ‘The Lane’, with alarm bells ringing, to disrupt the market.
**The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
***Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
****Starting in the Edwardian era, confectioners began to design attractive looking boxes for their chocolate selections so that they could sell confectionary at a premium, as the boxes were often beautifully designed and well made so that they might be kept as a keepsake. A war erupted in Britain between the major confectioners to try and dominate what was already a competitive market. You might recognise the shade of purple of the box as being Cadbury purple, and if you did, you would be correct, although this range was not marketed as Cadbury’s, but rather Gainsborough’s, paying tribute to the market town of Gainsborough in Lincolnshire, where Rose Bothers manufactured and supplied machines that wrapped chocolates. The Rose Brothers are the people for whom Cadbury’s Roses chocolates are named.
*****Peter Pan is a 1924 American silent fantasy adventure film released by Paramount Pictures, the first film adaptation of the 1904 play by J. M. Barrie. It was directed by Herbert Brenon and starred Betty Bronson as Peter Pan, Ernest Torrence as Captain Hook, Mary Brian as Wendy, Virginia Browne Faire as Tinker Bell, Esther Ralston as Mrs. Darling, and Anna May Wong as the Indian princess Tiger Lily. The film was seen by Walt Disney and inspired him to create his company's 1953 animated adaptation. The film was celebrated at the time for its innovative use of special effects (mainly to show Tinker Bell) according to Disney's 45th anniversary video of their adaptation of Peter Pan. In 2000, this film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.
******The Thief of Bagdad is a 1924 American silent adventure film directed by Raoul Walsh and starring Douglas Fairbanks, and written by Achmed Abdullah and Lotta Woods. Freely adapted from One Thousand and One Nights, it tells the story of a thief who falls in love with the daughter of the Caliph of Baghdad. In 1996, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant"
*******Chu-Chin-Chow is a 1923 British-German silent adventure film directed by Herbert Wilcox and starring Betty Blythe, Herbert Langley, and Randle Ayrton. Abou Hassan and his forty thieves descend on a small Arabian town on the wedding day of Omar and the beautiful Zharat and kidnap them. Abou sells Zahrat to Kasim Baba, the miser and money lender of Bagdad, while posing as Prince Constantine. Later, Abou poses as the wealthy Chinese prince Chu-Chin-Chow, and bids on Zahrat when she is placed at auction. She pierces his disguise and exposes him. He robs the other bidders of their wealth and escapes with Zahrat. Promising that she will live among untold wealth, he sets her free. After she finds Omar, Abou takes them to his treasure cave, making good on his promise. Ali Baba, brother of Kasim, accidentally discovers the cave and helps himself to the treasure. He then goes for aid to free Zahrat. Kasim, led by his greed, also comes to the cave but is captured and killed by Abou. Zahrat, now free, returns to Bagdad. Ali Baba gives a great feast. Abou appears as a merchant with forty jugs of oil, in which are hidden his forty thieves. Zahrat discovers the deception and, assisted by a powerful slave, they get rid of the hidden thieves. Left alone, Abou is denounced and the multitude turn on him. Cornered, he is stabbed by Zahrat who then returns to her village and finds happiness with Omar.
********J. Lyons and Co. was a British restaurant chain, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons’ first teashop opened in Piccadilly in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the United Kingdom. At its peak the chain numbered around two hundred cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their Art Deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time, the Corner Houses were open twenty-four hours a day, and at their peak each branch employed around four hundred staff including their famous waitresses, commonly known as Nippies for the way they nipped in and out between the tables taking orders and serving meals. The tea houses featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.
*********A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
**********Swiss Cottage is an area in the London Borough of Camden. It is centred on the junction of Avenue Road and Finchley Road and includes Swiss Cottage tube station. Swiss Cottage lies north-northwest of Charing Cross. The area was named after a public house in the centre of it, known as "Ye Olde Swiss Cottage".
***********The term “gilding the lily” came about as a mistaken version of a line from King John, which was “to gild refined gold, to paint the lily.”, and means to adorn unnecessarily something that is already beautiful or perfect.
************Pish-posh is a phrase used in British slang to express disagreement or to say that something is nonsense. The exact origin of this phrase is not precisely documented, but it is considered a colloquial and informal expression that has been in use for many years. It is often used to express scepticism or disagreement in a light hearted manner.
*************Established in 1838 by Andreas Schwar who was a clock and watch maker from Baden in Germany, Schwar and Company on Walworth Road in Elephant and Castle was a watchmaker and jewellers that is still a stalwart of the area today. The shop still retains its original Victorian shopfront with its rounded plate glass windows.
**************The London suburb of Elephant and Castle, south of the Thames, past Lambeth was known as "the Piccadilly Circus of South London" because it was such a busy shopping precinct. When you went shopping there, it was commonly referred to by Londoners, but South Londoners in particular, as “going up the Elephant”.
***************Lavender Hill is a bustling high street serving residents of Clapham Junction, Battersea and beyond. Until the mid Nineteenth Century, Battersea was predominantly a rural area with lavender and asparagus crops cultivated in local market gardens. Hence, it’s widely thought that Lavender Hill was named after Lavender Hall, built in the late Eighteenth Century, where lavender grew on the north side of the hill.
This beautiful Art Deco cinema interior is not all it appears to be, for it is made up entirely with pieces from my miniatures collection.
Fun things to look for in this tableau include:
Edith’s green leather handbag I acquired as part of a larger collection of 1:12 artisan miniature hats, bags and accessories I bought from an American miniature collector Marilyn Bickel. The umbrella comes from Melody Jane’s Doll House Suppliers in the United Kingdom.
The pedestal table , vase of flowers, white teacups and saucers and two flounced red velvet chairs all come from Kathleen Knight’s Doll’s House in the United Kingdom, whilst the dainty box of Gainsborough Dubarry Milk Chocolates, which has been beautifully printed, on the table’s surface, comes from Shepherd’s Miniatures in the United Kingdom.
The chrome Art Deco smoker’s stand in the foreground is a Shackman miniature from the 1970s and is quite rare. I bought it from a dealer in America via E-Bay. The black ashtray inside it is an artisan piece, the bowl of which is filled with “ash”. The tray as well as having grey ash in it, also has a 1:12 cigarette which rests on its lip (it is affixed there). The match box in the stand was made by Little Things Dollhouse Miniatures in Lancashire.
The Art Deco pedestal stand in the foreground has been made by the high end miniature furniture maker, Bespaq, whilst the vase of flowers on it comes from Falcon Miniatures in the United States, who are well known for their realistic and high quality miniatures.
The posters around the cinema walls were all sourced by me and reproduced in high quality colour and print.
The geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, who did so in the hope that I would find a use for it in the “Cavendish Mews – Lettice Chetwynd” series.
The thick and bright red carpet is in fact a placemat which I appropriated in the late 1970s to use as a carpet for my growing miniatures collection. Luckily, I was never asked to return it, and the rest of the set is long gone!
Letter generously translated by Immanuel Voigt; penned im Waldlager on 31.10.1915 sends his regards and hopes for some leave at Christmas time. Photogr. Hugo Schwerg, Pirna.
"Forest camp, Oct. 31, 1915
Dear Helene!
Sending you regards from here. I'm fine and I thought of our funfair today. Hoping for a healthy reunion at Christmas. Greetings from the far distance, Martin. Greetings to parents and your "Spatz" [literally translated would be "sparrow", but possibly means the boyfriend of his sister or her child?]
Mike's from Detroit and I met him while I was out doing some street shooting with some other photographers a couple of weeks ago. We had walked up to the Bean to wait for someone else so I walked around looking for something interesting to shoot while we waited.
I spotted Mike and his son, Patrick, poised by a tripod and you know that I can never resist shooting another photographer! So I took a couple of shots of the two of them and continued to move in closer when they didn't notice or acknowledge me. I finally got close enough to say hello. We started talking about photographing the Bean and I mentioned that I wanted to get some ND filters and do some long exposure daytime shots of the Bean. Mike said that he had an ND filter in his bag and very kindly said that I was welcome to use it. I thanked him but said that I didn't have my tripod with me. He then offered me use of his tripod and he began to take his own camera off. So I accepted his generous and thoughtful offer and took a few shots.
We talked more and I found out that Mike was here for the weekend from Detroit with his wife and son. His wife was out doing some Christmas shopping while Mike and Patrick went shooting. Mike works for the FBI and is a well-geared hobbiest photographer. We talked about what we like to shoot and I explained my 100 Strangers project and asked him if he'd be one of my strangers.
Thank you, Mike, for the kind loan of your equipment and for being number 17 in my 100 Strangers Project. It was wonderful to meet you. I will definitely be contacting you about shooting up in Detroit sometime soon.
Find out more about the project and see pictures taken by other photographers at 100 Strangers Flickr Group