View allAll Photos Tagged him
Caught him sneaking to the bird feeders. No one else is ever around this time of day. But every squirrel seems to need to make a big deal out of their arrival.
Went out for sunrise this morning with My big Bro jimbri378 who hasn't been out with His camera for ages, We decided on Blyth as there was plenty to shoot and He had not done Blyth beach before. We were treated to a fantastic sunrise, it really was on fire this morning, and what do you know, as soon as we hit the beach I spotted this branch so of course the polite thing to do was drag it to the waters edge and take its photo LOL!! Took this shot from the other side of the branch looking down towards Seaton Sluice and St Mary's Island.
There was also a few good lads scattered up the coast so be sure to check out their shots from this morning:
Jim Brightwell at Blyth with Me.
Ed Bookless was up at Newbiggin.
Allan England and Phil Whittaker were at Tynemouth.
Simon Lowe was at St Mary's.
Tom Hill was at Blyth too, but I missed Him.
Jim Thow was at Cullercoats.
Mike Ridley was down Whitby.
Please click on their names to view their shots, there are some stunners!!
“ Life is good when you have a good sandwich.”
————-————-————-——— —-————-———-————-———-
+ Him +
♦️ Body: ToddleeDoo – Baby Fitted Body
♦️ Head: ToddleeDoo – Bento Head #Opal
♦️Skin: {Pity Party} – Aster Skin (BOM) / 10 Tones to Choose
+ Her +
♦️ Body: ToddleeDoo – Baby Fitted Body
♦️ Head: ToddleeDoo – Bento Head #Flora
♦️Skin: {Pity Party} – Aster Skin (BOM) / 10 Tones to Choose
————-————-————-——— —-————-———-————-———-
+Clothing +
♦️ Top: :Papaya: LITCHI Shirt – Easter Bunnies / ToddleeDoo Easter Eggs HUNT 2022
♦️ Bottom: :Papaya: APRICOT Easter – Leggins / ToddleeDoo Easter Eggs HUNT 2022
♦️ Shoes : .Tippy.Tap. Pucci EASTER Slippers / .Tippy.Tap. Babee FirstSteps Shoes / ToddleeDoo Easter Eggs HUNT 2022
+ Kitchen +
This adorably fun set will have your TD & Bebe babes enjoying their kitchen just like the big kids!
♦️ Lagom – Lil bear play kitchen [ Kitchen ]
♦️ Lagom – Lil bear play kitchen [ Island ]
♦️ Lagom – Lil bear play kitchen [ Microwave ]
♦️ Lagom – Lil bear play kitchen [ Messy bowls ]
♦️ Lagom – Lil bear play kitchen [ Storage containers ]
♦️ Lagom – Lil bear play kitchen [ Toaster ]
♦️ Lagom – Lil bear play kitchen [ Plates colorfull ]
♦️ Lagom – Lil bear play kitchen [ Small plates colorfull ]
♦️ Lagom – Lil bear play kitchen [ Cups colorfull ]
♦️ Lagom – Lil bear play kitchen [ Bowls colorfull ]
♦️ Lagom – Lil bear play kitchen [ Mixing bowls ]
♦️ Lagom – Lil bear play kitchen [ Breadbin ]
♦️ Lagom – Lil bear play kitchen [ Fridge ]
Photo taken by Herwart Schneider and kindly provided by him for inclusion on this page.
München-Riem
November 1986
B-2448
Boeing 747-2J6BM
23461 / 628
Civil Aviation Administration of China (CAAC)
B-2448 has landed on runway 25 and left the runway via the end, taxiing in to the field.
Information from airhistory.net - thanks to LRS747:
Delivered new to CAAC 10th Dec 1985 and transferred to Air China July 1988. Converted to freighter Dec 1998 for operation by Air China Cargo, then transferred to Uni-top Airlines May 2009.
Stored from 2016 in Wuhan, still there in May 2022.
Registration details for this airframe:
www.planelogger.com/Aircraft/Registration/B-2448/527524
B-2448 with Air China at CDG in October 1990:
www.flickr.com/photos/75122977@N05/38145099814
B-2448 with Air China at HKG ca. 1990s (larger logo):
www.flickr.com/photos/darylchapman/5016520412
B-2448 with Air China Cargo at FRA ca. 2000:
www.flickr.com/photos/157839500@N04/49894859343
B-2448 with Uni-top Airlines at PEK in May 2009:
cdn.jetphotos.com/full/5/64595_1629705224.jpg
B-2448 with Uni-top Airlines stored at WUH in April 2020:
cdn.jetphotos.com/full/6/54224_1586786755.jpg
B-2448 along with B-2462 and B-2450 stored at WUH in May 2022:
cdn.planespotters.net/07634/b-2462-uni-top-airlines-boein...
Scan from Kodachrome slide.
Whenever we needed one of our own bumped off,
we'd call this guy in.
He had a thing for clippin' wise guys.
But only one rule
No women, no kids.
Believe me, kid, you don't want this guy...
unless you are 100% sure you need him.
The Black Revolutionists had tracked him down. They cornered the horrid tyrant at the edge of a cliff.
"SURRENDER, OR PAY", screamed the Revolutionist leader. The king, though in desperate straits, only laughed mockingly, "Ah, ha ha ha, surrender to you? You are all so pathetic!!"
"Withdraw your declaration of anarchy!" shouted another Revolutionist.
"NEVER! I love trendy foolishness and crammed dysfunctionality! Ha ha ha!"
"We want our freedom!" cried the lad with the black flag.
"Well, too bad! You're never going to get it! You'll have to live under awkward tyranny for the rest of your miserable lives!!"
"If we don't get it, you're going to get it!" the black leader yelled, shaking his fist.
"You'll never take me alive! Ha Ha, HA HA HA!!" With his terrible laugh still ringing in the air, the wretchedly insane king hurled himself over the cliff face and tumbled off the rocks, sailing toward the crashing water. His death was not a watery one, however. Before he hit the thundering waves, the giant beast of Aich-tee-yem-ell swallowed him whole.
Thus the end of King Flickr.
What'll we do? I'll tell you what I'm doing. I'm going over to Eurobricks and CC more often from now on! I'm not deleting my account though. 1,100,000 views is nothing to sneeze at or hastily delete.
Hope to see you guys around! (on other sites). :P
~Bro Steven
Superstar photographer Ben Von Wong joined SmugMug on our epic company retreat this year in Park City Utah and I enjoyed getting to know him and his girlfriend Anna over the 7 day trip. When they asked me to cancel my flight home and spend 4 days driving to San Francisco with them and Nick, I knew I couldn’t refuse!
I shouldn’t have been surprised to learn that Ben, whose photographs always include people, didn’t have the patience to wait for Nick and I to do our landscape photographer thing. As long as the hike or the scene would be epic we might capture his interest long enough not to make us pack up and head somewhere else. We hiked The Narrows. We walked the Vegas strip. We explored eroded landscapes and salt flats in Death Valley. And on the last night we showed him the Milky Way for the first time with his naked eye. Ben and Anna have been creating a “selfie-series” of photographs, taking fun and unique portraits of themselves in unique places. Mobius Arch was going to be another stop in this series.
We made our way to the Alabama Hills in Lone Pine, California and arrived at Mobius Arch just after sunset. We made a quick stop to use the “Sky Guide” app to figure out when the Milky Way would align properly and went off to grab a pizza dinner. When we got back to the arch, Ben knew immediately where he’d be setting his camera down for his epic Milky Way selfie! I on the other hand, struggled for almost an hour to find a composition that I liked (for an epic landscape). That’s when I decided “you know what, let’s get in on this portrait photo!” I found a different spot to place my camera and while Ben composed his as a landscape photo, I placed my camera as portrait orientation.
To capture this photo Ben and I would set my camera on a 10-second timer. At the 8 second mark, Ben would use an app on his Android phone to trigger a 2-second timer on his camera. Meanwhile, I would grab my flashlight, right to the right of them and prepare to light-paint them. I fired a quick flash of the light on Ben to provide the light on his legs, arm, and face. Meanwhile, Nick, hiding behind the arch, lit Anna’s face and then painted the underside of the arch. Once we had a light-painted version we were happy with, Ben and Anna moved out of the scene, and I took a second photograph with a longer exposure and no lights to get a photo without strange shadows on the rocks. Lastly, we refocused on the stars, and took a 3rd photo to capture the Milky Way in all its sharpness and glory.
Nikon D800 w/Nikkor 14-24mm f/2.8:
15mm, f/2.8, 15 sec, ISO 2000
Viewed best nice and large
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"from the family album: from right to left: the child is my grandmother Ninitta, then there is her mother and my great grandmother Anna, her sister Concetta, finally their mother and my great-great-grandmother Nina, respectively daughter, wife, sister-in-law, mother-in-law of the photographer Gaetano D'Agata, whom in a photograph of him (location Mazzarò-Taormina)"
“dall'album di famiglia: da destra verso sinistra: la bambina è mia nonna Ninitta, poi c'è la sua mamma e la mia bisnonna Anna, sua sorella Concetta, infine la loro mamma e mia trisavola Nina, rispettivamente figlia, moglie, cognata, suocera del fotografo Gaetano D'Agata, cui in una sua fotografia (location Mazzarò-Taormina)”
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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The photographer Baron Wilhelm von Gloeden: and some "secret stories” of Taormina ...
At the age of about 11-12, I made a very particular discovery, I found a fair number of ancient photographs (they had been well hidden by my grandmother) inside an ancient chest of drawers in our house in Taormina, for me it was a huge surprise, the a taste for the forbidden appeared in me for the first time, they were black and white photographs, they portrayed naked boys, or only partially dressed in drapes or sheets, they were posed to imitate certain statues (or drawings) of the Greco-Roman period; I was very intrigued by them, every now and then I went to look at them, without ever feeling discomfort, I did not consider them vulgar photographs. Some of the photos were the size of a postcard, others of various sizes increasingly larger, up to a format similar to A3; on the back there were stamps, there were also, inside small red cardboard boxes, glass plates, not large, looking at them against the light, they let us glimpse images of naked boys, or only partially dressed: they were photographic negatives made on glass plates. What was that particular photographic material hidden by my grandmother in the dresser of our house? Let's take a step back in time let's teleport to April 2, 1787 when the German poet, narrator, playwright Johan Wolfgang von Goethe (1749-1832) lands in Palermo, following his Grand Tour in Italy (the word "tourism" derives from it) he will say of Sicily that it is a place of splendor, beauty and harmony, but at the same time a place of poverty, suffering, misery and social injustice; Goethe wrote the book "Journey to Italy", revealing himself to be one of Italy's most passionate admirers, stating that "Sicily is the key to everything" (the incredible resemblance of thought with the great Sicilian writer and journalist Leonardo Sciascia (1921-1989) who published in 1979 the book entitled “Sicily as a metaphor”). At the time of Goethe (and for a long time to come) the knowledge of Sicily was made up of stereotyped ideas, it was considered a land of mysteries, a den of brigands, which aroused fear in travelers, tourism did not exist, very few knew a foreign language, journeys with carriages were slow, nothing strange therefore that Taormina was an unknown village at the time. Garibaldi, in the year 1860, frees Sicily from the domination of the Bourbons. In February 1863, Count Ottone (Otto) Geleng (1843-1939) arrives in Taormina from Germany, he is a landscape painter, he begins an intense pictorial activity, thus succeeding in making Taormina and its landscapes known in the various cultural circles of Germany and France. Count Otto thus invites the then painter (who later became a photographer) Baron Wilhelm von Gloeden (1856-1931) to come to Taormina to treat his "subtle ache", pulmonary tuberculosis, which would have benefited from the mild climate of Sicily. Von Gloeden, twenty-two, arrived in Taormina in 1878, became passionate about photography by taking lessons from the local engineer and photographer Giuseppe Bruno (1836-1904), perhaps also a teacher of Giovanni Crupi (1859-1925), landscape photographer friend of von Gloeden, Crupi himself could also have contributed to the training as a photographer of the young von Gloeden. Like Otto Geleng's paintings, the photographs of the young Wilhelm also began to entice the then bourgeoisie across the border to come to Sicily: in the last 20 years of the 1800s the foundations were being laid for tourism in Sicily. The photographs taken by von Gloeden had as their subject young Sicilian adolescents dressed in the old-fashioned way with drapes, or completely naked, at most adorned with wreaths of flowers or laurel leaves placed on their heads, the young models assumed well-studied poses under the directed by the photographer baron, designed to create scenes that wanted to reconstruct the atmosphere of the mythical Arcadia (bucolic landscape of ancient Greece). In his poetics we can find the interest in disguise and transvestism, the young fisherman is made ambiguous by making him wear a wig, made resembling a young Sicilian girl; the images are not produced for the sole and mere trade, they are works that will be published in various famous magazines (such as "The National Geographic Magazine" or "the photographic progress", A. Stieglitz publishes his nudes on “Camera Notes"), also participating in international photographic exhibitions. The young models are filmed among ancient ruins, in rocky environments, outdoors, eliciting a spiritual feeling full of nostalgia, which follows pictorial models of German romanticism. In the photographic book "Verga photographer" (created on the discovery of 327 glass plates and 121 celluloid frames), in Giovanni Verga (1840-1922) great Sicilian narrator, it is possible to observe his photographs interwoven with "realism", while in the photographs of von Gloeden the symbolism andthe spiritualism predominate, however Wilhelm will also produce documentary-type photographs, photographing the terrible earthquake (and tsunami) of Messina (and Reggio Calabria) of 1908. Von Gloeden seems fully integrated into the Taormina society , nevertheless suffers heavy homophobic attacks from the local press and from important characters from Taormina, including Otto Geleng himself, who will be sued by the baron, which will then be withdrawn upon payment of 896 lire, and a restorative declaration published in the "Gazzetta di Messina" . Von Gloeden worked in his house-studio in front of the Hotel San Domenico Palace, with him lived his sister Sofia Raabe (1847-1930), daughter of his mother's first husband, who helped him manage the house-studio, and in the to receive the illustrious guests who visited him (such as Oscar Wilde, FA Krupp, Richard Strauss, the German emperor Wilhelm II, Eleonora Duse). Von Gloeden died on February 16, 1931 at the age of 74, he was buried in the non-Catholic cemetery of Taormina, his heir was his all-around assistant Pancrazio Buciunì known as "il moro" (1879-1963) ("u 'moru", family nickname), which continues the activity, selling the prints: he undergoes two searches in full fascist regime with partial seizure and destruction of the photographic material that belonged to von Gloeden (fascism persecuted homosexuals, the repression of homosexuality was entrusted to the fascist police, which confined many homosexuals to the islands of the Mediterranean, Lipari was one of these, see the beautiful film by Ettore Scola "a special day"), Buciunì undergoes two trials for detention of obscene material, and, despite an adverse appraisal by the appointed expert prof. Stefano Bottari, holder of the chair of history of medieval and modern art at the University of Messina, who declares much of the seized material obscene, the Court of Messina, demonstrating tolerance and open-mindedness, acquits Buciunì. At this point in the story we return to my grandmother's dresser and reveal the little mystery: the hidden photographs belonged to my great-grandfather Don Gaetano D'Agata (1883-1949), von Gloeden's assistant photographer, also on the baron's teaching, he made nude photographs, as well as landscape or portrait photographs; Don Gaetano was a globetrotter, in our family album he is portrayed in various parts of the world, always in the company of beautiful women: but I will never know if those "forbidden photos" were taken by my great-grandfather Gaetano or by Von Gloeden himself, because my grandmother, having understood that I was going to peek at them in secret, made them disappear permanently, and I never heard anymore of that photographic material. For my part, it is only right to mention other figures who contributed to making Taormina the current destination for international tourism. Lady Florence Trevelyan (1852-1907), was Queen Victoria's lady-in-waiting, she was then sent into exile in various parts of the world by Queen herself, she arrived in Taormina and stayed there forever, she was a woman of exceptional gifts, endowed with great sensitivity and humanity, animal rights activist, philanthropist, passionate about esotericism, she was married to the then mayor and doctor of Taormina dr. Salvatore Cacciola, she were one of the first women admitted to world Freemasonry (her husband Cacciola also belonged to Freemasonry): I have already talked about it previously in one of my photographic stories. On the occasion of the XXI festival of the two worlds in Spoleto, in 1978, the essayist and literary critic Roland Barthes (1915-1980) curated an exhibition entitled "Wilhelm von Gloeden", with interventions by artists such as Andy Warhol, M. Pistoletto and J. Beuys. Finally, Raffaella Perna, Researcher in History of Contemporary Art at the University of Catania, underlines in her book on "Wilhelm von Gloeden, disguises, portraits, tableaux vivants", of how LaChapelle, Witkin, Mapplethorpe are the contemporary artists who they are indicated as heirs of von Gloeden's poetics.
P.S. Von Gloeden's photographs were made by photographing both the large panels with gigantographic reproductions of von Gloeden's works, which are located at the entrance of the Mocambo bar in Taormina, and in the shop-bazaar of the photographer from Taormina, my late friend, Nino Malmbrì (owner of the baron's original photographic material). The photographs of Gaetano D’Agata, were taken from my family album: in a photo a little damaged, but exceptional for its historical and emotional value, my great-grandfather, the photographer Gaetano D'Agata, here very young, holds his daughter "Ninitta" (a of the four children, had by three wives), she is my paternal grandmother; in another photo, the photographer Gaetano D'Agata poses next to her a few years later, with my grandmother already a young girl; always made by great-grandfather D'Agata there is both a portrait photo, a close-up, of my very young grandmother "Ninitta", and there is a photo of her posing as a peasant girl, with a painted backdrop behind her, as if used in studio photos; finally I put two photos taken by my great-grandfather Gaetano "en plein air" of bathers, "the location" is the beach of Mazzarò (Taormina). The photographs of the tombstones of the characters mentioned in the story were taken in the Catholic and non-Catholic cemetery of Taormina; the monumental funerary complex of Count Otto Geleng at the top presents the bust of his son Ermanno, the presence of symbolisms such as the hourglass, the rooster, the book (the Holy Bible) and the god mercury, makes me believe that Count Otto was part of the Masonic lodge of Taormina, at the time the mayor of Taormina was also part of it, dr. Cacciola and his wife Lady Florence Trevelyan: in his palace, Dr. Cacciola, built a temple, which became the first Masonic lodge in Taormina: the "Renaissance" (1904).
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Il barone fotografo Wilhelm von Gloeden: ed alcune “storie segrete” di Taormina …
Io, all’età di circa 11-12 anni, feci una scoperta molto particolare, trovai un discreto numero di antiche fotografie (erano state ben nascoste da mia nonna) dentro un antico comò in casa nostra a Taormina, per me fu una enorme sorpresa, il gusto del proibito si affacciò in me per la prima volta, erano fotografie in bianco e nero, ritraevano ragazzi nudi, o solo in parte vestiti con drappi o lenzuoli, messi in posa imitavano certe statue (o disegni) del periodo greco-romano; io ne ero rimasto molto incuriosito, ogni tanto le andavo a riguardare, senza mai provare disagio, non le consideravo fotografie volgari. Alcune foto erano della grandezza di una cartolina, altre di varie dimensioni sempre più grandi, fino ad arrivare ad un formato assimilabile all’A3; sul retro c’erano impressi dei timbri, c’erano anche, dentro dei piccoli scatoli in cartoncino di colore rosso, delle lastrine in vetro, non grandi, guardandole in controluce, lasciavano intravedere immagini di ragazzi nudi, o poco vestiti: erano i negativi fotografici realizzati su vetro. Cosa ci faceva quel materiale fotografico, così particolare, nascosto da mia nonna nel comò di casa nostra? Facciamo un salto indietro nel tempo teletrasportiamoci al 2 aprile 1787 quando a Palermo sbarca il poeta, narratore, drammaturgo tedesco Johan Wolfgang von Goethe (1749-1832), in seguito al suo Grand Tour in Italia (turismo deriva da esso) dirà della Sicilia che essa è luogo di splendore, bellezza ed armonia, ma al tempo stesso luogo di povertà, sofferenza, miseria ed ingiustizia sociale; Goethe scrive il libro “Viaggio in Italia”, rivelandosi uno dei più appassionati ammiratori dell’Italia, affermando che “la Sicilia è la chiave di tutto” (incredibile la rassomiglianza di pensiero col grande scrittore e giornalista siciliano Leonardo Sciascia (1921-1989) che pubblica nel 1979 il libro dal titolo “la Sicilia come metafora”). Ai tempi di Goethe (e per molto tempo ancora) la conoscenza della Sicilia era fatta di idee stereotipate, era considerata terra di misteri, covo di briganti, il che incuteva timore nei viaggiatori, il turismo non esisteva, pochissimi conoscevano una lingua straniera, i viaggi con carrozze ertano lenti, nulla di strano quindi che Taormina fosse all’epoca un villaggio sconosciuto. Garibaldi, nell’anno 1860, libera la Sicilia dalla dominazione dei Borboni. Nel febbraio del 1863, dalla Germania giunge a Taormina il conte Ottone (Otto) Geleng (1843-1939), egli è un pittore paesaggista, inizia una intensa attività pittorica, riuscendo in tal modo a far conoscere Taormina ed i suoi paesaggi nei vari circoli culturali della Germania e della Francia. Il conte Otto invita così l’allora pittore (poi divenuto fotografo) barone Wilhelm von Gloeden (1856-1931) a venire a Taormina per curare il suo “mal sottile”, la tubercolosi polmonare, che avrebbe tratto giovamento dal clima mite della Sicilia. Von Gloeden, ventiduenne, nel 1878 giunge a Taormina, si appassiona alla fotografia prendendo lezioni dall’ingegnere e fotografo locale Giuseppe Bruno (1836-1904), forse anche insegnante di Giovanni Crupi (1859-1925), fotografo paesaggista amico di von Gloeden, il quale Crupi stesso potrebbe anche aver contribuito alla formazione come fotografo del giovane von Gloeden. Così come i dipinti di Otto Geleng, anche le fotografie del giovane Wilhelm incominciarono ad invogliare l’allora borghesia d’oltre confine, a venire in Sicilia: negli ultimi 20 anni dell’800 si stavano gettando le basi per il turismo in Sicilia. Le fotografie realizzate da von Gloeden avevano come soggetto giovani adolescenti siciliani vestiti all’antica con drappi, o completamente nudi, tutt’al più adornati da coroncine di fiorellini o foglie d’alloro messi sul capo, i giovani modelli assumevano pose ben studiate sotto la regia del barone fotografo, atte a realizzare scene che volevano ricostruire l’atmosfera della mitica Arcadia (paesaggio bucolico dell’antica Grecia). Nella sua poetica possiamo riscontrare l’interesse per il travestimento ed il travestitismo, il giovane pescatore viene reso ambiguo facendogli indossare una parrucca, reso somigliante ad una giovane ragazza siciliana; le immagini non vengono prodotte per il solo e mero commercio, sono opere che verranno pubblicate su varie riviste famose (come “The National Geographic Magazine” o “Il Progresso fotografico”, A. Stieglitz pubblica i suoi nudi su “Camera Notes”), partecipando anche ad esposizioni fotografiche internazionali. I giovani modelli sono ripresi tra antichi ruderi, in ambienti rupestri, all’aperto, elicitando un sentimento spirituale carico di nostalgia, il che ricalca modelli pittorici del romanticismo tedesco. Nel libro fotografico “Verga fotografo” (realizzato su ritrovamento di 327 lastre in vetro e 121 fotogrammi in celluloide), in Giovanni Verga (1840-1922) grande narratore siciliano, è possibile osservare le sue fotografie intessute di “verismo”, mentre nelle fotografie di von Gloeden predomina il simbolismo e lo spiritualismo, purtuttavia Wilhelm produrrà anch’egli fotografie di tipo documentaristico, andando a fotografare il terribile terremoto (e maremoto) di Messina (e di Reggio Calabria) del 1908. Von Gloeden sembra pienamente integrato nella società taorminese, ciononostante subisce pesanti attacchi omofobi dalla stampa locale e da importanti personaggi taorminesi, incluso lo stesso Otto Geleng, i quali verranno querelati dal barone, querela che verrà poi ritirata dietro pagamento di 896 lire, ed una dichiarazione riparatoria pubblicata sulla “Gazzetta di Messina”. Von Gloeden lavorava nella sua casa-studio di fronte l’Hotel San Domenico Palace, con lui viveva sua sorella Sofia Raabe (1847-1930), figlia del primo marito di sua madre, che lo aiutava a governare la casa-studio, e nel ricevere gli illustri ospiti che lo andavano a trovare ( come Oscar Wilde, F.A. Krupp, Richard Strauss, l’imperatore tedesco Guglielmo II, Eleonora Duse). Von Gloeden muore il 16 febbraio 1931 all’età di 74 anni, viene sepolto nel cimitero acattolico di Taormina, il suo erede è il suo assistente tutto fare Pancrazio Buciunì detto “il moro” (1879-1963) (“u’ moru”, soprannome di famiglia), che ne prosegue l’attività, vendendone le stampe: il quale subisce in pieno regime fascista due perquisizioni con parziale sequestro e distruzione del materiale fotografico che apparteneva a von Gloeden (il fascismo perseguitò gli omosessuali, la repressione dell’omosessualità fu affidata alla polizia fascista, che confinò molti omosessuali nelle isole del mediterraneo, Lipari fu una di queste, vedi il bellissimo film di Ettore Scola “una giornata particolare”), Buciunì subisce due processi per detenzione di materiale osceno, e, nonostante una perizia avversa da parte del nominato perito prof. Stefano Bottari, titolare della cattedra di storia dell’arte medioevale e moderna dell’Università di Messina, che dichiara osceno gran parte del materiale sequestrato, il Tribunale di Messina dimostrando tolleranza ed apertura mentale, assolve il Buciunì. A questo punto del racconto ritorniamo al comò di mia nonna e sveliamo il piccolo mistero: le fotografie nascoste appartenevano al mio bisnonno don Gaetano D’Agata (1883-1949), assistente fotografo di von Gloeden, anch’egli sull’insegnamento del barone, realizzò fotografie di nudo, oltre che di paesaggio o ritratto; don Gaetano era un giramondo, nel nostro album di famiglia lui è ritratto in varie parti del mondo, sempre in compagnia di belle donne: ma io non saprò mai se quelle “foto proibite” erano realizzate dal mio bisnonno Gaetano o da Von Gloeden stesso, perché mia nonna, avendo capito che le andavo a sbirciare di nascosto, le fece sparire definitivamente, e di quel materiale fotografico non ne seppi più nulla. Da parte mia, è doveroso citare altre figure che contribuirono a rendere Taormina l’attuale meta del turismo internazionale. Lady Florence Trevelyan (1852-1907), era dama di corte della regina Vittoria, dalla stessa regina Lady Florence fu poi mandata in esilio in varie parti del mondo, giunse a Taormina e qui vi restò per sempre, era una donna dalle doti eccezionali, dotata di grande sensibilità ed umanità, animalista, filantropa, appassionata di esoterismo, fu sposa dell’allora sindaco e medico di Taormina dott. Salvatore Cacciola, fu una delle prime donne ammesse alla massoneria mondiale (apparteneva alla massoneria anche il marito Cacciola): ne ho già parlato in precedenza in un mio racconto fotografico. Robert Hawthorn Kitson (1873-1947) era un pittore britannico omosessuale, egli lasciò l’Inghilterra a causa dell’emendamento Labouchere, che rendeva illegale qualsiasi atto omosessuale nel Regno Unito (1885), giunse a Taormina e qui si stabilì, costruendo nel 1905 Casa Cusani, una villa con vista sull’Etna, oggi casa museo; nella sua sala da pranzo si trovano gli affreschi “proibiti” realizzati da Frank Brangwyn, essi narrano dell’amore omosessuale tra Kitson ed il suo compagno Carlo Siligato: nel 1908 in seguito al terremoto che distrusse Messina (e Reggio Calabria), essi adottarono un bambino che era rimasto orfano, divenendo di fatto una famiglia omosessuale, all’epoca assolutamente proibita; gli affreschi di Casa Cuseni sono ispirati alle fotografie di von Gloeden, così come nella villa, si trova una “autocromia a colori” del 1910, realizzata da von Gloeden, documento eccezionale che testimonia la volontà del barone di sperimentare nuove tecniche. In occasione del XXI festival dei due mondi di Spoleto, nel 1978, il saggista e critico letterario Roland Barthes (1915-1980) cura una mostra intitolata “Wilhelm von Gloeden”, con interventi di artisti quali Andy Warhol, M. Pistoletto e J. Beuys. Infine, Raffaella Perna, Ricercatrice in Storia dell'arte contemporanea all'Università degli Studi di Catania, sottolinea nel suo libro su “Wilhelm von Gloeden, travestimenti, ritratti, tableaux vivants”, di come LaChapelle, Witkin, Mapplethorpe siano gli artisti contemporanei che vengono indicati come eredi della poetica di von Gloeden.
P.S. le fotografie di Von Gloeden sono state realizzate fotografando sia i grandi pannelli con gigantografiche riproduzioni delle opere di von Gloeden, che si trovano all’ingresso del bar Mocambo di Taormina, sia nel negozio-bazar del fotografo taorminese, compianto mio amico, Nino Malmbrì (possessore di materiale fotografico originale del barone). Le fotografie di Gaetano D’Agata, sono state prese dal mio album di famiglia: in una foto un pò rovinata, ma eccezionale per il suo valore storico e per me affettivo, il mio bisnonno, il fotografo Gaetano D'Agata, qui molto giovane, tiene in braccio sua figlia "Ninitta" (una dei quattro figli, avuti da tre mogli), lei è la mia nonna paterna; in un'altra foto, il fotografo Gaetano D'Agata posa accanto a lei qualche anno dopo, con mia nonna già ragazzina; sempre realizzate dal bisnonno D'Agata c'è sia un foto-ritratto, un primo piano, di mia nonna "Ninitta" molto giovane, e c'è la foto di lei mentre posa come contadinella, con dietro un fondale dipinto, come si usava nelle foto da studio; infine ho messo, due foto realizzate dal mio bisnonno Gaetano "en plein air" a delle bagnanti, "la location" è la spiaggia di Mazzarò (Taormina). Le fotografie delle tombe dei personaggi menzionati nel racconto, sono state fatte nel cimitero cattolico ed acattolico di Taormina; il complesso monumentale funerario del conte Otto Geleng in alto presenta il mezzobusto del figlio Ermanno, la presenza di simbolismi come la clessidra, il gallo, il libro (la Sacra Bibbia) ed il dio mercurio, mi fa ritenere che il conte Otto facesse parte della loggia massonica di Taormina, all’epoca ne faceva parte anche il sindaco di Taormina, dott. Cacciola e sua moglie Lady Florence Trevelyan: nel suo palazzo il dott. Cacciola, realizzò un tempio, che divenne la prima loggia massonica di Taormina : la "Rinascimento"(1904).
"Him whose three places that are filled with sweetness, imperishable joy as it may list them, Who verily alone upholds the threefold, the earth, the heaven, and all living creatures.
May I attain to His well-loved mansion where men devoted to the Gods are happy.
For there springs, close akin to the Wide-Strider, the well of meath in Vishnu’s highest footstep."
(From the Rig-veda - 1.154.1-5)
This man was stepping down Nandeshwar Ghat towards the holy waters of the Ganges in Varanasi (Benaras).
This picture is a kind of metaphor in order to emphasize that the area along the ghats is eulogised as Vishnu's body.
Varanasi has 98 sacred water fronts, which are believed to form the cosmic frame linking 14 bhavana kosas of the human body.
Among 84 ghats, 5 are considered to be supremely auspicious.
These are Asi, Dashashwamedha, Manikarnika, Panchganga and Adikeshava.
These are the Panchathirthas, and are believed to be symbols of the cosmic body of Lord Vishnu; Asi at the head, Dashashwamedha at the chest, Manikarnika at the navel, Panchganga at the thighs and Adikeshava at the feet.
Manikarnika is considered to be at the center of the 5 thirthas, the navel of the universe from which blooms life.
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Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
Photo taken by Wilhelm Hell, scan kndly provided by him for inclusion on this page.
München-Riem
July 1979
G-APWA "Mandy Keegan"
Handley Page HPR-7 Herald 100
149
British Air Ferries (BAF)
G-APWA with BAF was noted at Riem on 17 May 1979, 9 August 1979 and 12 June 1980 (used as a tour plane for the rock group Styx. This slide was dated July 1979.
History of G-APWA (from saadonline.uk):
5/61-10/61 Jersey Airlines (leased)
1/62-4/62 B.E.A. (leased)
4/63-8/63 Autair (leased)
8/63-1/64 Malaysian Air Force (leased)
2/64-10/65 S.A.D.I.A. (leased as PP-ASV)
4/66-9/66 British Midland (leased as G-APWA)
11/66-8/76 S.A.D.I.A. as PP-SDM (name later changed to Transbrazil 6/72)
8/76-1/85 BAF
1/85-3/93 Panavia Air Cargo
3/93-present Berkshire Aviation Museum
Preserved at the Berkshire Avation Museum, Woodley, as of 2018
Registration details for this airframe:
rzjets.net/aircraft/?reg=300426
G-APWA with BEA in September 1960 (postcard):
www.flickr.com/photos/antonov22/12524375564
G-APWA with Autair at BSL in August 1963:
www.bsl-mlh-planes.net/bigpicture/picture_id/6720
G-APWA with British Midland at LPL in May 1966:
www.flickr.com/photos/kenfielding/6890684851
This airframe as PP-SDM with S.A.D.I.A. at SDU in July 1969:
imgproc.airliners.net/photos/airliners/9/3/5/1753539.jpg
This airframe as PP-SDM with Transbrasil at BSB in May 1975:
www.planepictures.net/a/5/30/1030238915.jpg
G-APWA derelict at SEN in December 1985:
www.flickr.com/photos/petermgarwood/23434855562
G-APWA preserved at the Museum of Berkshire Aviation, Woodley, in January 2019:
www.flickr.com/photos/29288836@N00/46818067431
Scan from Kodachrome slide (on Kodak Photo CD).
Photo from the Wilhelm Hell collection, scan kindly provided by him for inclusion on this page.
München-Riem
May 1982
D-ABKK (1)
Boeing 727-230/Adv
21113 / 1176
Condor
Note:
D-ABKK (2) was Boeing 737-430 c/n 27005 / 2359 flying with Lufthansa between September 1992 and July 1997.
D-ABKK (3) was Boeing 737-86J c/n 37753 / 3261 flying with Air Berlin between May 2010 and June 2016.
D-ABKK is parked in front of the Lufthansa maintenance hangar.
Information from flickr - thanks to Paul:
Delivered to Condor as D-ABKK in 1975. To Exatco as N853SY in 1989 then to Noble Air as TC-AFD in 1990. To TUR Avrupa Hava Yollari as TC-TCA in 1992 then to Safair as ZS-NOU in 1994. Leased to Inter Air in 1995 then to Comair and operated in British Airways colours in 1996. Withdrawn from use at Johannesburg in 2003 and scrapped.
Registration details for this airframe:
rzjets.net/aircraft/?reg=45930
This airframe as TC-AFD with Noble Air at DUS in April 1990 (bare metal):
www.flickr.com/photos/190105067@N03/50397368336
TC-AFD with Noble Air at HAJ in May 1990:
www.flickr.com/photos/pslg05896/35413923121
This airframe as TU-TCA with TUR at DUS in August 1992:
www.flickr.com/photos/55101137@N02/6988779090
This airframe as ZS-NOU with Inter Air at JNB ca. 1995:
www.flickr.com/photos/120290459@N03/13195744765
ZS-NOU with Phoenix Airways at JNB in 1995:
www.flickr.com/photos/satransport/8485773810
ZS-NOU with Comair/British Airways at JNB in June 1998:
www.airhistory.net/photo/299416/ZS-NOU
ZS-NOU with Comair/British Airways at JNB in June 2000 ("Blomsterang" worldtail c/s):
www.flickr.com/photos/157839500@N04/49165371606
ZS-NOU derelict at JNB in October 2003:
abpic.co.uk/pictures/view/1016964
Scan from Kodachrome slide (on Kodak Photo CD).
LC Verse Batman
Bane - Bane
Banes father attempted to assassinate Ra' Al Ghul due to him leading a following of assassins which he was going to use as a personal army. The assassination attempt failed and the father and his beloved wife (pregnant at the time) were exiled to an underground prison on an abandoned island which ran illegal experimentation on the prisoners.
After a few months of imprisonment the mother died giving birth to Bane and the father continued to care for Bane. When there was a severe food shortage in the prison the father protected Bane from being cannibalised, he sacrificed himself to save Bane as long as his child's survival was ensured by a fellow prisoner who then continued to look after Bane until he was old enough to look after himself. Bane grew up in the harsh prison and began exploring it, murder became his friend and cruelty became his ally. Bane worked out everyday almost all day and became one of the most notorious prisoners, this caught the attention of the guards who began to fear him. When a revolution in the prison occurred (led by Bane) he was punished harshly by being sentenced to death. To the guards this meant being forced into the "Venom Procedure" which involved a super soldier serum being injected into the victims bloodstream granting them super strength and durability (which nobody had survived). They didn't know Bane though, Bane powered through the agonising procedure and became the only one who survived therefore granting him extreme power.
With this new power Bane broke out of the prison and let all the prisoners escape, he was then forced to jump into sea the shark infested waters later assumed to be dead when cornered by armed guards. What they didn't know however was Banes adamance to survive, Bane fought off every single shark which approached him and swam to the nearest city, Gotham City.
Bane didn't know about any other lifestyle other than the crime which he grew up with in the prison, he saw Gotham as just another prison to conquer. He began to use his powers to bring super villains to their knees and heroes to tremble in his wake, Bane rose to power in the city but was stopped by The Batman. Because of Banes mentality he was sentenced to Arkham Asylum, however he fascinated Dr. Jonathan Crane who began to teach Bane about the Venom serum he uses (this knowledge allows Bane to make his own Venom). He was then broken out when Dr. Jonathan Crane took on the 'Scarecrow' persona and became 'Nightmare', who wanted Bane as a body guard. Bane denied this position stating "I'm no henchman!" and took off.
Bane is now determined more than ever to take over Gotham and break the only man standing in his way, The Batman.
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 just a short distance from Cavendish Mews, at Mr. Willison’s grocers’ shop. Willison’s Grocers in Mayfair is where Lettice has an account, and it is from here that Edith, Lettice's maid, orders her groceries for the Cavendish Mews flat, except on special occasions like the soirée that Lettice threw for Dickie and Margot Channon’s engagement, when professional London caterers are used. Mr. Willison prides himself in having a genteel, upper-class clientele including the households of many titled aristocrats who have houses and flats in the neighbourhood, and he makes sure that his shop is always tidy, his shelves well stocked with anything the cook of a duke or duchess may want, and staff who are polite and mannerly to all his important customers. The latter is not too difficult, for aside from himself, Mrs. Willison does his books, his daughter Henrietta helps on Saturdays and sometimes after she has finished school, which means Mr. Willison technically only employs one member of staff: Frank Leadbetter his delivery boy who carries orders about Mayfair on the bicycle provided for him by Mr. Willison. He also collects payments for accounts which are not settled in his Binney Street shop whilst on his rounds.
Lettice’s maid, Edith, is stepping out with Frank, and to date since he rather awkwardly suggested the idea to her in the kitchen of the Cavendish Mews flat, the pair has spent every Sunday afternoon together, going to see the latest moving pictures at the Premier in East Ham*, dancing at the Hammersmith Palais or walking in one of London’s many parks. They even spent Easter Monday at the fair held on Hampstead Heath***. Whilst Lettice is away in Cornwall selecting furniture from Dickie and Margot’s Penzance country house, ‘Chi an Treth’, to be re-purposed, Edith is taking advantage of a little more free time and has come to Willison’s Grocers under the pre-text of running an errand in the hope of seeing Frank. The bell rings cheerily as she opens the plate glass door with Mr. Willison’s name painted in neat gilt lettering upon it. Stepping across the threshold she immediately smells the mixture of comforting smells of fresh fruits, vegetables and flour, permeated by the delicious scent of the brightly coloured boiled sweets coming from the large cork stoppered jars on the shop counter. The sounds of the busy street outside die away, muffled by shelves lined with any number of tinned goods and signs advertising everything from Lyon’s Tea**** to Bovril*****.
“Miss Watsford!” exclaims Mr. Willison’s wife as she peers up from her spot behind the end of the return counter near the door where she sits doing her husband’s accounts. “We don’t often have the pleasure.”
Edith looks up, unnerved, at the proprietor’s wife and bookkeeper, her upswept hairstyle as old fashioned as her high necked starched shirtwaister****** blouse down the front of which runs a long string of faceted bluish black beads. “Yes,” Edith smiles awkwardly. “I… I have, err… that is to say I forgot to give Fr… err, Mr. Leadbeater my grocery list when he visited the other day.”
“Oh?” Mrs. Willison queries. “I could have sworn that we had it.” She starts fussing through a pile of papers distractedly. “That isn’t like you Miss Watsford. You’re usually so well organised.”
“Well,” Edith thinks quickly. “It… it isn’t really the list. It’s just that I left a few things off. Miss Chetwynd… well, you see she fancies…”
“Oh, well give me the additions, Miss Watsford,” Mrs. Willison thrusts out her hand efficiently, the frothy white lace of her sleeve dancing around her wrist. “And I’ll see to it that they are added to your next delivery. We don’t want the Honourable Miss Chetwynd to go without, now do we?”
With a shaky hand Edith reluctantly hands over her list of a few extra provisions that aren’t really required, especially with her mistress being away for a few days. As she does, she glances around the cluttered and dim shop hopefully.
“Will there be anything else, Miss Watsford?” Mrs. Willison asks curtly.
“Err… yes.” Edith stammers, but falls silent as she continues to look in desperation around the shop.
Mrs. Willison suspiciously eyes the slender and pretty domestic through her pince-nez*******. She scrutinises Edith’s fashionable plum coloured frock with the pretty lace collar. The hem of the skirt is following the current style and sits higher than any of Mrs. Willison’s own dresses and it reveals Edith’s shapely stockinged calves. She wears her black straw cloche decorated with purple silk roses and black feathers over her neatly pinned chignon. “Is that a few frock, Miss Watsford?” the grocer’s wife continues.
“Ahh, yes it is, Mrs. Willison. I made it myself from scratch with a dress pattern from Fashion for All********,” Edith replies proudly, giving a little twirl that sends her calf length skirt flaring out prettily, and Mrs. Willison’s eyebrows arching with disapproval as the young girl reveals even more of her legs as she does. “Do you like it?”
“You seem a little dressed up to run an errand here, Miss Watsford.” Mrs. Willison says with bristling disapprobation.
“Well, I… I err… I do have some letters to post too, Mrs. Willison,” Edith withdraws two letters from her wicker basket and holds them up in her lilac glove clad hand.
“Well, we mustn’t keep you from your errand, now must we, Miss Watsford? Now what else did you require before you leave?” the older woman emphasises the last word in her sentence to make clear her opinion about young girls cluttering up her husband’s shop.
“An apple.” Edith says, suddenly struck with inspiration. “I’d like an apple for the journey, Mrs. Willison.”
“Very good, Miss Watsford.” the older woman starts to move off her stool. “I’ll fetch…”
“No need, Mrs. Willison!” Frank’s cheerful voice pipes up as he appears from behind a display of tinned goods. “I’ll take care of Miss Watsford. That’s what I’m here for. You just stay right there Mrs. Willison. Right this way, Miss Watsford.” He ushers her with a sweeping gesture towards the boxes of fresh fruit displayed near the cash register.
“Oh Fran…” Edith catches herself uttering Frank’s given name, quickly correcting herself. “Err… thank you, Mr. Leadbetter.”
Mrs. Willison lowers herself back into her seat, all the while eyeing the pair of young people critically as they move across the shop floor together, their heads boughed conspiratorially close, a sense of overfamiliarity about their body language. She frowns, the folds and furrows of her brow eventuated. Then she sighs and returns to the numbers in her ledger.
“What are you doing here, Edith?” Frank whispers to his sweetheart quietly, yet with evident delight in his voice.
“Miss Lettice is away down in Cornwall on business, so I thought I’d stop in on my way through in the hope of seeing you, Frank.” She glances momentarily over her shoulder. “Then Mrs. Willison greeted me. I thought I was going to get stuck with the disapproving old trout and not see you.”
“The weather looks good for Sunday, Edith. It’s supposed to be sunny. Shall we go to Regent’s Park and feed the ducks if it is?”
“Oh, yes!” Edith clasps her hands in delight, her gloves muffling the sound. “Maybe there will be a band playing in the rotunda.”
“If there is, I’ll hire us a couple of deck chairs and we can listen to them play all afternoon in the sunshine.”
“That sounds wonderful, Frank.”
“Well,” pronounces Frank loudly as the stand over the wooden tray of red and golden yellow apples. “This looks like a nice juicy one, Miss Watsford.”
“Yes,” Edith replies in equally clear tones. “I think I’ll have that one, Mr. Leadbeater.”
“Very good, Miss Watsford. I’ll pop it into a paper bag for you.”
“Oh, don’t bother Fr… Mr. Leadbeater. I’ll put it in my basket.”
Frank takes the apple and walks back around the counter to the gleaming brass cash register surrounded by jars of boiled sweets. “That will be tuppence please, Miss Watsford.” He enters the tally into the noisy register, causing the cash draw to spring open with a clunk and the rattle of coins rubbing against one another with the movement.
Edith hooks her umbrella over the edge of the counter, pulls off her gloves and fishes around in her green handbag before withdrawing her small leather coin purse from which she takes out tuppence which she hands over to Frank.
“Here,” Frank says after he deposits her money and pushes the drawer of the register closed. He slides a small purple and gold box discreetly across the counter.
Edith gasps 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. “Gainsborough Dubarry Milk Chocolates!”
“Can’t have my girl come all this way to see me and not come away with a gift.” Frank whispers with a beaming smile dancing across his face.
“Seeing you is gift enough, Frank.” Edith blushes.
“Ahem!” Mrs. Willison clears her throat from the other end of the shop. “Will they be going on the Honourable Miss Chetwynd’s account, Frank?” she asks with a severe look directly at her husband’s employee.
“Um… no Mrs. Willison. Don’t worry. I’ll be paying for them.” Frank announces loudly. Bending his head closer to Edith, he whispers, “I can see why Mr. Willison has her in here when he isn’t. You can’t get away with anything without her knowing: ghastly old trout.”
Edith giggles as she puts the small box of chocolates and the apple into her basket. “I’ll save them for Sunday.” she says with a smile. “We can share them whilst we listen to the band from our deckchairs.”
Frank smile broadens even more. “Righty-ho, Edith.”
“Righty-ho, Frank.”
“Well, as I was saying, Miss Watsford,” Mrs. Willison pronounces from her stool. “We mustn’t keep you from your errands. I’m sure you have a lot to do, and it is almost midday already.”
“Yes indeed, Mrs. Willison.” Edith agrees, unable to keep the reluctance out of her voice. “I really should be getting along. Well, goodbye Mr. Leadbeater. Thank you for your assistance.” She then lowers her voice as she says, “See you Sunday.”
Both Frank and Mrs. Willison watch as the young lady leaves the shop the way she came, by the front door, a spring in her step and a satisfied smile on her face, her basket, umbrella and handbag slung over her arm.
“Frank!”
Frank cringes as Mrs. Willison calls his name. Turning around he sees her striding with purpose behind the counter towards him, wending her way through the obstacle course of stacks of tins and jars of produce, hessian sacks of fresh vegetables and fruits and boxes of bottles.
“Yes, Mrs Willison?”
“Frank,” she says disappointingly. “I can’t stop you from stepping out with a girl in your own time,” She comes to a halt before him, domineering over him with her topknot, her arms akimbo. “And I’d say the Honourable Miss Chetwynd is foolishly modern enough to let you take her maid out on Sundays.” She looks at him with disapproving eyes. “However, I’d be much obliged if you kept your dalliances to your own time, and kindly keep them out of my husband’s establishment during business hours!”
“Yes Mrs. Willison!” Frank replies, sighing gratefully, now knowing that he isn’t going to be given notice for chatting with Edith during work hours.
“And I’ll make an adjustment to your wages this week for the chocolates.” she adds crisply.
“Yes Mrs. Willison.” Frank nods before hurrying away back to the stock room.
*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.
**The Hammersmith Palais de Danse, in its last years simply named Hammersmith Palais, was a dance hall and entertainment venue in Hammersmith, London, England that operated from 1919 until 2007. It was the first palais de danse to be built in Britain.
***Hampstead Heath (locally known simply as the Heath) is a large, ancient London heath, covering 320 hectares (790 acres). This grassy public space sits astride a sandy ridge, one of the highest points in London, running from Hampstead to Highgate, which rests on a band of London Clay. The heath is rambling and hilly, embracing ponds, recent and ancient woodlands, a lido, playgrounds, and a training track, and it adjoins the former stately home of Kenwood House and its estate. The south-east part of the heath is Parliament Hill, from which the view over London is protected by law.
****Lyons Tea was first produced by J. Lyons and Co., a catering empire created and built by the Salmons and Glucksteins, a German-Jewish immigrant family based in London. Starting in 1904, J. Lyons began selling packaged tea through its network of teashops. Soon after, they began selling their own brand Lyons Tea through retailers in Britain, Ireland and around the world. In 1918, Lyons purchased Hornimans and in 1921 they moved their tea factory to J. Lyons and Co., Greenford at that time, the largest tea factory in Europe. In 1962, J. Lyons and Company (Ireland) became Lyons Irish Holdings. After a merger with Allied Breweries in 1978, Lyons Irish Holdings became part of Allied Lyons (later Allied Domecq) who then sold the company to Unilever in 1996. Today, Lyons Tea is produced in England.
*****Bovril is owned and distributed by Unilever UK. Its appearance is similar to Marmite and Vegemite. Bovril can be made into a drink ("beef tea") by diluting with hot water or, less commonly, with milk. It can be used as a flavouring for soups, broth, stews or porridge, or as a spread, especially on toast in a similar fashion to Marmite and Vegemite.
******A shirtwaister is a woman's dress with a seam at the waist, its bodice incorporating a collar and button fastening in the style of a shirt which gained popularity with women entering the workforce to do clerical work in the late Nineteenth and early Twentieth Centuries.
*******Pince-nez is a style of glasses, popular in the late Nineteenth and early Twentieth Centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, "to pinch", and nez, "nose".
********”Fashion for All” was one of the many women’s magazines that were published in the exuberant inter-war years which were aimed at young girls who were looking to better their chances of finding a husband through beauty and fashion. As most working-class girls could only imagine buying fashionable frocks from high street shops, there was a great appetite for dressmaking patterns so they could dress fashionably at a fraction of the cost, by making their own dresses using skills they learned at home.
This cluttered, yet cheerful Edwardian shop is not all it seems to be at first glance, for it is made up of part of my 1:12 size dollhouse miniatures collection. Some pieces come from my own childhood. Other items I acquired as an adult through specialist online dealers and artists who specialise in 1:12 miniatures.
Fun things to look for in this tableau include:
Central to the conclusion of our story is the dainty box of Gainsborough Dubarry Milk Chocolates. This beautifully printed confectionary box comes from Shepherd’s Miniatures in the United Kingdom. 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.
Also on the shop counter is an apple which is very realistic looking. Made of polymer clay it is made by a 1:12 miniature specialist in Germany. The brightly shining cash register, probably polished by Frank, was supplied by Beautifully Handmade Miniatures in Kettering in the United Kingdom. The cylindrical jars, made of real spun glass with proper removable cork stoppers which contain “sweets” I acquired as a teenager from an auction as part of a larger lot of miniature items. Edith’s lilac coloured gloves are made of real kid leather and along with the envelopes are artisan pieces that I acquired from Doreen Jeffries’ Small Wonders Miniatures in the United Kingdom. Edith’s green leather handbag I acquired as part of a larger collection of 1:12 artistan 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. Edith’s basket I acquired as part of a larger lot of 1:12 miniatures from an E-Bay seller in America.
The packed shelves you can see in the background is in fact a Welsh dresser that I have had since I was a child, which I have repurposed for this shot. You can see the dresser more clearly in other images used in this series when Edith visits her parent’s home in Harlesden. The shelves themselves are full of 1:12 artisan miniatures with amazing attention to detail as regards the labels of different foods. Some are still household names today. So many of these packets and tins of various foods would have been household staples in the 1920s when canning and preservation revolutinised domestic cookery. They come from various different suppliers including Shepherds Miniatures in the United Kingdom, Kathleen Knight’s Doll House in the United Kingdom, Beautifully Handmade Miniatures in Kettering and Little Things Dollhouse Miniatures in Lancashire. Items on the shelves include: Tate and Lyall Golden Syrup, Lyall’s Golden Treacle, Peter Leech and Sons Golden Syrup, P.C. Flett and Company jams, Golden Shred and Silver Shred Marmalades, Chiver’s Jelly Crystals, Rowtree’s Table Jelly, Bird’s Custard Powder, Bird’s Blancmange Powder, Coleman’s Mustard, Queen’s Gravy Salts, Bisto Gravy Powder, Huntly and Palmers biscuits, Lyon’s Tea and Typhoo Tea.
In 1859 Henry Tate went into partnership with John Wright, a sugar refiner based at Manesty Lane, Liverpool. Their partnership ended in 1869 and John’s two sons, Alfred and Edwin joined the business forming Henry Tate and Sons. A new refinery in Love Lane, Liverpool was opened in 1872. In 1921 Henry Tate and Sons and Abram Lyle and Sons merged, between them refining around fifty percent of the UK’s sugar. A tactical merger, this new company would then become a coherent force on the sugar market in anticipation of competition from foreign sugar returning to its pre-war strength. Tate and Lyle are perhaps best known for producing Lyle’s Golden Syrup and Lyle’s Golden Treacle.
Peter Leech and Sons was a grocers that operated out of Lowther Street in Whitehaven from the 1880s. They had a large range of tinned goods that they sold including coffee, tea, tinned salmon and golden syrup. They were admired for their particularly attractive labelling. I do not know exactly when they ceased production, but I believe it may have happened just before the Second World War.
P.C. Flett and Company was established in Kirkwall in the Orkney Islands by Peter Copeland Flett. He had inherited a small family owned ironmongers in Albert Street Kirkwall, which he inherited from his maternal family. He had a shed in the back of the shop where he made ginger ale, lemonade, jams and preserves from local produce. By the 1920s they had an office in Liverpool, and travelling representatives selling jams and preserves around Great Britain. I am not sure when the business ceased trading.
Golden Shred orange marmalade and Silver Shred lime marmalade still exist today and are common household brands both in Britain and Australia. They are produced by Robertson’s. Robertson’s Golden Shred recipe perfected since 1874 is a clear and tangy orange marmalade, which according to their modern day jars is “perfect for Paddington’s marmalade sandwiches”. Robertson’s Silver Shred is a clear, tangy, lemon flavoured shredded marmalade. Robertson’s marmalade dates back to 1874 when Mrs. Robertson started making marmalade in the family grocery shop in Paisley, Scotland.
Chivers is an Irish brand of jams and preserves. For a large part of the Twentieth Century Chivers and Sons was Britain's leading preserves manufacturer. Originally market gardeners in Cambridgeshire in 1873 after an exceptional harvest, Stephen Chivers entrepreneurial sons convinced their father to let them make their first batch of jam in a barn off Milton Road, Impington. By 1875 the Victoria Works had been opened next to Histon railway station to improve the manufacture of jam and they produced stone jars containing two, four or six pounds of jam, with glass jars first used in 1885. In around 1885 they had 150 employees. Over the next decade they added marmalade to their offering which allowed them to employ year-round staff, rather than seasonal workers at harvest time. This was followed by their clear dessert jelly (1889), and then lemonade, mincemeat, custard powder, and Christmas puddings. By 1896 the family owned 500 acres of orchards. They began selling their products in cans in 1895, and the rapid growth in demand was overseen by Charles Lack, their chief engineer, who developed the most efficient canning machinery in Europe and by the end of the century Chivers had become one of the largest manufacturers of preserves in the world. He later added a variety of machines for sorting, can making, vacuum-caps and sterilisation that helped retain Chivers' advantage over its rivals well into the Twentieth Century. By the turn of the century the factory was entirely self-sufficient, growing all its own fruit, and supplying its own water and electricity. The factory made its own cans, but also contained a sawmill, blacksmiths, coopers, carpenters, paint shop, builders and basket makers. On the 14th of March 1901 the company was registered as S. Chivers and Sons. By 1939 there were over 3,000 full-time employees, with offices in East Anglia as well as additional factories in Montrose, Newry and Huntingdon, and the company owned almost 8,000 acres of farms. The company's farms were each run independently, and grew cereal and raised pedigree livestock as well as the fruit for which they were known.
Founded by Henry Isaac Rowntree in Castlegate in York in 1862, Rowntree's developed strong associations with Quaker philanthropy. Throughout much of the Nineteenth and Twentieth centuries, it was one of the big three confectionery manufacturers in the United Kingdom, alongside Cadbury and Fry, both also founded by Quakers. In 1981, Rowntree's received the Queen's Award for Enterprise for outstanding contribution to international trade. In 1988, when the company was acquired by Nestlé, it was the fourth-largest confectionery manufacturer in the world. The Rowntree brand continues to be used to market Nestlé's jelly sweet brands, such as Fruit Pastilles and Fruit Gums, and is still based in York.
Bird’s were best known for making custard and Bird’s Custard is still a common household name, although they produced other desserts beyond custard, including the blancmange. They also made Bird’s Golden Raising Powder – their brand of baking powder. Bird’s Custard was first formulated and first cooked by Alfred Bird in 1837 at his chemist shop in Birmingham. He developed the recipe because his wife was allergic to eggs, the key ingredient used to thicken traditional custard. The Birds continued to serve real custard to dinner guests, until one evening when the egg-free custard was served instead, either by accident or design. The dessert was so well received by the other diners that Alfred Bird put the recipe into wider production. John Monkhouse (1862–1938) was a prosperous Methodist businessman who co-founded Monk and Glass, which made custard powder and jelly. Monk and Glass custard was made in Clerkenwell and sold in the home market, and exported to the Empire and to America. They acquired by its rival Bird’s Custard in the early Twentieth Century.
Queen’s Gravy Salt is a British brand and this box is an Edwardian design. Gravy Salt is a simple product it is solid gravy browning and is used to add colour and flavour to soups stews and gravy - and has been used by generations of cooks and caterers.
The first Bisto product, in 1908, was a meat-flavoured gravy powder, which rapidly became a bestseller in Britain. It was added to gravies to give a richer taste and aroma. Invented by Messrs Roberts and Patterson, it was named "Bisto" because it "Browns, Seasons and Thickens in One". Bisto Gravy is still a household name in Britain and Ireland today, and the brand is currently owned by Premier Foods.
Huntley and Palmers is a British firm of biscuit makers originally based in Reading, Berkshire. The company created one of the world’s first global brands and ran what was once the world’s largest biscuit factory. Over the years, the company was also known as J. Huntley and Son and Huntley and Palmer. Huntley and Palmer were renown for their ‘superior reading biscuits’ which they promoted in different varieties for different occasions, including at breakfast time.
In 1863, William Sumner published A Popular Treatise on Tea as a by-product of the first trade missions to China from London. In 1870, William and his son John Sumner founded a pharmacy/grocery business in Birmingham. William's grandson, John Sumner Jr. (born in 1856), took over the running of the business in the 1900s. Following comments from his sister on the calming effects of tea fannings, in 1903, John Jr. decided to create a new tea that he could sell in his shop. He set his own criteria for the new brand. The name had to be distinctive and unlike others, it had to be a name that would trip off the tongue and it had to be one that would be protected by registration. The name Typhoo comes from the Mandarin Chinese word for “doctor”. Typhoo began making tea bags in 1967. In 1978, production was moved from Birmingham to Moreton on the Wirral Peninsula, in Merseyside. The Moreton site is also the location of Burton's Foods and Manor Bakeries factories. Typhoo has been owned since July 2021 by British private-equity firm Zetland Capital. It was previously owned by Apeejay Surrendra Group of India.
Photo from the Stephan Barth collection, scan kindly provided by him for inclusion on this page.
München-Riem
September 1983
G-BMON
Boeing 737-2K9/Adv
22416 / 709
Monarch Airlines
Information from airhistory.net - thanks to Gary Vincent:
Bavaria International Aircraft Leasing owned 737 was with Monarch Airlines (G-BMON) in 1980, with sub-leases to Pacific Western Airlines during December - April / May in 1985-86 and Canadian Airlines in 1987-88. The aircraft flew with TAP Air Portugal / Air Atlantis (CS-TEU) when not in Canada during 1988-89. After a short lease to South African Airways, it went to India with Damania Airways (VT-PDB) in 1993 and last flying with Air Sahara 1998 - 2007. It became a restaurant in the Aero Restro Entertainment Center which opened October 30, 2021 in Noida, India.
Registration details for this airframe:
www.planelogger.com/Aircraft/Registration/G-BMON/506268
G-BMON with Monarch at LTN in May 1985 (later colours):
www.flickr.com/photos/pslg05896/37422988832
C-GPWC with Pacific Western at LTN in April 1987:
abpic.co.uk/pictures/view/1489961
This airframe as C-GPWC with Canadian at GCM in December 1987:
cdn.jetphotos.com/full/5/60709_1542019380.jpg
This airframe as CS-TEU with Air Atlantis at DUB in September 1990:
www.flickr.com/photos/24101413@N03/15634729463
CS-TEU with TAP Air Portugal at AMS in January 1992:
www.airhistory.net/photo/295531/CS-TEU
CS-TEU leased to SAA at JNB in April 1992:
www.flickr.com/photos/157839500@N04/40989527974
This airframe as VT-PDB with Damania Airways at MLA in April 1994:
cdn.jetphotos.com/full/2/28334_1086873339.jpg
This airframe as ex-VT-SIF Air Sahara at DEL in May 2019:
imgproc.airliners.net/photos/airliners/9/3/0/6040039.jpg
ex-VT-SIF used as Aero Restro at Garden Galleria Mall, Noida, India, in June 2021:
imgproc.airliners.net/photos/airliners/3/9/3/6484393.jpg
Scan from Kodachrome slide.
This lovely Adult Male Kingfisher was sitting pretty and deep in thought on the River Plym, I watched him for some time as he sat and just seemed to take in the view, a few shots and then just sit back and enjoy this beautiful bird! :)
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