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Screenshots of from the video "Forever What? - Loop Forever" by Skye Thorstenson
Image is intended for exhibition publicity use only.
Selling or distributing photographs for commercial use is prohibited
without the permission of SOMArts Cultural Center
Jacket, 1800
JC Frank
Wool, silk, silver thread, wooden buttons
In 1793 the Prince of Wales was appointed colonel of the 10th Light Dragoons, something that caused him to feel 'boundless joy'. The miniature in this case may have been painted to commemorate this event. The Prince of Wales had long been fascinated by the flamboyant uniforms of the Hungarian hussar regiments, a picturesque interpretation of traditional Hungarian peasant dress. Hussar features were incorporated into the clothing of the prince's unit, which was later renamed the 10th Royal Hussars. These included frogging (looped cord decoration), a corded waist sash with tubular gold barrels and tassels, and a fur-lined pelisse cloak.*
From the exhibition
Style & Society: Dressing the Georgians
(April to October 2023)
The display brings together over 200 works from the Royal Collection, including paintings, prints and drawings by artists such as Gainsborough, Zoffany and Hogarth, as well as rare surviving examples of clothing and accessories. The exhibition builds up a layer-by-layer picture of what the Georgians wore - from the practical dress of laundry maids to the glittering gowns worn at court - and chart the transformation of clothing and silhouettes from the accession of George I in 1714 to the death of George IV in 1830.
At the heart of the exhibition is a rarely displayed, full-length portrait of Queen Charlotte by Thomas Gainsborough, c.1781, which usually hangs in the White Drawing Room at Windsor Castle. Painted by candlelight, it depicts the Queen in a magnificent gown, worn over a wide hoop and covered with gold spangles and tassels. The painting is be shown alongside a beautifully preserved gown of a similar style, worn at Queen Charlotte’s court in the 1760s, on loan from the Fashion Museum Bath.
On display for the first time is Queen Charlotte’s book of psalms, covered in the only silk fabric known to survive from one of her dresses. The expensive fabric, decorated with metal threads to glimmer in candlelight, was most likely repurposed after the dress had passed out of fashion. As textiles were highly prized, Georgian clothing was constantly recycled, even by the royal family, and there was a thriving market for second-hand clothes.
The exhibition includes items of jewellery from Queen Charlotte’s famed collection, such as a diamond ring featuring a miniature of her husband George III, given to her on her wedding day. Other accessories on display will include beautiful English and French fans, which reached their fashionable zenith during this period, some representing topical events such as the first hot air balloon flight, and jewel-encrusted snuffboxes, reflecting the craze amongst both men and women for taking snuff throughout the 18th century.
The exhibition reveals how the Georgians ushered in many of the cultural trends we know today, including the first stylists and influencers, the birth of a specialised fashion press and the development of shopping as a leisure activity. From the popularity of fancy-dress and the evolution of childrenswear, to the introduction of military uniforms and the role of clothing in showing support for revolutions at home and abroad, Style & Society will explore what clothing can tell us about all areas of life in the rapidly changing world of 18th-century Britain.
[*IanVisits]
From the Queen's Gallery, Buckingham Palace
Buckingham Palace
Royal Palace. 1825 design, begun 1826 by John Nash, rebuilding Buckingham House of 1705 as a palace for George IV, completed 1837 with alterations by Edward Blore; The east range added 1847-50 by Blore; the Ballroom block of 1853-54, with Ambassadors' Court, by Sir James Pennethorne; the east front refaced 1913 by Sir Aston Webb for George V
Marble faced east front, the rest Bath stone except for Blore's west quadrangle front in Caen stone; slate and leaded roofs. Quadrangle plan. Monumental Graeco-Roman, composed with picturesque intent by Nash; Webb's east front a stiff Dixhuitieme exercise constrained by Blore's existing range but with elegant detailing: East front: three storeys with ground and attic floor mezzanines. Fenestration in rhythm 3:7:3:7:3 with centrepiece and terminal pavilion. Channelled ground floor with semicircular arched central gateway flanked by square headed doorways, all with fine ornamental iron gates of 1847; end pavilions and main range with square headed and semicircular arched gateways respectively; architraved sashes with open pediments on first floor and cornices on second floor; fluted Corinthian pilasters rise through first and second floors supporting main entablature with blocking course and balustraded parapet; centrepiece and terminal pavilions with Corinthian columns in antis and plain outer pilasters, in pairs on centrepiece, crowned by blind attics with pediments; continuous balustraded balcony to first floor.
West front: of Blore's east range; advanced centrepiece with tetrastyle giant fluted Corinthian column portico above archway; sculpture in pediment. North and South quadrangle ranges: by Nash and given uniform three storey height, with attic, by him in 1828; slightly advanced five-window wide pilastered centrepieces; ground floor Greek Doric colonnades filled in by Blore; to the south Ambassadors' Court with temple portico-porch and flanking ranges with Corinthian colonnade in antis, adjoining Pennethorne's 1853-1854 Ballroom block which continues giant columned corner pavilion theme of Nash's garden front.
East front of Nash's West range: originally open to deep forecourt and Mall, has storeys and attic main block, 11 windows wide, with three storey three-window wings, the main block with prominent, tetrastyle, two storey portico centrepiece, its low ground storey with cast iron coupled Greek Doric columns and the upper with giant coupled stone Corinthian columns carrying entablature and pediment with sculpture by Baily and crowning figures in Coade stone by W Croggan; the cast iron Doric colonnade is returned across ground floor of main block which has pavilion end bays dressed with giant pairs of Corinthian columns; tall blind attic; the friezes either side of portico by Westmacott and originally intended for the attic of Marble Arch.
West garden front, by Nash: Long symmetrical composition with five accents; basement, ground floor, piano nobile through two storeys and attic to main block with three-storey wings; the main block with five-window central bow and three-window side ranges terminating in one-window pavilions; the wings each of four windows with similar pavilion end bays; ground floor channelled, giant engaged Corinthian columns to bow and detached coupled Corinthian columns to pavilions carrying entablature with rich rinceau frieze; large frieze panels of Coade stone over first floor by Croggan; the attic above half dome of bow (Blore's replacement of Nash's dome) has a frieze by Westmacott intended for Marble Arch; the range is flanked at east of terrace by projecting conservatories in the form of hexastyle Ionic temples with pediments; the south conservatory altered as palace chapel in 1893 and as the Queen's Gallery in 1962.
Interior: State Apartments in west range at firs floor level, with two suites divided by the Picture Gallery, c1829-36 by Nash and Blore, in rich and already eclectic Graeco-Roman style with Louis XIV and Wren details in mouldings and motifs, approached via the Grand Hall with marble columns and Nash's recasting of the original Buckingham House staircase as well as by Pennethorne's Grand Staircase to south extended by Pennethorne to give access to his Ballroom block; the Picture Gallery redecorated 1914; the interior of the Ballroom retains Pennethorne's ceiling and throne recess but redecorated by Ludwig Gruner in 1902 when the walls, windows and doorways were remodelled by Verity; the plainer ground floor rooms below the State Apartments survive virtually as designed by Nash. Marble Arch (qv) designed by Nash in 1828 as the forecourt gateway was removed by Blore's east range and re-erected in 1851 on its present site.
[Historic England]
I used to be in Denmark every other month, but since Babs moved to Holland my trips to the north have been less frequent.
So it was good to be back in Kopenhagen and see some old friends.
Hey, I even went to Tivoli for the first time in my life. Long overdue, I know.
And I got bitten a zillion times by nasty mosquitos in a forest near Hornsved.
Built in 1925-1930, this Art Deco-style skyscraper was designed by Holabird and Root for the Chicago Board of Trade, which was founded in 1848 as an exchange for merchants in the rapidly developing city of Chicago, and replaced an earlier building that stood on the same site from 1885 until 1929. The previous building was the tallest in the city of Chicago from 1885 until 1895, when structural issues forced the truncation of the clock tower, with the present building taking up that mantle upon its completion in 1930, standing 44 stories and 604 feet (184 meters) tall, being the city’s tallest building until the completion of the Richard J. Daley Center in 1965. The tower forms a visual terminus along the northern section of LaSalle Street, which shifts a half-block west at Jackson Boulevard, highlighting the building as viewed down the skyscraper canyon from the north.
The building gets smaller as it rises, with a tower at the south end of the historic building, two shorter wings extending to the north, and a six-story base that covers the entire half-block footprint of the building. The exterior of the building is clad in limestone, with polished granite cladding at the base, the words “Chicago Board of Trade” engraved above the central bays of the north facade, flanked by decorative sculptural reliefs of bulls, tall window bays on the base with glass and metal spandrels, metal trim at the windows, and a central light court above the sixth floor with a parapet featuring sculptural reliefs surrounding a clock at the front. Above the base, the building is U-shaped, with two wings that rise thirteen stories above the base with vertical columns of one-over-one double-hung windows in the central bays with recessed metal spandrel panels that rise from decorative carved relief panels at the base, mechanical penthouses flanking the central light court atop the roof of each wing, low-slope roofs enclosed by parapets, and metal fire escapes mounted to the east and west facades of the building. Above this rises the building’s main tower, which features multiple setbacks, tapering as it rises, metal spandrel panels between windows in the central bays, decorative pilasters, and a hipped roof clad in standing seam metal, and crowned with an aluminum statue of the Roman Goddess of Grain, Ceres, created by John H. Storrs, which has no facial features. The building was expanded to the south in 1980 with a 23-story Postmodern-style addition, which was designed by Helmut Jahn, and is clad in glass curtain walls with a hipped roof, limestone panels, and arcades on the east and west facades of the ground floor, which is connected via an elevated multi-story walkway to the adjacent 1995 five-story annex, designed by Fujikawa Johnson, which is similar in appearance to the 1980 addition. Inside, the building houses offices, trading floors, with an intact Art Deco-style multi-story lobby with glossy polished black and white marble wall cladding, brass screens, railings, and trim, and a large light fixture down the middle of the ceiling, which was once the largest light fixture in the world.
The building was designated a Chicago Landmark in 1977, and was both listed on the National Register of Historic Places and designated a National Historic Landmark in 1978. The building has been modernized through a series of renovations, though it remains home to trading firms and offices, as well as the Chicago Board of Trade, one of the world's oldest futures and options exchanges, today known as CME Group after its merger with the Chicago Mercantile Exchange in 2007. The building is the tallest and most prominent of several structures along LaSalle Street that form a historic Skyscraper “Canyon” that terminates at the tallest structure along the street, the Board of Trade Building.
Montrose Brown sign. A little something to remind me of Houston (because there's a Montrose and a Loop there).
Secret Stairs hike - Los Feliz-Griffith Park Loop, Frank Lloyd Wright, Ennis House, Griffith Observatory
The annual Loop Run event was held Oct. 25 on the Sagamihara Family Housing Area installation as part of U.S. Army Garrison Japan Commander’s Cup. Camp Zama’s community members, Soldiers and pets dressed up in their costumes to raced around SFHA.
Seamlessly Looping Background Animation Of Smooth Evolving Backgrounds For Text Overlays And Minimal Distraction. Checkout GlobalArchive.com, contact ChrisDortch@gmail.com, and connect to www.linkedin.com/in/chrisdortch
Built in 1925-1930, this Art Deco-style skyscraper was designed by Holabird and Root for the Chicago Board of Trade, which was founded in 1848 as an exchange for merchants in the rapidly developing city of Chicago, and replaced an earlier building that stood on the same site from 1885 until 1929. The previous building was the tallest in the city of Chicago from 1885 until 1895, when structural issues forced the truncation of the clock tower, with the present building taking up that mantle upon its completion in 1930, standing 44 stories and 604 feet (184 meters) tall, being the city’s tallest building until the completion of the Richard J. Daley Center in 1965. The tower forms a visual terminus along the northern section of LaSalle Street, which shifts a half-block west at Jackson Boulevard, highlighting the building as viewed down the skyscraper canyon from the north.
The building gets smaller as it rises, with a tower at the south end of the historic building, two shorter wings extending to the north, and a six-story base that covers the entire half-block footprint of the building. The exterior of the building is clad in limestone, with polished granite cladding at the base, the words “Chicago Board of Trade” engraved above the central bays of the north facade, flanked by decorative sculptural reliefs of bulls, tall window bays on the base with glass and metal spandrels, metal trim at the windows, and a central light court above the sixth floor with a parapet featuring sculptural reliefs surrounding a clock at the front. Above the base, the building is U-shaped, with two wings that rise thirteen stories above the base with vertical columns of one-over-one double-hung windows in the central bays with recessed metal spandrel panels that rise from decorative carved relief panels at the base, mechanical penthouses flanking the central light court atop the roof of each wing, low-slope roofs enclosed by parapets, and metal fire escapes mounted to the east and west facades of the building. Above this rises the building’s main tower, which features multiple setbacks, tapering as it rises, metal spandrel panels between windows in the central bays, decorative pilasters, and a hipped roof clad in standing seam metal, and crowned with an aluminum statue of the Roman Goddess of Grain, Ceres, created by John H. Storrs, which has no facial features. The building was expanded to the south in 1980 with a 23-story Postmodern-style addition, which was designed by Helmut Jahn, and is clad in glass curtain walls with a hipped roof, limestone panels, and arcades on the east and west facades of the ground floor, which is connected via an elevated multi-story walkway to the adjacent 1995 five-story annex, designed by Fujikawa Johnson, which is similar in appearance to the 1980 addition. Inside, the building houses offices, trading floors, with an intact Art Deco-style multi-story lobby with glossy polished black and white marble wall cladding, brass screens, railings, and trim, and a large light fixture down the middle of the ceiling, which was once the largest light fixture in the world.
The building was designated a Chicago Landmark in 1977, and was both listed on the National Register of Historic Places and designated a National Historic Landmark in 1978. The building has been modernized through a series of renovations, though it remains home to trading firms and offices, as well as the Chicago Board of Trade, one of the world's oldest futures and options exchanges, today known as CME Group after its merger with the Chicago Mercantile Exchange in 2007. The building is the tallest and most prominent of several structures along LaSalle Street that form a historic Skyscraper “Canyon” that terminates at the tallest structure along the street, the Board of Trade Building.
235 Van Buren is a 46-story condo under construction in Chicago's South Loop.
Rate and review 235 Van Buren at NewHomeNotebook.
Seamlessly Looping Background Animation Of Religious Video Backgrounds For Sermons. Checkout GlobalArchive.com, contact ChrisDortch@gmail.com, and connect to www.linkedin.com/in/chrisdortch
Built in 1926-1927, this Renaissance Revival-style skyscraper was designed by Burnham Brothers, with both architects being the sons of Daniel H. Burnham, and is also known as the Bankers Building. The building stands 41 stories and 476 feet (145 meters) tall. It features a granite and limestone base with decorative carved reliefs and large storefront openings and plate glass windows on the first two floors, with the upper two floors of the four-story base featuring vertical columns of windows with recessed metal spandrel panels, and flanked by decorative carved reliefs, with the parapet of the base featuring a stepped middle section with more relief and ornament. The stone trim extends to the fifth floor, where it mingles with the cream brick of the upper levels, and features heavy use of reliefs to demarcate the top of the compositional base of the building and the transition to the shaft, which comprises most of the building’s height, and is relatively unadorned with cream brick cladding, corner pillars and pilasters between window bays, with the massing of the upper portion of the building being H-shaped with light courts to the east and west on the lower portion of the tower, with the upper portion being thinner and rectangular, tapering with setbacks to the north and south towards the top. The building is one of many historic skyscrapers in the Chicago Loop, and remains in use as a commercial office building with retail space at the base.
Seamlessly Looping Background Animation Of A Stranger Side Of The Christmas Season. Checkout GlobalArchive.com, contact ChrisDortch@gmail.com, and connect to www.linkedin.com/in/chrisdortch
Seamlessly Looping Background Animation Of Hard Geometry and Shape Extrusions Create An Edgy But Artistic Feel. Checkout GlobalArchive.com, contact ChrisDortch@gmail.com, and connect to www.linkedin.com/in/chrisdortch