View allAll Photos Tagged madeingermany
de.wikipedia.org/wiki/Schloss_ob_Ellwangen
Vielen Dank für eure Favoriten und netten Kommentare/Awards ☺️
Thank you so much for your favorites and kind comments/awards ☺️
Shot with my 1964 Carl Zeiss Jena Pancolar 50mm F/1.8 rare 8 aperture blade version.
This East German Zeiss was manufactured until 1991 and was usually found attached to Praktikas via the M42 mount.
This lens was produced with rare-earth compounds containing lanthanum are extensively used in carbon lighting applications, especially by the motion picture industry for studio lighting and projection. Lanthanum (III) oxide is used in some camera lenses. It’s added to reduce dispersion and improve the clarity of images.
© All Rights Reserved
Shot with my 1964 Carl Zeiss Jena Pancolar 50mm F/1.8 rare 8 aperture blade version.
This East German Zeiss was manufactured until 1991 and was usually found attached to Praktikas via the M42 mount.
This lens was produced with rare-earth compounds containing lanthanum are extensively used in carbon lighting applications, especially by the motion picture industry for studio lighting and projection. Lanthanum (III) oxide is used in some camera lenses. It’s added to reduce dispersion and improve the clarity of images.
© All Rights Reserved
A vintage AutoKnips IV selftimer. It's a cool piece of photo history that still works. Made in Germany. I'm unsure of the year. Probably circa 1970. It even works on my Fujifilm X-T30. #AutoKnips #B&W #ShutterRelease #nostalgia
Die älteren flickr Freunde aus Deutschland werden sich noch an ihn erinnern. An den Opel Rekord aus den späten 50'ern, der bis weit in die 60'er Jahre hinein, als ein Symbol des Wirtschaftswunders, dass deutsche Straßenbild prägte. Gerne wurde er auch als der "Mercedes des kleinen Mannes" bezeichnet. Zeiten in denen die deutsche Wirtschaft boomte und "Made in Germany" nicht nur eine Floskel war. Lang, lang, ist's her 😢
The older flickr friends from Germany will still remember it. The Opel Rekord from the late 50s, which dominated the German streets until well into the 60s as a symbol of the economic miracle. It was also often referred to as the "little man's Mercedes". Times in which the German economy was booming and "Made in Germany" was not just a cliché. It's been a long, long time.😥
"Once, beauty lived in every line,
In eyes that caught the summer shine.
Now time has touched the looking glass,
And blurred the things that could not last.
A thousand cracks run through the view,
Each holding something old and true.
The silver fades, the edges fray,
And youth slips quietly away.
Yet in the fragments, soft and small,
There lingers beauty, after all."
A poetic offering from your humble photographer.
This lovely, rather coquettish four inch half-doll made by Dressel Kister & Cie, is another recent acquisition for me. Produced in Passau, Germany during the late 1910s to early 1920s, when Dressel Kister & Cie were arguably at their zenith for quality and creativity, this half-doll is an interesting amalgam of their Rococo ladies with her pomaded Eighteenth Century wig, and the more modern and independent woman of the Art Deco Jazz Age who wears kohl around her eyes, plucks and shapes her eyebrows and wears a cupid's bow on her lips. Rather than being demure, with downward cast eyes and a gentle smile as so many Rococo half-dolls are, she is gazing out at us unapologetically, with a cheeky smile on her lips, as she holds her fan just so to give her a modicum of modesty. She is based on the vibrant Berlin cabaret women during the heady years of the Weimar Republic in Germany, when Avante guard and sensuality were the bywords of fashion.
I have posed her in her equally dramatic, Orientally inspired, luxurious Art Deco boudoir - the height of fashion in the interwar years. The wallpaper is beautiful vintage printed silk crêpe with hand painted gold embellishments, from Japan. She gazes out at us through the splintered glass of a broken hand mirror (for a sterling silver backed hand mirror it is), which adds extra drama, which I rather fancy suits this half-doll's style.
I bought the silver backed hand mirror in this broken state. In truth I did not even know I had bought it, broken or otherwise, until I brought it home. It came affixed in place inside the lid of an antique leather nécessaire de voyage (travel necessaire – a comprehensive, portable vanity or dressing case designed to hold personal grooming, hygiene, and dining essentials while traveling) which I thought was a sewing box as it was filled with beautiful vintage embroidery silks and haberdashery which I bought at a National Trust vintage and collectables fundraising sale. Now being British, I have that particular national character trait of not throwing things away sometimes as they "may come in useful", so I left the broken mirror in place inside the box.
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century with an upper body, head, arms, but usually with no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel Kister & Cie, Heubach, Goebel and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers. In this case, this four inch high half-doll is part of Dressel Kister & Cie's luxury line, designed for export to Britain or America, and was made for either a jewellery case, a powder puff, pin cushion or a brush.
Dressel Kister & Cie were one of the most important German porcelain manufacturers of the Nineteenth and early Twentieth Centuries, best known today for their exquisitely modelled figurines and half‑dolls. Their history spans both Thuringia and Passau, and the name appears in several related factory phases. Dressel Kister began as a Thuringian porcelain works in the mid‑1800s, producing pipe bowls, doll heads, and eventually high‑quality figurines. By the early Twentieth Century, the Passau branch (Dressel, Kister & Cie.) became especially known for luxury figurines and half‑dolls, many of which are highly collectible today. The early factory in Scheibe‑Alsbach, Thuringia was active under the name Dressel, Kister & Co. from 1844 to 1863, producing small porcelain items and later expanding into figures. A later branch, Dressel, Kister & Cie. in Passau, was established after three businessmen purchased a factory in 1853. This branch produced high‑quality figurines and half‑dolls, exporting worldwide. The business thrived, making half‑dolls (including exotic themes like parrots, dancers, and ladies with animals) and high‑quality figurines inspired by Meissen and Höchst traditions, all with finely painted faces, delicate modeling, and elegant poses. When the Great Depression hit, Dressel, Kister & Cie suffered as so many people no longer had money spare to buy their luxury porcelain items, and the Passau factory finally went bankrupt in 1936, and was absorbed into the Volkstedter porcelain group. Export pieces, often unmarked or marked only with mould numbers were produced and sent to France and England until the Great Depression.
Jane sits at the window but finds me more entertaining than the birds right now. This gives me a great chance to capture a portrait of her with a blur of bokeh out the window.
Leica 110-200mm f/3.5 Projector Lens
Instacora F-2 (1968)
San Juan, Puerto Rico
Mi galeria en Color www.flickr.com/photos/samycolor
Mi Galeria en B&N www.flickr.com/photos/samycollazo
Arista Edu 100
Instacora F-2 (1968 made in Germany)
126 Film Cartridge
Nik Silver Efex Pro 2
Lightroom 3
“Just wish for the moon,
And the moon will appear:
Lighting the sky, just for you.
If you imagine, your fears disappear.
There’s nothing you can’t do.
I’ll make a wish for two.
And I’ll imagine,
I’m dancing with you.”
Lyrics from “Wish for the Moon” by Lori McKelvey, from the 1987 Cannon Movie Tales film “Beauty and the Beast”, starring Rebecca De Mornay and John Savage.
The theme for "Looking close on Friday" for the 28th of August is "spheres". That leaves the theme very open to any number of choices. I was originally going to photograph my Grandmother’s Mikimoto pearls, but then I opted for something quite different. I have recently acquired this wonderful 1920s Dressel Kister & Cie Pierrot half-doll, with a beautifully pensive and wistful look on his face. I decided that I would surround him with glass marbles which I use for floral arrangements, which are of course spherical. I love the way some reflect or magnify the textures of the piece of satin I have arranged around him as a costume and the crushed French red velvet I have used as a dramatic contrasting background. I hope you like my choice for this week’s theme, and that it makes you smile!
Most half-dolls feature the upper half of a young woman, but not always. Another popular character of the inter-war years when half-dolls were at their zenith in popularity was Pierrot, who is a stock character of pantomime and commedia dell’arte whose origins date back to the late Seventeenth Century Italian troupe of players performing in Paris and known as the Comédie-Italienne. The name is a diminutive of Pierre, using the suffix -ot and derives from the Italian Pedrolino. Although he looks quite feminine, he is undoubtedly a man. Beneath the satin I have wrapped around him, he has a young man’s chest rather than a lady’s.
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century with an upper body, head, arms, but no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel Kister & Cie, Heubach, Goebel and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers. In this case, four and a half inch high half-doll is part of Dressel Kister & Cie's Pierrot series of moulds, and was made for either a jewellery case, a powder puff, brush, pin cushion or maybe even a boudoir lamp.
Dressel Kister & Cie were one of the most important German porcelain manufacturers of the Nineteenth and early Twentieth Centuries, best known today for their exquisitely modelled figurines and half‑dolls. Their history spans both Thuringia and Passau, and the name appears in several related factory phases. Dressel Kister began as a Thuringian porcelain works in the mid‑1800s, producing pipe bowls, doll heads, and eventually high‑quality figurines. By the early Twentieth Century, the Passau branch (Dressel, Kister & Cie.) became especially known for luxury figurines and half‑dolls, many of which are highly collectible today. The early factory in Scheibe‑Alsbach, Thuringia was active under the name Dressel, Kister & Co. from 1844 to 1863, producing small porcelain items and later expanding into figures. A later branch, Dressel, Kister & Cie. in Passau, was established after three businessmen purchased a factory in 1853. This branch produced high‑quality figurines and half‑dolls, exporting worldwide. The business thrived, making half‑dolls (including exotic themes like parrots, dancers, and ladies with animals) and high‑quality figurines inspired by Meissen and Höchst traditions, all with finely painted faces, delicate modeling, and elegant poses. When the Great Depression hit, Dressel, Kister & Cie suffered as so many people no longer had money spare to buy their luxury porcelain items, and the Passau factory finally bankrupt in 1936, and was absorbed into the Volkstedter porcelain group. Export pieces, often unmarked or marked only with mould numbers until the Great Depression.
If you follow my photostream, you will know that I have a very large family of bears who have all sorts of fun adventures, and life is never dull.
However, not all my bears feature regularly, or even partake in these bear adventures. These tend to be a small contingent of very old and antique bears who live with me, who prefer the more genteel and sedate pastimes of their youth as they live out their dotage with me.
One such bear is Malmsbury, who is a very precious and early German velvet mohair plush bear from around 1910. He has articulated limbs and a head that turns, dark glass bead eyes, calico paw pads, and he once had a growler in his stomach, the depression of which is still visible on his tummy (hidden artfully today by a pink grosgrain ribbon). The early growlers consisted of weighted bellows, often made of cardboard, wood, and oilcloth, which emitted a growling sound when the bear was tipped over. Being over 110 years of age, his growler no longer works. He is very heavy, as his innards consist of Wood Wool (Excelsior), which is a product made of wood slivers cut from logs. It provided a firm shape in early teddy bears, but was not soft to the touch, which is possibly one of the reasons why Malmsbury's limbs are in such fine condition.
Malmsbury enjoys nothing more when the day is fine than taking tea in a fine china cup, sitting in the garden on the lawn in a comfortable Peacock Chair, beneath a vintage parasol to protect his pale golden complexion from the sun. Perhaps you'd care to join us for a tea?
As Malmsbury pre-dates colour photography, I have given this image a vintage treatment and washed out the colour to make it appear as though it has been hand tinted, as so many special photographs from the Edwardian era were.
Malmsbury's teacup and saucer are part of a Cinderella tea set made by TG Green in Derbyshire in the 1880s, decorated with chocolate brown transfers from the story. The parasol is a 1920s Art Deco French child's parasol made of an early form of artificial silk, featuring a handle of a little boy in red wearing a beret, made of Bakelite. Malmsbury's Peacock Chair was a present this Christmas just gone from my dear Flickr friend and fellow fossicker of treasures, Kim BKHagar *Kim*.
Am vierten Advent 2022 ergab sich die Gelegenheit einen reinen Kesselwagenzug auf der PE (Plauen – Eger) zu fotografieren. Auf Grund eines Verbots für Gefahrguttransporte auf der KBS 544, gab es selten bis gar nicht die Gelegenheit Kesselzüge zu beobachten. Dies änderte sich am heutigen 18. Dezember 2022 als 232 413 mit einem Rapsöl beladenen Kesselzug von Vojtanov/Adorf nach Gera/Leipzig unterwegs war.
Exakta ll (1949)
Domiplan 50mm F:2.8
San Juan, Puerto Rico
Mi galeria en Color www.flickr.com/photos/samycolor
Mi Galeria en B&N www.flickr.com/photos/samycollazo
Nik Silver Efex Pro 2
Lightroom 3
Am 30. Mai 2021 ergab sich erneut die Gelegenheit ein Ludmilla-Pärchen mit einem Kesselzug zu fotografieren. Als Kulisse wurde dieses mal ein Rapsfeld nahe Christgrün im Vogtland gewählt.
Während meines Aufenthaltes in Cheb am 10. Februar 2023 konnte ich 132 426 der Nossen-Riesaer Eisenbahn-Compagnie GmbH kurz "NRE" welche aktuell für die TRIANGULA Logistik GmbH (TRG) zu Diensten steht mit einem Skoda-Autozug fotografieren.
Lok 89 008, Schwerin, Mecklenburg-Vorpommern,
Nord Deutschland, 27. April 2013,
Mecklenburgisches Eisenbahn- und Technikmuseum,
am Schweriner Hauptbahnhof.
Info: 52055746.swh.strato-hosting.eu/24PAGE/24Fahrzeug10/089008...
52055746.swh.strato-hosting.eu/01PAGE/
Güterzugtenderlokomotive 89 008
Fabriknummer: 23583
Baujahr: 1937
Fabrikant: Henschel & Sohn, Kassel
Bauart: C h2
Länge über Puffer: 9.600 mm
Gattung: Gt 33.15
Dienstmasse: 45 t
Leistung: 525 PSi
Feuerungsart: Rostfeuerung
Höchstgeschwindigkeit: 45 km/h
Treib- und Kuppelraddurchmesser: 1.100 mm
Indienststellung: 28.01.1938
erste Beheimatung: Bahnbetriebswerk Berlin Tempelhof Vbf
Z-Stellung: 15.10.1965
letzte Beheimatung: Bahnbetriebswerk Dresden Altstadt
Eigentümer: Mecklenburgische Eisenbahnfreunde Schwerin e.V.
nicht betriebsfähig
Das Unternehmen Railsystems RP aus Gotha ist dafür bekannt, etliche ehemalige Loks der Deutschen Bundesbahn - insbesondere aus der Baureihe 218 - bestens gepflegt und in historischer Lackierung einzusetzen. Daneben nennt man aber auch hochmoderne Fahrzeuge sein Eigen, wie zum Beispiel den Dual Mode Vectron 248 002. Die Zweikraftlok kam am 09. Juni 2023 vor dem mit Schnittholz beladenen DGS 59766 von Kaufering nach Brake zum Einsatz. Bei Nordheim in der schwäbischen Lechebene konnte ich den besagten Zug aufnehmen. Besonderes Augenmerk verdient die Gestaltung der Seitenwand der Lok, die auf den höchst unterschiedlichen Fahrzeugpark des Unternehmens hinweist. Die Loks der Baureihe 151 und 218 sind stilisiert wie in einem historischen Katalog des Modellbahnherstellers Märklin aus den 1960er Jahren dargestellt. Eine gelungene Reminiszenz wie ich finde.
The company Railsystems RP from Gotha is known for using several former locomotives of the German Federal Railroad - especially from the 218 series - well maintained and in historic livery. In addition, the company also owns ultra-modern vehicles, such as the dual mode Vectron 248 002, which was used on June 9, 2023 in front of DGS 59766 from Kaufering to Brake loaded with lumber. Near Nordheim in the Swabian Leche plain, I was able to take a picture of the train in mentioned. The design of the locomotive's side wall deserves special attention, indicating the company's highly diverse rolling stock. The class 151 and 218 locomotives are depicted stylized as in a historical catalog of the model train manufacturer Märklin from the 1960s. A successful reminiscence in my opinion.
This is a antique silver napkin ring, it came from my Mom's family, that is all I know.
This is 3,5 cm.
Happy Macro Monday
Thank you for your views, faves and or comments, they are greatly appreciated !!!
Don't use this image on websites, blogs or other media without my explicit permission !!!
© all rights reserved Lily aenee
According to historical consensus, tragic French Queen, Marie Antoinette never actually said "let them eat cake". The phrase is a famous historical myth and a piece of political propaganda used after her death on the guillotine, designed to portray her as callously out of touch with starving peasants, thus justifying her execution.
The exact line, "Qu'ils mangent de la brioche" (which translates to "Let them eat brioche/cake"), first appeared in 1767 in French philosopher Jean-Jacques Rousseau's autobiographical book, 'Confessions'. Rousseau attributed the quote to an unnamed "great princess." However, when he wrote this, Marie Antoinette was only a young girl living in Austria, long before she became Queen of France. Because Rousseau's writings heavily influenced the French Revolutionaries, the story was weaponised and falsely credited to Marie Antoinette as a way to stoke outrage against the monarchy. The specific phrase was not officially linked to Marie Antoinette in print until 1843—more than fifty years after her execution by the guillotine—when French journalist Alphonse Karr attributed it to her.
In spite of that, I could not resist creating this scene using one of my newer Dressel Kister & Cie half-dolls. Although not specifically designated the name Marie Antoinette, this "Lady Holding Rose with Yellow Shawl" is very much in the style of women like Marie Antoinette and other aristocratic ladies of the French Court in the lead up to French Revolution, and she does have a certain haughtiness when photographed from this angle.
This "Lady Holding Rose with Yellow Shawl" half-doll (mould number 32) made by Dressel Kister & Cie in 1918 is extremely rare, especially with no damage to her hand moulded rose which has individually made petals. She is one of the most refined examples of Dressel Kister & Cie’s Rococo revival artistry. The sculpt’s serene expression, powdered coiffure, careful painting and delicate rose are hallmarks of Dressel Kister & Cie’s high‑end production. If you look carefully at her raised hand, you can even see her sculped fingernails! She is unmarked with her mould number, but this is not unusual in larger moulds made specifically for the export market, sold through foreign distributors.
I have posed her with pieces of Victorian era Rococo style doll's china, and a selection of Maileg petit fours, which I think make a wonderful choice of cakes fit for a French Queen. The backdrop is a piece of vintage tapestry fabric, which I think makes a suitably noble background.
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century with an upper body, head, arms, but no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel Kister & Cie, Heubach, Goebel and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers. In this case, my six and a half inch high half-doll (one of the largest I own) is part of Dressel Kister & Cie's luxury line, and was made for either a jewellery case, a powder puff, a large pin cushion or a boudoir lamp.
Dressel Kister were one of the most important German porcelain manufacturers of the Nineteenth and early Twentieth Centuries, best known today for their exquisitely modelled figurines and half‑dolls. Their history spans both Thuringia and Passau, and the name appears in several related factory phases. Dressel Kister began as a Thuringian porcelain works in the mid‑1800s, producing pipe bowls, doll heads, and eventually high‑quality figurines. By the early Twentieth Century, the Passau branch (Dressel, Kister & Cie.) became especially known for luxury figurines and half‑dolls, many of which are highly collectible today. The early factory in Scheibe‑Alsbach, Thuringia was active under the name Dressel, Kister & Co. from 1844 to 1863, producing small porcelain items and later expanding into figures. A later branch, Dressel, Kister & Cie. in Passau, was established after three businessmen purchased a factory in 1853. This branch produced high‑quality figurines and half‑dolls, exporting worldwide. The business thrived, making half‑dolls (including exotic themes like parrots, dancers, and ladies with animals) and high‑quality figurines inspired by Meissen and Höchst traditions, all with finely painted faces, delicate modeling, and elegant poses. When the Great Depression hit, Dressel, Kister & Cie suffered as so many people no longer had money spare to buy their luxury porcelain items, and the Passau factory finally bankrupt in 1936, and was absorbed into the Volkstedter porcelain group.
Export pieces, often unmarked or marked only with mold numbers until the Great Depression.
Am 31. Dezember 2022 war die E11 013 der „Interessengemeinschaft Traditionslokomotive 58 3047 e.V.“ mit ihrem Leerreisezug 17460 welcher von Glauchau nach Plauen verkehrte im oberen Bahnhof von Plauen angekommen.
Am 24. September 2022 überführte 204 012 der Pressnitztalbahn GmbH den Anti-Drogen-Zug auch Revolutiontrain genannt von Erfurt zurück ins Tschechische Kraslice. Ich habe den Sonderzug am alten Umspannwerk in Herlasgrün für die Nachtwelt fotodokumentarisch festgehalten.
232 182 der WFL (Wedler Franz Logistik GmbH & Co. KG) war am 26. März 2022 mit einem Schotterzug von Zwickau nach Oelsnitz im Vogtland unterwegs. Die Rund 600 Tonnen schwere Fuhre konnte in Kürbitz Bildlich festgehalten werden.
Rechenmaschine der Firma "Grimme, Natalis & Co., Aktiengesellschaft Braunschweig. So genanntes "Gehirnstahl" aus Braunscheig, Made in Germany.
Mit einem Kesselzug konnte am 03. Juli 2022 die Bilaterale 155 219 nahe Jocketa bzw. Liebau fotografiert werden.
My goodness! I wonder what my little novelty pelican has seen that has made his beak drop? I must take a look.
This is one of the most unusual and whimsical examples of a novelty half-doll that I have in my collection. Having arrived from Britain just yesterday, he is so comical, that I just couldn't wait to share him with you!
This little five centimetre pelican‑like figure is part of Dressel Kister & Cie’s novelty miniature range, produced between 1925 and 1930, and it’s one of the more eccentric molds in their catalogue. The 9900‑series moulds, of which he is one, were Dressel Kister & Cie’s playful departure from their elegant ladies for which they are best known — a line of animal and comic novelties designed specifically for the export market and sold to European and British gift shops. 9915 is a Parrot, 9911 is a Duck and often paired with 9913, which is a pelican. Created in a stylised and comical Art Deco fashion, with an exaggerated beak and bulging eyes and a bold Art Deco palette, these were often mounted on small pincushions or used as whimsical desk ornaments.
Animal novelties were produced in smaller batches than human moulded half‑dolls and are very rare. The 9913 pelican mould is sought after for its humour and distinctive modeling.
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century, usually in the form of a young woman, with an upper body, head, arms, but no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel Kister & Cie, Heubach, Goebel and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers. In this case, my five centimetre high half-doll is a more unusual and rare animal model and were often mounted on small pincushions or used as whimsical desk ornaments.
Dressel Kister were one of the most important German porcelain manufacturers of the Nineteenth and early Twentieth Centuries, best known today for their exquisitely modelled figurines and half‑dolls. Their history spans both Thuringia and Passau, and the name appears in several related factory phases. Dressel Kister began as a Thuringian porcelain works in the mid‑1800s, producing pipe bowls, doll heads, and eventually high‑quality figurines. By the early Twentieth Century, the Passau branch (Dressel, Kister & Cie.) became especially known for luxury figurines and half‑dolls, many of which are highly collectible today. The early factory in Scheibe‑Alsbach, Thuringia was active under the name Dressel, Kister & Co. from 1844 to 1863, producing small porcelain items and later expanding into figures. A later branch, Dressel, Kister & Cie. in Passau, was established after three businessmen purchased a factory in 1853. This branch produced high‑quality figurines and half‑dolls, exporting worldwide. The business thrived, making half‑dolls (including exotic themes like parrots, dancers, and ladies with animals) and high‑quality figurines inspired by Meissen and Höchst traditions, all with finely painted faces, delicate modeling, and elegant poses. When the Great Depression hit, Dressel, Kister & Cie suffered as so many people no longer had money spare to buy their luxury porcelain items, and the Passau factory finally bankrupt in 1936, and was absorbed into the Volkstedter porcelain group.
Export pieces, often unmarked or marked only with mold numbers until the Great Depression.
41 1144 ist hier mit dem wahrscheinlich in der letzten Saison verkehrenden Elstertal-Express alias RC 5398 Cheb – Gera Hbf unterwegs. Am Haltepunkt Plauen-Mitte konnte Deutschlands einziger internationale Dampfbespannte Regional-Express fotografiert werden – 10.10.2021.
Ersatzweise für die zur Hauptuntersuchung befindliche 076 111 der Stahlwerk Thüringen GmbH ist die von der Eisenbahnbau- und Betriebsgesellschaft Pressnitztalbahn mbH angemietete 223 052 aka 253 015 im Einsatz. Am 07. September 2022 hatte ich die Gelegenheit den nahezu täglich verkehrenden Güterzug von Unterwellenborn nach Cheb (CZ) an den Pöllwitzer Teichen zu fotografieren.
Wilhelmina, the Duchess of Whitby was a beauty of the age and admired not only for her beauty, but for her intelligence and her witty salons that she held. She was renown for her beautiful face, her stylish wigs and beautiful clothes. She was also well known for her impressive collection of pocket watches, and her wit. The former were all gifts from her beloved husband, the Duke of Whitby, whilst the latter came about because of her love of reading and words.
The theme for “Smile on Saturday” for the 18th of July is “watch the W”, a theme where it is required to take a photo where something beginning with the letter w should be the main subject of the picture. In this case, I have managed to capture a few items that begin with the letter W. Lady Wilhelmina the Duchess of Whitby is a woman (the first W) and wears a lovely wig (the second W). In her hand she holds a small ladies silver watch (the third W) made in France, which has a winder (the fourth W), whilst another leans against the book in the background. Thinking of the book: it contains many words (the fifth W) that have been printed on every page. I do hope you like my choice for the theme and that it makes you smile!
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century with an upper body, head, arms, but no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel Kister & Cie, Heubach, Goebel and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers. In this case, my beautifully hand painted half-doll made by ressel Kister & Cie, with her Eighteenth Century style wig and dress was made for a lady’s boudoir. She is one of my larger half-dolls, so I imagine she would have probably been a topper for a jewellery box, brush or pincushion.
Dressel Kister were one of the most important German porcelain manufacturers of the Nineteenth and early Twentieth Centuries, best known today for their exquisitely modelled figurines and half‑dolls. Their history spans both Thuringia and Passau, and the name appears in several related factory phases. Dressel Kister began as a Thuringian porcelain works in the mid‑1800s, producing pipe bowls, doll heads, and eventually high‑quality figurines. By the early Twentieth Century, the Passau branch (Dressel, Kister & Cie.) became especially known for luxury figurines and half‑dolls, many of which are highly collectible today. The early factory in Scheibe‑Alsbach, Thuringia was active under the name Dressel, Kister & Co. from 1844 to 1863, producing small porcelain items and later expanding into figures. A later branch, Dressel, Kister & Cie. in Passau, was established after three businessmen purchased a factory in 1853. This branch produced high‑quality figurines and half‑dolls, exporting worldwide. The business thrived, making half‑dolls (including exotic themes like parrots, dancers, and ladies with animals) and high‑quality figurines inspired by Meissen and Höchst traditions, all with finely painted faces, delicate modeling, and elegant poses. When the Great Depression hit, Dressel, Kister & Cie suffered as so many people no longer had money spare to buy their luxury porcelain items, and the Passau factory finally bankrupt in 1936, and was absorbed into the Volkstedter porcelain group.
Export pieces, often unmarked or marked only with mold numbers until the Great Depression.
The book that I have used as a backdrop is volume four of "The History of Charles Grandison in a Series of Letters" published in London by James Carpenter of Old Bond Street and William Miller or Albemarle Street in 1811.
In 1699, Seiffen resident Johann Friedrich Hiemann took Seiffen toys to market at Nuremberg. Nuremberg was a toy distribution market for much of Europe at that time. Seiffen was able to break into this large toy market thanks to two factors. First, the low cost of living and economic depression in the Ore Mountains allowed prices much lower than the rest of European toy manufacturers selling at the Nuremberg market. Second, the high quality of toys being produced in Seiffen.
"She wanders through a hush of morn where silver breezes glide,
Her little green parrot nestles close, a calm song at her side.
He chirps a tender lullaby that shimmers through the light,
A melody so feather‑soft it makes the day feel bright.
She smiles, and all the waking world seems wrapped in velvet air,
He answers with a whisper‑trill as if he’s casting care.
Together they move quietly through a world serene and slow,
A girl and her green dream‑bird in the gentle morning's glow."
A poetic offering from your humble photographer.
Yesterday, I received a new and beautiful, delicately hand painted, German half-doll made by Dressel Kister & Cie from their "exotic companions" series in the most lovely shades of yellow, red and black. She is accompanied by her little pet green parrot, who like her, has a sweet face. Most half-dolls usually consist of a head, torso and arms, however this one is more unusual. Dressel Kister & Cie produced a small number of seated half dolls, which are much rarer to find, and it is into this category that she falls. She is moulded with her legs curled up underneath her. You can just see one of her dainty red slipper clad feet poking out from beneath her yellow skirt toward the back of her. In spite of this difference, and being complete, she is still called a half-doll. I decided that I could not wait to photograph her any longer, and share her with you.
This "Lady with Parrot" half-doll (mould number 415) made by Dressel Kister & Cie around 1925 features typical trademarks of their early 1920s work. She has almond shaped eyes, a tilted head, an elongated neck, pursed cupid's bow lips, thin eyebrows, and a stylised Art Deco facial style. The whole piece has been very strongly influenced by the Art Deco movement. Her yellow skirt and black bodice is also very Art Deco in style, and this colour combination was typical of Dressel Kister & Cie's style.
I have seated her on a piece of beautiful blue embossed satin, and popped a few dainty satin roses around her knees.
The "half-doll" is a dainty porcelain or bisque figurine, fashionable in the early Twentieth Century with an upper body, head, arms, but no legs. These dolls were produced in the thousands at the height of their popularity by German factories such as Dressel Kister & Cie, Heubach, Goebel and Kestner. Later they were produced in France, America and later still, in Japan. They commonly served as handles and toppers for fabric covers made for powder boxes on ladies’ dressing tables and small brushes, however they were also made for jewellery boxes, pincushions, tea cosies and other covers. In this case, my two and a half inch high seated half-doll has a hollow base with two holes, which matches their construction for pincushions, powder puffs, boudoir lamps and powder boxes.
Dressel Kister were one of the most important German porcelain manufacturers of the Nineteenth and early Twentieth Centuries, best known today for their exquisitely modelled figurines and half‑dolls. Their history spans both Thuringia and Passau, and the name appears in several related factory phases. Dressel Kister began as a Thuringian porcelain works in the mid‑1800s, producing pipe bowls, doll heads, and eventually high‑quality figurines. By the early Twentieth Century, the Passau branch (Dressel, Kister & Cie.) became especially known for luxury figurines and half‑dolls, many of which are highly collectible today. The early factory in Scheibe‑Alsbach, Thuringia was active under the name Dressel, Kister & Co. from 1844 to 1863, producing small porcelain items and later expanding into figures. A later branch, Dressel, Kister & Cie. in Passau, was established after three businessmen purchased a factory in 1853. This branch produced high‑quality figurines and half‑dolls, exporting worldwide. The business thrived, making half‑dolls (including exotic themes like parrots, dancers, and ladies with animals) and high‑quality figurines inspired by Meissen and Höchst traditions, all with finely painted faces, delicate modeling, and elegant poses. When the Great Depression hit, Dressel, Kister & Cie suffered as so many people no longer had money spare to buy their luxury porcelain items, and the Passau factory finally bankrupt in 1936, and was absorbed into the Volkstedter porcelain group.
Export pieces, often unmarked or marked only with mold numbers until the Great Depression