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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
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 ☺️
Das Plönlein bedeutet “kleiner ebener Platz”. Es ist das unverwechselbare Wahrzeichen von Rothenburg ob der Tauber. Im Herzen dieser Kreuzung dreier Wege steht ein leicht geneigtes, ockerfarbenes Fachwerkhaus. Es gilt als schönstes Fachwerkhaus Bayerns. Dieses weltbekannte Fotomotiv wird perfekt von zwei mittelalterlichen Wehrtürmen eingerahmt: dem Kobolzeller Tor (1360) und dem Siebersturm (1385). Seine globale Bekanntheit verdankt das Plönlein nicht zuletzt seiner Rolle als Inspirationsquelle für die Stadtkulisse in Disneys Klassiker Pinocchio von 1940.
The Plönlein means "small level square." It is the unmistakable landmark of Rothenburg ob der Tauber. At the heart of this intersection of three roads stands a slightly leaning, ochre-colored half-timbered house. It is considered the most beautiful half-timbered house in Bavaria. This world-famous photo opportunity is perfectly framed by two medieval defensive towers: the Kobolzeller Gate (1360) and the Siebersturm (1385). The Plönlein owes its global fame not least to its role as a source of inspiration for the townscape in Disney's 1940 classic Pinocchio.
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.😥
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.
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.
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.
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
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
Blick vom Kollhoff-Tower über Berlin - View from the Kollhoff Tower over Berlin
panoramapunkt.de/kollhoff-tower
Der schnellste Aufzug Europas im Kollhoff-Tower ist eine technologische Sensation. In nur 20 Sekunden katapultiert er seine Passagiere in luftige Höhen von 100 Metern. Diese beeindruckende Geschwindigkeit macht die Fahrt zu einem echten Erlebnis. Es ist nicht einfach ein Aufzug, sondern eine Reise, die alle Sinne anspricht.
Europe's fastest elevator in the Kollhoff Tower is a technological sensation. In just 20 seconds, it catapults its passengers to a dizzying height of 100 meters. This impressive speed makes the ride a truly unique experience. It's not just an elevator, but a journey that engages all the senses.
"Hear, hear, hear vengeance—O gods!—Hear a mother's oath." – from "Der Hölle Rache" ("Hell's vengeance boils in my heart") – also known as the Queen of the Night Aria, from Wolfgang Amadeus Mozart’s Die Zauberflöte (The Magic Flute), (1791).
Long before Whitney Houston sung about being Queen of the Night in the 1992 Hollywood film The Bodyguard, in 1791, Wolfgang Amedeus Mozart wrote a fantastical opera blending faerie tale adventure with Enlightenment ideals, called Die Zauberflöte (The Magic Flute). Prince Tamino is sent on a quest to rescue Princess Pamina, aided by a magic flute and his comic companion Papageno. Through trials of wisdom, courage, and love, Tamino discovers that the true enemy is ignorance, not the mysterious brotherhood led by the high priest, Sarastro. The opera celebrates harmony between reason and emotion, light and darkness. One of the most vivid and electrifying characters in Mozart’s opera is the Queen of the Night: a complex, vengeful villainess, and a dazzling soprano role famous for her fiery coloratura arias. After her husband dies, his magical talisman passes to her rival, Sarastro. When Sarastro takes the Queen's daughter, Pamina, the Queen manipulates Prince Tamino into rescuing her. In Act II, pushed to the brink of despair, she sings her famous coloratura aria "Der Hölle Rache" ("Hell's vengeance boils in my heart"). She hands Pamina a knife and demands she assassinate Sarastro, or be disowned forever.
It is the Queen of the Night who inspired me to create this image using one of my more recently acquired Dressel Kister & Cie half-dolls. This elegant Art Nouveau style lady, with her muted grey hair held aloft by golden hair ornaments, her ivory body, and her delicate blush cheeks, is from the late 1910s, and she is part if the “lady with gesture” sculpt family. The 22206-mould number appears in several Dressel Kister & Cie catalogue references for small vanity half dolls with expressive gestures — often used atop powder boxes or pincushions. To give her a sense of drama as befits the Queen of the Night, and wrap her up into the murky darkness, I have enveloped her in some hand dyed pleated wool crêpe in a dark greyish blue hue which I also mirrors her striated hair. The theme for "Smile on Saturday" for the 25th of July is an "open day theme" where I am allowed to post a photograph of my own choice. I hope you like my image for this week’s open theme, and that it makes you smile!
Memorable for its multiple upper register staccatos, the fast-paced and menacingly grandiose "Der Hölle Rache" is one of the most famous of all opera arias.
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, this three and a half inch high half-doll is part of Dressel Kister & Cie's luxury line, and was made for either a jewellery case, a powder puff, pin cushion or 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 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.
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*.
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 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.
Rechenmaschine der Firma "Grimme, Natalis & Co., Aktiengesellschaft Braunschweig. So genanntes "Gehirnstahl" aus Braunscheig, Made in Germany.
"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
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.
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.
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
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
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© all rights reserved Lily aenee
Petra sat at her dressing table and admired her handsome reflection from three different angles in her triptych vanity. She wasn’t old, but she didn’t feel as young as she had before the War, and the fine lines appearing around her eyes told her that she wasn’t the ingénue she had been in her debut season in 1912. She dabbed her features lightly with face powder and applied rouge to her cheeks. As she did so, she considered that nothing was quite the same after the armistice in 1918, and it felt like the world was spinning faster on its axis as the pace of life in London fizzed with frenetic energy and sped up as they moved through what was being coined, the “Jazz Age” by witty American writers across the Atlantic in New York.
“Still, there is nothing like a new hat to make you feel younger,” Petra remarked with a smirk as she picked up the striped round cardboard box tied with gaily coloured ribbons. “And you can never have too many hats, gloves or shoes.”
Petra sighed pleasurably as she affixed the white cloche adorned with a simple green, red and white striped ribbon atop her head. It fit snugly, as well it should, considering how much she had paid her milliner for it. Prices were mirroring the increased velocity in the pace of life, and six guineas bought far less in the way of headwear these days than the wide brimmed and romantic picture hats she wore before the War. She adjusted it so it sat on a slightly more jaunty angle with the brim placed higher above her left temple and lower over her right ear. She snatched up her comb and teased out some of her freshly coiffed marcelled waves poking out beneath her new hat. She tinkered with them until she was happy with how they sat, framing her face in soft brown curls.
“Ahh! Sheer bliss!” she purred as she dabbed Lanvin’s Arpège behind her shell-like ears.
Satisfied, she then draped a luxurious forest green silk scarf with Brunswick green polkadots around her neck, adjusting it until it sat just so over her collar bones. Finally, she withdrew a tube of lipstick and slicked her lips with its glossy pillar box red coating, fashioning the perfect cupid’s bow which she used to then blow her reflection a kiss.
“Very good!” Petra enthused to her three reflections as she moved her head both left and right to admire the view. “Certainly good enough for tea with Minnie at Selfridges roof garden, at any rate!”
And so it was that a half hour and two London motor buses later, Petra strode into the premier social destination and leisure oasis of Oxford Street with all the confidence and self-assurance of a woman of the age. As she was shown to the linen draped table set with tea for two, where her best friend Minnie was sitting, Petra could feel the eyes of other women glancing enviously at her as they admired and coveted her natty new hat, and she knew then that the six guineas she had paid her modiste was well worth it.
* * * * * * * * * *
I recently acquired a new 1920s German made half-doll of a lady very modishly dressed to add to my collection of lovely ladies, from a private collector in Britain who is downsizing and selling some of her collection. And here she is! She is so elegant and beautifully painted that I wanted to share her with you all.
Being so deliciously Deco, I have stood my half-doll in front of an original pochoir fashion plate from a 1925 edition of the French fabric manufacturer's periodical Art–Goût–Beauté (A.G.B.) (Art-Style-Beauty). Art–Goût–Beauté was a lavish magazine published between 1924 and 1927 marketed to an extremely wealthy clientele, filled with pochoir plates. Pochoir is a hand stencilled printing technique.
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 and Kister, Heubach, Goebel and Kestner. Later these half-dolls 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 German half-doll is very fashionably and contemporarily dressed (for the time) with Art Deco ideals of beauty. She is medium-sized, so I imagine that she would have been made either for a pincushion or for a lady’s boudoir, and if so, was most likely the topper for a powder bowl, a powder puff or brush. She has been hand painted.
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.
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.
232 413 war am 21. September 2022 mit einem Getreidezug von Adorf/Vogtland nach Leipzig-Plagwitz unterwegs. Im sich gerade auflösenden Nebelband konnte der Sonderzug in Plauen (Vogtl.) unterer Bahnhof fotografiert werden.
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.
Mit einem Kesselzug konnte am 03. Juli 2022 die Bilaterale 155 219 nahe Jocketa bzw. Liebau fotografiert werden.
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.