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African Beads:
;The earliest Africans made beads as “fetishes”, charms, talisman and amulets for protection and adornments. The first materials were shell, stone, wood, bone, seeds, amber, ivory, teeth, clay, metals, etc. Beads were highly valuable and were also used as currency.
Trading could be done for food, livestock, etc. Beads evolve into a visual language that express rank, spirituality initiation, used to communicate culture value important to the people way of life. African people have had a special relationship with beads for thousands of years.
No other people on the planet used as many beads or in such abundance as African and the importance of the beads was not it shape, color, size or place of manufacture but the value that had been assign to it by privies generations
.Long before the first European return to Africa in the 1400’s century we were adorning ourselves with beads. Many of the beads are becoming increasingly rare and difficult to fine and some are no longer available, as worldwide demand for the beads increases.
" African Trade Beads":
this term typically applies to beads made predominately in European countries from the late 1400s through to the early 1900s, beads traded in Africa, Americas and other counties.
This "trade" period was from the mid 1800s through the early 1900s; millions of these beads were produced and traded in Africa. The Europeans dominated the African bead market.
The Beads were re- introduced to the American market in the late 1960s, by young peace core volunteer returning from Africa.
The beads became associated with the Hippie movement as symbols of love and peace. Today these beads are popular in contemporary jewelry and as collectable items .Millions are in private collections, bead and museums. All beads from the collection of MBAD/ABA African Bead Museum.
Listing Text
This list entry was subject to a Minor Amendment on 28/10/216
665/0/10026
WHITBY,
BAXTERGATE, 4-7,
HSBC Bank (Including Harbour View Cafe)
(Formerly listed as: BAXTERGATE, 3-7, HSBC BANK (INCLUDING MILLS CAFE))
3.9.10
II
Bank and commercial development, 1892, by Walter Brierley for the York City and County Bank.
MATERIALS
Stone ashlar, red brick with stone dressings, red tile roof.
PLAN
Irregular plot. Principal frontage is to Baxtergate, originally with a run of three shops (two now amalgamated with the bank). Entrance to the bank is set back at the left (north east) end, opening, via a portico, onto a narrow lobby leading through to the banking hall which extends to New Quay Road to the rear. The banking hall is flanked by offices and the lobby has been extended into the former shop to the right.
EXTERIOR
Baxtergate elevation: Two storey with attic, stone ashlar ground floor, red brick with extensive ashlar dressings above. Regular run of three shaped gables with three first floor windows below each gable. These windows have eared architraves, the central third of which extends into the frieze above, supporting a cornice which lacks consol brackets. The windows are linked by four plain ashlar bands. Each gable has an attic window. These also have eared architraves, but these are immediately topped with cornices with no frieze. The sills are shaped and form part of a continuous band. Each gable also features decorative iron tie bar ends. The ashlar ground floor has a plain frieze topped by a cornice. The shop fronts are C20.
The set back entrance to the bank has a portico with a curved front, supported by a pair of pillars and pilasters all with carved capitals featuring a series of individual heads. The portico is topped by a balustrade with a cartouche with "Established 1830" in relief.
New Quay Road elevation: Stone ashlar with a three bay gable, flanked by lower cross wings, single storey to the right (north), two storey to the left, all unified with a tall plinth. The gable has three large, tall, ground floor windows. These are cross mullioned with 9 lights, the lights being leaded, many being modern replacements with surface applied leading. The windows are slightly recessed, the recesses having basket arches, and are divided by engaged columns raised on tall pedestals. These columns support an entablature surmounted by four heraldic lions clasping shields. High in the gable above is a two light attic window set in an eared architrave. Above there is a tall frieze with a swag, all toped by an open segmental pediment with a central pinnacle. The gable also features decorative iron tie bar ends. The side wings are more simply treated, but still retain good detailing such as a dentilated course at the base of the moulded eaves cornice.
The rear of the range fronting onto Baxtergate is set back. This is in red brick without stone dressings and is more utilitarian in design. However it retains windows subdivided with fine glazing bars.
North elevation: This irregular elevation is more prominent now than when first designed because of the realignment of the road and clearance of buildings between the bank and the swing bridge. The right hand bay features the entrance portico described above. To the left is an almost blind gable end with a prominent brick stack. This continues the detailing of the Baxtergate frontage with an ashlar ground floor and stone banded brickwork above. Set back to the left is the prominent roof to the banking hall which has a small louvered dormer to the centre. Extending forward from the banking hall to the left there is the stone ashlar gable of the single storey side wing, this also has a prominent chimney stack. Linking the two gables there is a single storey two bay range in stone with a tall parapet hiding its roof. This section may be a later in-fill, but is sympathetic in design.
INTERIOR
Banking hall: This features a basket arched, vaulted ceiling enriched with ornate plaster mouldings including cherubs, fleur-de-lys and other decoration, all set above a projecting, dentilated cornice. The walls are oak panelled up to a different cornice set just above door lintel height. The banking counter is also oak panelled, the panelling being more ornate than the walls, with the counter itself supported by a series of individually carved brackets each featuring a different motif. There is evidence that there has been some rearrangement of the banking hall in the past with careful modifications to the joinery. Modern security screens are not of special interest. The lobby between the banking hall and the entrance is also oak panelled and shows more evidence of modification, including a large opening into a former neighbouring shop to form additional customer service areas. The double doors at either end of the lobby are considered to be original, retaining ornamented handles and a semicircular fanlight above with curving timber glazing bars. It is also reported that there is a good quality staircase within the secure part of the bank, although this was not inspected. Similarly, office areas were not inspected.
HISTORY
Number 3-7 Baxtergate was built in 1891 for the York City and County Bank, a regional bank with branches as far apart as Doncaster and Sunderland. This banking company was taken over by the Midland Bank in 1918, which was subsumed into HSBC in the later C20. Number 3-7 Baxtergate was designed by the practice of Demaine and Brierley and is attributed to the senior partner Walter Brierley. Over 60 listed buildings are attributed to Brierley, including at least five banks. The original design included three shops to the west of the bank, fronting onto Baxtergate. The bank expanded into the two shops next to it before 1974 with the shop fronts replaced in stonework in 1977. At the time of the inspection the third shop remained separate as Mills Café. Sometime in the late 1960s or early 1970s, the junction between Baxtergate and New Quay Road was reorganised with the clearance of a block of buildings between the bank and the swing bridge to the north. This opening up exposed the northern elevation of the bank, making it far more prominent than when the building was originally designed.
REASON FOR DESIGNATION DECISION
Number 3-7 Baxtergate is designated at Grade II for the following principal reasons:
* Architecture: A high quality late C19 design with two contrasting, well-detailed principal elevations, combined with a good quality bank interior.
* Historical Association: An example of the work of the notable late C19 to early C20 architect Walter Brierley.
* Craftsmanship: For the display of quality craftsmanship, particularly the carved detail to stonework of the portico, the wood carving to the banking counter as well as the joinery of the fanlights above the double doors to the bank lobby.
Material: Polyester Fiber & Cotton
Color Option: Black, Sage
Size: S/M/L
www.buytrends.com/Products/magnificent-hooded-drawstring-...
Important Note:
1. The size refers to clothing dimensions, NOT your body measurements.
2. Please check the measurement chart carefully. Because of different producing batches, there may be deviation of 2~3 cm.
3. Pictures are only samples for reference. Due to limitations in photography and the inevitable differences in monitor settings, the colors shown in the photograph may not correspond 100% to those in the items themselves.
So, the other photographs I have of these are separate and the nails & ring are in color as well. Numerous people told me that the photo would look better with perhaps just the lips in color so I figured I'd try it out. Plus, I thought it looked cool in a collage.
Passo-a-passo em: comofaz.net/2009/06/craft-room-organizador-de-costuras/
Inspiration: sewmamasew.com/blog2/?p=765
I got this idea when I looked through a friends bag and saw so many known brand items.
I liked how my hair was styled for this. Although it's not clear on the picture, I have a five pound note, a TopShop card and two pairs of glasses styled within it.
It needs better editing, but as yet, I'm still awful with PhotoShop!
Material Circulante: Furgão Dyf 408
Hora: 07:13
Data: 13-11-2010
Local: Grupo Oficinal do Porto [Contumil] (PK 2 - Linha do Minho)
Obs: Furgão que integra o Comboio Presidencial
Title: History of the Indian Tribes of North America
Artist/Maker: Thomas McKenney (American, 1785-1859) and James Hall (American, 1793-1868)
Place Made: United States: Pennsylvania: Philadelphia
Date Made: 1837-1843
Medium: paper; lithograph
Measurements: Overall: 18 1/2 in x 18 in; 46.99 cm x 45.72 cm
Credit Line: Gift Bequest of Estate of Caroline Ryan Foulke
Collection: The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.
Accession No: RR-1988.0045.10
La arquitectura moderna, una consecuencia de la revolución industrial evolucionó en respuesta a los nuevos materiales y tecnologías industrializados que dieron lugar a las fachadas planas y lisas que desviaban la ornamentación y rechazaban los estilos, materiales y técnicas de construcción tradicionales anteriores. El material ayuda a alcanzar la forma física de un diseño. La materialidad de construcción es el único factor que es tangible en la naturaleza.
(C)2023 Valeria del Cueto, all rights reserved. Material exclusivo do acervo carnevalerio.com
Mangueira carnaval 2023 ensaio técnico na Sapucaí.
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Ensaio fotográfico e vídeos publicados no Canal @del Cueto, no Youtube de (C)2023 Valéria del Cueto, all rights reserved @no_rumo do Sem Fim… delcueto.wordpress.com@delcueto para CarnevaleRio.com
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Handling Specialty was approached by a US-based material handling company to custom engineer and manufacture an overhead three-stage inverted belt lift with attached tooling (which rotates), that holds a part as it goes through an intensive cleaning and coating process.
[EN] MATERIAL WANT is the first collaboration of artist/researcher Matthew Plummer-Fernandez and net art pioneers JODI. Bringing together their respective practices, they explore hybridisations of algorithms, errors, Internet found objects and digital fabrication. The result of this joint effort? A series of 3D-printed sculptures, uncanny, yet familiar objects, between incongruous assemblages and distorted reality.
[FR] MATERIAL WANT est la première collaboration de l’artiste/chercheur Matthew Plummer-Fernandez et des pionniers du net art JODI. Conjuguant leurs pratiques respectives, ils explorent les hybridations que génèrent les algorithmes, les erreurs, les objets trouvés d'Internet et la fabrication numérique. Le résultat de cette recherche commune? Une série de sculptures imprimées en 3D, objects à la fois étranges et familiers, entre assemblages incongrus et réalité distordue.
[NL] MATERIAL WANT is de eerste samenwerking tussen kunstenaar/onderzoeker Matthew Plummer-Fernandez en JODI, pioniers van de netkunst. Ze brachten hun praktijken samen en onderzochten algoritmische hybridisaties, fouten, objecten geplukt van het internet en digitale machines. Het resultaat van deze gezamenlijke inspanning? Een reeks 3D-geprinte sculpturen, die zowel vreemd als vertrouwd lijken. Het zijn onlogische assemblages en vervormde weergaven van de werkelijkheid.
For Slink AE High - Belleza - Maitreya
Materials Enabled
These special stylized lace up boots are non-rigged mesh, hand made
with the finest materials, metallic finish with metallic accents that will
add sparkle & dazzle to any Twisted Hunter. Adorned Divination cubes.
They have natural sparkle effects without the use of scripts (video card
and client software dependent). We've included a menu driven resize
script with a delete option to make minor adjustments for different mesh
feet. Shoe Base is included and this is a transferable version
Simple frame construction with 1/8in thick down tubes inset and welded into the framing. This made for a super strong and square result. The steel framing was leftovers from another project. The steering section: I used hime joints at each wheel to allow for any misalignments. The main sterring arm is solid and was milled. Tires are just $10 wheelbarrow tires from harbor freight. The top was drilled out with the intention of using the holes for accessory attachments like scuba tank racks ... The finish on the cart is a spray on harsh environment epoxy in light grey.
Nombre: Medusa
Técnica: fieltrado a mano
Materiales: lana merino prensada de nueva zelanda negra, variedad de lanas lila, lana de seda.
Descripcion: exclusivo diseño y modelo 100% hecho a mano, sin costuras y con terminaciones artesanales para dar un toque europeo a tu vida.
Visita mi blog kathycraftdesigns.blogspot.com/
Visita mi facebook kathycraftsdesignfelts
Name: Medusa
Technique: felting by hand
Materials: merino wool, New Zealand Press black, lilac variety of wool, silk wool.
Description: unique design and model 100% handmade, seamless and artisan finishes to give a European flair to your life.