View allAll Photos Tagged material
Material: Blending
Color: Gray
Size: S/M
S, Shoulder:36CM, Bust:85CM, Clothes Length:64CM, Sleeve Length:60CM, Waist:73CM
M, Shoulder:37CM, Bust:59CM, Clothes Length:65CM, Sleeve Length:61CM, Waist:77CM
www.buytrends.com/Products/womens-profession-style-blazer...
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. 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 th
"Good spacing demands variety and proportions of lines, contrast in the width of intervening spaces, or contrast in the depth or delicacy of color-tones, and any combination of these elements that will produce [art value]."
“Costume Design and Home Planning” by Estelle Peel Izor who copyrighted in 1916. Illustrated by Katherine Porter Brown and Rachel Taft Dixon. Published by Atkinson, Mentzer and Co., of Boston, New York, Chicago and Dallas.
“The first purpose of Clothes was not for warmth, or decency, but ornament. What changes are wrought, not by Time, yet in, Time! Clothes gave us individuality, distinctions, social polity; Clothes have made men of us.” Carlyle
Material Circulante: Dresine DP 227 (450 0 073 - 9)
Hora: 18:26
Data: 01-08-2009
Local: Estação de Santarém (PK 74 - Linha do Norte)
I had all these materials fall into my lap and I was determined to make the best of them. I grew a vision in my brain and set to work on this gown, crown and bouquet. I had Beth in mind from the beginning. Annie, Bethany, and Gabby came along to help. Beth did her own makeup.
This is a photograph is from the finish of the Celbridge AC Ray Crofton Kia 5KM Road Race and Fun Run which was held at Celbridge AC running track, Clane Road, Celbridge, Co. Kildare, Ireland on Sunday 14th August 2016 at 11:00. The 5KM route today is a new revised route which was created for the 2015 race. The 5KM Road Race is a continuation of the successful 5KM race held annually by the club in the past.
The race started on the Clane Road outside the Celbridge AC grounds and proceeded on a left-handed loop which took participants close to Celbridge mainstreet before taking a left turn westwards to return back to the Clane Road and the grounds of Saint Wolstan's Community School and North Kildare Educate Together. The final 600meters of the race were held on the beautifully manicured grass track of Celbridge AC. The race was held in beautiful summer weather with temperatures of around 16C making very favourable and pleasant conditions for participants. There was excellent marshalling and route layout with stewards on all junctions to ensure safe traffic management. Refreshments were served after the race where many participants enjoyed the morning sunshine and sat down on the grass around the track to talk and review the race. Last year this race also marked a significant milestone for Celbridge AC who were celebrating 50 years as an athletic club. Celbridge is a small town on the banks of the River Liffey and is only a short distance from the county border line with Dublin. The proximity to Dublin sees Celbridge boast a large population and the race today reflected this with a very large number of local athletes taking part from the almost 300 participants.
We have a full set of photographs from the start and finish of the race today on Flickr: www.flickr.com/photos/peterm7/sets/72157669349988524
Our photographs from 2015: www.flickr.com/photos/peterm7/sets/72157656917110560
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
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. All beads are from the collection of MBAD/ABA African Bead Museum
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. Beads are from the collection of MBAD/ABA African Bead Museum.
Highway 80 blues
All material in my photostream was created by and is owned by me and MAY NOT be reproduced, copied, linked to, reblogged, edited, published, transmitted or downloaded in any way without my written permission.
© All rights reserved. Use without permission is illegal
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.
Lt. Governor Anthony Brown remarks at the Maryland Transportation Builders and Materials Association 20th Anniversary Awards Banquet. by James W. Brown at Baltimore City
Materials: Combination of gouache and acrylic, on wood board
I used a quilt I designed last year as inspiration for this one, I wanted to work some more on mixing subtle variations of the same color. Its not done, still working on the layers and the background, but wanted to get it uploaded. I'm struggling most with getting the smooth, even color of ochre for the borders.
In 1995, MIT’s Nicholas Negroponte predicted that “being digital” would have us entering a realm increasingly unconstrained by the materiality of the world. Two decades later, our everyday lives are indeed ever more suffused by computation and calculation. But unwieldy materiality persists and even reasserts itself. Programmable matter, self-assembling structures, 3D/4D printing, wearable technologies and bio-inspired design today capture the attention of engineers, scientists and artists. “BEING MATERIAL” showcased recent developments in materials systems and design, placing this work in dialogue with kindred and contrasting philosophy, art practice and critique. Panels on the PROGRAMMABLE, WEARABLE, LIVABLE and INVISIBLE—along with a concert, AUDIBLE—explored new and unexpected meetings of the digital and material worlds.
Learn more at arts.mit.edu
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Material de Medicina no Trabalho
Hora: 11:33
Data: 18-10-2015
Local: Museu Nacional Ferroviário - Entroncamento
(C)2023 Valeria del Cueto, all rights reserved. Material exclusivo do acervo carnevalerio.com
Mangueira carnaval 2023 ensaio técnico na Sapucaí.
No domingo, 29 de janeiro de 2023, a Mangueira fez seu ensaio técnico para Desfile do Grupo Especial.
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
Curta nossa página no Facebook e faça sua inscrição no Canal del Cueto no Youtube. Desde 2008 registrando momentos do carnaval carioca.
Aqui tem mais pra você:
Já seguiu “No rumo do Sem Fim”?
Experimenta!
Você encontrará o conteúdo produzido por Valéria del Cueto e também links para objetos e desejos produzidos no @delcueto.studio!
Ideias e design disponíveis nas plataformas:
Siga no instagram
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.
Los Escobazos de Jarandilla de la Vera
VÍDEO youtu.be/iDPEhQ-pEvg
Cuentan los jarandillanos que antiguamente los pastores de la zona cuando regresaban al pueblo intercambiaban "escobazos" unos con otros por medio de escobones para celebrar su vuelta a casa y su encuentro con la familia y otros pastores. Algunos apuntan que los cabreros bajaban de la sierra para celebrar la fiesta de la Inmaculada. Salían de madrugada y al tener dificultades para ver se proveían de escobones. Para ello utilizaban un arbusto muy común en La Vera, la escobera, que arde con facilidad, elaborando enormes antorchas que se denominaron escoberas. Otros achacan esta tradición a una costumbre antigua que tenían los agricultores para celebrar la finalización de las tareas del otoño.
En cualquier caso, hoy día, se ha convertido en una fiesta espectacular. El viajero no tiene por menos que portar ropas muy viejas, así como algún gorro o capucha y guantes para protegerse del fuego. La fiesta comienza a las siete de la tarde. Los jarandillanos van por las calles repartiéndose "escobazos" unos a otros y bebiendo vino, hasta las nueve, hora de la procesión. En ese momento se vitorea a la virgen y se la ilumina con lo que queda de los escobones. Es el momento culminante de la fiesta.
Canción Popular de Los Escobazos
¡Virgen de la Concepción, mañana será tu día!
Y subirás a los cielos, !Quien fuera en tu compañía!
Ardía la zarza, y la zarza ardía.
Y no se quemaba la Virgen María. Ardia la zarza, y la zarza ardió. La Virgen María doncella y parió.
¿Cómo pudo ser?, ¿Cómo pudo ser?. Aquel que lo hizo, bien lo supo hacer.
Toda la noche he venido, rodando como un troncón. Sólo por venirte a ver, Virgen de la Concepción.
Ardía la zarza, y la zarza ardía...
Autor: José-María Moreno García. Fotógrafo humanista y documentalista. Cronista Oficial de la Villa de Madridejos.
Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, sino también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es y www.madridejos.net
SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNÍCALO A josemariamorenogarcia@gmail.com
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!
DoITPoMS, University of Cambridge
The fracture surfaces are generally very sharp and angular, indicating fast, brittle fracture with little ductile tearing. Parabolic 'beach marks', can be seen where the fracture has grown at a speed comparable to the speed of sound in the material. This results in periodic, momentary arrests in the crack propagation and periodic ridges in the fracture surface as it advances. These indicate the direction in which the fracture has occurred. Inside the beach marks is a disc-shaped flat region where the initial fracture was progressing significantly faster than the speed of sound. There is also evidence of the fracture surface branching onto different planes as it progresses.
System
Polystyrene (PS)
Composition
Not specified
Reaction
Processing
Applications
Polystyrene is hard and inexpensive and its use is very widespread. CD cases and clear plastic cups are common examples. Domestic appliance casings are also typically made from PS
Sample preparation
The surface has been sputter-coated with gold, to give a conducting surface
Technique
Scanning electron microscopy (SEM)
Contributor
J A Curran
Organisation
Department of Materials Science and Metallurgy, University of Cambridge
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
The Optoelectronic Component and Materials Laboratories (or OCM Labs) is a collection of graduate students, post doctoral fellows, visiting scientists and research staff who are engaged in investigating an enormous variety of phenomena and devices related to electronic materials and optics. Some of the work involves the basic physics of new semiconductor and organic materials, some focuses on devices using these materials, and yet other work looks at the system impact of optical devices and structures. The unifying goal of our work is the realization of practical optoelectronic devices.
Photo by James M Rotz for the College of Engineering Office of Communications and Marketing
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.
No domingo, 29 de janeiro de 2023, a Mangueira fez seu ensaio técnico para Desfile do Grupo Especial.
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
Curta nossa página no Facebook e faça sua inscrição no Canal del Cueto no Youtube. Desde 2008 registrando momentos do carnaval carioca.
Aqui tem mais pra você:
Já seguiu “No rumo do Sem Fim”?
Experimenta!
Você encontrará o conteúdo produzido por Valéria del Cueto e também links para objetos e desejos produzidos no @delcueto.studio!
Ideias e design disponíveis nas plataformas:
Siga no instagram
Statue of Libery Replica at New York, New York Casino Las Vegas, NV.
HDR Rendition from 5 Shot Bracket, Olympus E-30, Zuiko 9-18mm f4 ED lens. Processed using Dynamic Photo HDR, Photoshop CS5, Topaz Labs DeNoise5.
This photo is copyright-registered material and cannot be used for any purpose without the express written permission of the copyright holder, Kevin D. Renz!
Please use the Large Viewer link below as the Flickr Viewer sometimes presents with an unacceptable loss in sharpness.
You can also view my photos on Flickr Fluid R for a completely ON BLACK experience
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.
more info about the club: atelierperdu.fr/product_info.php?products_id=51
my blog: xszemkozt.blogspot.com