View allAll Photos Tagged plaster
.. devdi, wife of pandu. trying to comfort her fractured n wounded hand, being victim of her drunk husband's violence.
see other COUPLE images here.
Madonna and Child - Polychrome plaster cm. 101x70 - Marche Art late fifteenth century - Jole's apartment - Ducal Palace Urbino
The primary historic post office in downtown Macon is the William Augustus Bootle Federal Building and U.S. Courthouse, located at 475 Mulberry Street. Originally completed in 1908, it served as the city's main post office and federal courthouse for decades.
Architecture & Design
Style: The building is a premier example of Beaux Arts Classicism, designed by James Knox Taylor, the Supervising Architect of the U.S. Treasury.
Exterior: Its facade is clad in white Georgia marble with a rusticated first floor and monumental paired columns.
Interior: The original postal lobby features verde marble pilasters, terrazzo floors with brass dividers, and richly detailed plaster ceilings. Some of the original octagonal postal tables remain in place today.
Key Historical Milestones
1896: Planning began due to Macon's rapid growth requiring a larger postal and judicial facility.
1905–1908: Construction took three years, replacing an older courthouse that was demolished in 1906.
1917 & 1934: The building underwent significant expansions to accommodate growing needs while maintaining its original architectural style.
1972: It was officially listed on the National Register of Historic Places.
1998: The building was renamed to honor Judge William Augustus Bootle, a pivotal figure in the Civil Rights Movement who issued landmark rulings desegregating the University of Georgia and Macon’s public services.
Current Use
Today the building serves as the headquarters for the U.S. District Court for the Middle District of Georgia. It also houses the U.S. Marshals Service and offices for the Eleventh Circuit Court of Appeals.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/William_Augustus_Bootle_Federal_Bui...
www.google.com/search?q=history+of+post+office+building+d...
www.google.com/search?q=history+of+post+office+building+d...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Printed on a plaster plate (matchbox size) / exposed for 3 min (after development, the surface was coated with UV resin)
Sensitizer: VanDyke Brown print solution / The photosensitizer was made into a viscous emulsion (allows the sensitizer to be uniformly dispersed) by adding professional white medium and applied to the plaster plate with a brush.
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Fixing agent: Citric acid solution & sodium thiosulfate solution
Toning: Bostick & Sullivan Gold toning kit (Ammonium Thiocyanate / Gold Chloride)
Enlarger: Lucky Attache-35 (EL-Nikkor 1:2.8 f=50mm)
Film carrier: 35mm carrier
Negative film: 35mm (135) film (Fuji Acros 100) transferred from a digital image (taken from an antique collotype postcard) with a film recorder (Polaroid Digital Palette HR 6000)
Light source: High power (50w) UV LED unit (SMD=surface mounted LED modules)
New group was created. If you like, please join.
Although shrouded in shadows and with its curtains drawn at present, the Billilla drawing room, built at part of the 1907 extension and renovation, is an elegant and light filled space with two large demilune bays of full-length windows.
As one of the showpiece main rooms of the mansion when guests came to call, the drawing room is not only elegantly proportioned, but also elegantly appointed. As a very femininely oriented room, the ceiling of the drawing room is decorated with ornate stylised foliate Art Nouveau mouldings of roses tumbling about in undulating boiseries. Although not original, the room is papered in softly shaded wallpaper sympathetic to the era, and features its originally gas lit 1907 electroplated sconces of posy vases and bows. Electrified subsequently, the original gas taps can still be seen on each sconce light fixture.
It is however the central chandelier, also once gas lit, with it's original flounced Edwardian shade of russet fabric that perhaps hints at the room's original colour scheme. This matches the gleaming russet Arts and Crafts hearth and inlay tiles of the white marble fireplace. Matching the boiseries and garlands of plaster roses on the ceiling, the in built fire dogs and guard of polished brass also featured roses which are inlaid with losenges of russet coloured glass.
Built in High Victorian style in 1878 for successful gold miner Robert Wright, Billilla mansion was originally a thirteen room mansion erected on seven and a half acres of land.
When economic boom turned to bust in the 1880s, the property was purchased in 1888 by wealthy New South Wales pastoralist William Weatherly who named it Billilla after his land holdings and established a home there for his wife Jeannie and their children Violet, Gladys and Lionel.
The house was substantially altered by architect Walter Richmond Butler in 1907, extending the house beyond its original thirteen rooms and adding the Art Nouveau façade seen today.
After William Weatherly's death in 1914, his wife, who was much younger, remained living there until her own death in 1933. She bequeathed the property to her daughter, Violet, who maintained the home with reduced staff until her own death in 1972.
The property was purchased in 1973 by the Bayside Council who subsequently used Billilla as a historical house with guided tours, a wedding and events venue, a school and finally in 2009 as an artist's precinct in the property's outbuildings. Billilla is a beautiful heritage property retaining many of its original features thanks to its long private ownership still incorporating a stately formal garden and the magnificent historic house.
Billilla, at 26 Halifax Street, Brighton, is one of Melbourne’s few remaining significant homesteads, built on land which had originally been owned by Nicholas Were. The house has a mixture of architectural styles, featuring a Victorian design with Art Nouveau features and has exquisite formal gardens, which retain much of their original Nineteenth Century layout.
Billilla retains many original Victorian elements and a number of outbuildings still stand to the rear of the property including the butler’s quarters, dairy, meat house, stable garden store and coach house.
Billilla was opened to the general public as part of the Melbourne Open House weekend 2022.
Billilla was used as a backdrop in the 1980 Australian Channel 10 miniseries adaptation of Sumner Locke Elliott's "Water Under the Bridge". It was used at the Sydney harbourside home of Luigi, Honor and Carrie Mazzini.
this is the plaster ceiling in a delightful place called the Parkside Candy Shop in Buffalo, NY; besides being a place to buy wonderful candies and chocolates by the pound, it also is a soda fountain and serves sandwiches
if you've ever seen the Hollywood film "The Natural" you may remember the scene in which Robert Redford and Glenn Close dine here
14th Century
from a new demolished palace in Leon
Museo Arqueológico Nacional, Madrid
20240324_140634
Plaster sculpture by Swedish artist Werner Åkerman (1854-1903).
There was a focus on the bodies of young girls also in classic salon sculpture. Verner Åkerman’s idealized and objectified figure poses with her eyes closed. According to the title, Spring Frost, she is supposed to symbolize the arrival of spring. She is depicted from the perspective of the heterosexual male gaze, as a symbol of female puberty, but in which the subject’s own desires are neither sought nor seen.
When I edited this image four years ago, the sculpture turned up in a terracotta hue. I have no idea how that happened, but now it's been turned back to virgin white.
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Gipsskulptur av den svenske konstnären Werner Åkerman (1854-1903).
Det var fokus på unga kvinnors kroppar även inom klassisk salongsskulptur. Werner Åkermans idealiserade och objektifierade gestalt poserar med slutna ögon. Enligt titeln, Spring Frost, ska hon symbolisera vårens ankomst. Hon avbildas utifrån den heterosexuella manliga blicken, som en symbol för kvinnlig pubertet, men där subjektets egna begär varken söks eller ses.
När jag redigerade denna bild för fyra år sedan, blev skulpturen terracottafärgad. Jag har ingen aning om hur det gick till. Nu har hon fått tillbana sin fina vita färg.