View allAll Photos Tagged pomade
Last Autumn, fresh from his latest coiffure still carrying a light sheen and scent of pomade, the salon signature parfum 'La Jolie Labradoodle', Hugo wanted to pose for his portrait. He suggested waiting half an hour or so that the golden hour might fully set in so as the better to pick out the shine on his coat and the autumn leaves surrounding him. Autumn evening harmony with a colourful air, was the efect he was after. When the time was up - like a well trained chap - I returned with said camera.....
In our garden.
"The Queen of Diamonds rises, cut in crystalline light,
Her facets blaze brighter than the spade courts that brood in shades of midnight.
She outshines the hearts’ soft bloom with a glitter sharp and bold,
And leaves the clubs’ dark ranks to wilt beneath her gold.
No rival suit can match her jeweled, commanding gleam,
She rules the deck with elegance carved from a gambler’s dream.
A sovereign forged in diamonds, radiant and rare,
She turns the whole pack breathless just by cutting through the air."
A poetic offering written by your humble photographer (2026).
These beautiful whist playing cards were made in Germany by the card firm B. Dondorf around 1912. The deck features beautiful chromolithographed images of people dressed in the pomaded wigs, frock coats, jabots and gowns of Pre-Revolutionary Eighteenth Century France, as the kings, queens and knaves in the deck. Sets like these are very collectable today, since even though millions of Dondorf cards were produced, complete packets in such good condition are hard to come by.
The theme for "Looking Close on Friday" for the 22nd of May is "cubes". Now whether it be the luck of the cards I was dealt, or otherwise, but a month before the theme was announced, I bought this amber resin cube from a jewellery shop. It's original intent is to be a jewellery display, but I bought it because I saw the lovely colourful shadows it created under a bright light. Originally I did photograph it on a plain white background in the sunshine, and I decided that was that. Then last weekend I was playing with my cube again, and placed it on some of my antique Dondorf playing cards, imagining it to be an amber dice. The light fell across the Queen of Spades face, highlighting it. That got me to playing with it and I decided that as the theme was "cubes", I'd turn my cube into a diamond, and so it frames the Queen of Diamonds' face. This set of antique cards with its amazing graphics seemed a lovely choice. I hope you like my choice for the theme this week, and that it makes you smile.
The firm of B. Dondorf was founded in April 1833 by the lithographer Bernard Dondorf, who headed the company until July 1872. In that year, Dondorf's sons Carl and Paul, as well as his son in law Jacob Fries, assumed control of the firm which continued to operate under the original trademark. Jacob Fries left the firm in the early part of 1890. From the beginning, the company specialised in all branches of lithography. In cooperation with the printing firm of C. Naumann, Dondorf also printed paper bank notes for the Italian National Bank and for the Imperial Japanese Government. In 1871, the firm moved within Frankfurt from the Saalgasse to a new and larger factory site in the Bockenheimer Landstrasse 136. The steady growth of the company required the building of still additional subdivisions in 1890 and 1895. Principal products of the firm were playing cards, various games, greeting and post cards and various religious prints. The export of playing cards at Dondorf's accounted for much of the firm's business. The Scandinavian countries of Denmark, Norway and Sweden in the period before World War I, for example, imported nearly all of their playing cards from Dondorf. Similarly, the Dutch East Indies, now Indonesia were excellent customers. Bernard Dondorf, the founder died in his 94th year. He earned an enviable reputation as a lithographer, especially for his technique of etching the stone with a diamond stylus. His special methods of engraving bank notes were also unique. In 1929 the decision was reached to liquidate the firm.
The thick roiling fog of another pea-souper began to permeate the narrow streets of Soho, permeating the bricks of old buildings and softening the rumble of late night London traffic on the Strand and the footfalls of pedestrians. Down a rather dark and seedy laneway, a lone female figure arrayed all in white stood out amidst the gloom, and the sharp click of her heels against the wet cobbles beneath her feet cut through the fog like a knife. Her movements seemed so languorous, you could almost believe from her sashaying hips that she had nowhere in particular to be, but it was all the artifice of a successful silent film star, as her footsteps were alive with energy and purpose as she neared her assignation.
She rapped hard on the metal door whose surface was smoothed with the touch of many hands before hers: first three hard, heavy knocks, and then three faster and lighter ones. The peephole in the door slid back with a sharp rasp, revealing a pair of red eyes with a hard gaze, in spite of their rheuminess. Beyond the bouncer, the jovial sounds of a party atmosphere drifted through the peep hole: voluble chatter interspersed with bursts of laughter, the clink of glass on glass, the pop of a champagne cork and the delicious sound of the latest frenetic jazz music from New York and New Orleans.
“I vant to enter zee club.” the silent film starlet said in the rolling, laconic syllables of a German born citizen speaking English.
The bouncer looked her up and down with an appraising look. He noted as the fog rolled in around her in a bluish fug that swallowed everything in its path, that she was dressed elegantly in a thick white mink coat that matched the pale, creamy tones of her flesh, and from the look of it, not much beneath it. She wore a pomaded Eighteenth Century wig atop her head, but bore no gaudy jewels to mar her skin. She held a single fragrant pink rose to her dainty nose to ward away the stench of the Soho back streets. Her eyes were smoky and her lids hooded, yet there was a vitality in those pools of brown.
“Certainly, Fraulein Gisela.” the bouncer replied in a rough, cockney accent that matched the thick and heavy set of his muscular body as he opened the door.
Fraulein Gisela slipped in through the open door lithely, and with a heavy bang of metal against metal, the door slammed shut behind her, leaving no trace of her: as though the foggy and dark Soho laneway had simply swallowed her up.
* * * * * * * * * *
I recently acquired a new 1920s Carl Schneider half-doll of a lady sniffing a pink rose to add to my collection of lovely ladies, from a private collector in Melbourne who is downsizing and selling some of her impressive collection. And here she is! She is so dramatic, unusual and lovely that I wanted to share her with you all.
Whilst her powdered wig is very much in the spirit of the Eighteenth Century, her smoky eyes rimmed by dark kohl, and her languorous hooded lids are very evocative of the silent film stars of the 1920s, and that is what give me the idea of the narrative above. In those inter-war years it was not unusual for English actors and actresses to work on silent films in France and Germany, and for German or French silent picture stars to act in British films. This extended to American actresses from the newly founded Hollywoodland of Culver Studios coming to England to act on stage and in films, and for British actresses looking for greener pastures to break out in American film. The silent cinema was more forgiving of your origins, so long as you looked the part, than the original talkies were.
I have wrapped my half-doll in a beautiful white mink fur coat, which in truth is actually a vintage detachable white arctic fox fur cuff (cuffs and collars were often detachable in the 1920s allowing a different style to be applied to a coat in a lady\'s wardrobe with a quick change) which was a Christmas gift from my dear friend [https://www.flickr.com/photos/bkhagar_gallery]. It fits her perfectly!
The backdrop of the blueish grey London pea-souper is a piece of hand dyed pleated wool crêpe.
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. In this case, my half-doll is an early Carl Schneider from the early 1920s. 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 an amalgam of Eighteenth Century and contemporary (for the time) Art Deco ideals of beauty. She is quite large, so I imagine that she would have been made for a lady’s boudoir and was most likely the topper for a powder bowl, a powder puff or brush. She has been hand painted.
Carl Schneider produced large quantities of half-dolls during the 1920s and 1930s. By the 1930s most were of average quality, though their 1920s range were sculpted with great detail and painted with precision. They also made dresser boxes out of porcelain. The business was founded by Carl Schneider along with artist Karl Unger and businessman Hermann Hutschenreuther between 1859 and 1861. To begin with the company only produced tableware, miniature sets for children and a few kitchen utensils, but unlike many other porcelain factories they did not simply copy existing designs but rather used their own creativity and started with export fairly early, which was soon rewarded as the first international award was received 1875 at the Exposición Internacional de Chile (Santiago World Fair). For many years] the company remained successful, but orders were slowly declining as customer preferences changed and by 1910 it was clear that the constant neglect as to investments regarding modernisation was slowly claiming its price. Wilhelm Wedel had to lay off his first ten workers in 1913. Wedel desperately tried everything possible to save the business and over the next years he managed to restructure parts of the factory and thus optimize work flow. In 1930 a mere 120 people still worked at the factory, and the work being produced was far from the zenith of their earlier quality pieces. Wedel died before the Second World War broke out. The business continued, now owned by the banks, and barely managed to exist throughout the War. The official records of 1947 show a remaining workforce of 70 people who were occupied with creating cheap mass produced goods to cover the enormous demand after the War. The company was nationalised in 1951. The defunct factory of Carl Schneiders Erben was finally closed in 1973 after finishing the last figurines still made in 1972.
120-year-old cinema in Breitensee, a subdistrict of Penzing, Vienna's 14th district.
"The cinema was founded in 1905 under the name Zeltkino Guggenberger near its current location on Breitenseer Street and moved to its current location in 1909. The Breitenseer Lichtspiele is a typical nickelodeon, built into a corner house from the Gründerzeit era. In its height, the cinema had numerous regulars - among them was the Viennese [...] poet H. C. Artmann.
Today Breitenseer Lichtspiele is an arthouse cinema that only shows Austrian and European films. In addition, there are regular silent film screenings, sometimes accompanied by text or music. The cinema has a functioning old movie projector by the Viennese company Friedl & Chaloupka and a small stage with a piano." en.wikipedia.org/wiki/Breitenseer_Lichtspiele
"verzeihen sie, gibts noch pomade
um diese späte abendstund?
des lebens bittre schokolade
verklebt mir jedes wort im mund."
H. C. Artmann: wenn fantômas mit schrägen schatten
One in the garden of the calendula officinalis ( the best pomade for wounds).
Thanks for the visit, have a wonderful day.
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12 colors for Catwa & Omega mesh head!
“Lucy Locket lost her pocket,
Kitty Fisher found it;
Not a penny was there in it,
Only ribbon round it.”
Traditional English Nursery Rhyme, published in 1842, but sung for centuries beforehand.
I don’t know if you know the nursery rhyme about Lucy Locket and Kitty Fisher above, but it was so much a part of my childhood, that I still know the words and the tune all these years later. What I didn’t know was the much more adult, scandalous and true story that is about Lucy Locket and Kitty Fisher and the infamous pocket that Lucy Locket lost, which Kitty Fisher found.
You might be wondering what a pocket means in the rhyme. Historically, the term "pocket" referred to a pouch worn around the waist by women in the Seventeenth to Nineteenth Centuries. Skirts or dresses of the time had an opening at the waistline to allow access to the pocket which hung around the woman's waist by a ribbon or tape. The opening in the skirt was formed by leaving unstitched, near the waist, the panels of fabric for the skirt. Fabrics could be around twenty inches wide, so seaming the selvedges offered a reliable opportunity for an opening. Corresponding opening in the panels of fabric forming the petticoat underneath.
Now for the scandalous truth of Lucy Locket and Kitty Fisher. In Georgian London of the Eighteenth Century, prostitution was rife and one of the most famous courtesans at the time was Catherine Maria "Kitty" Fisher. Originally a milliner, but after seeing how much more money she could make and how much more fun she could have making it, inside and outside the boudoir, Kitty decided to take matters into her own hands and made a career change. Aside from her more notable talents, Kitty was also known for her "clever and witty conversation", and her light-hearted antics, including reportedly eating "a thousand-pound banknote on her bread and butter". The second harlot in the rhyme, is Lucy Locket a barmaid at Ye Olde Cock Tavern in Fleet Street. Lucy Locket had regular customers also known as "pockets". She had one pocket who obviously liked her services a little too much, as he quickly ran out of money and was dumped by Lucy. He then turned his attention to Kitty and hence she "found the pocket" and since he was broke, there was not a penny in it. The ribbon refers to the custom among prostitutes to keep their bank notes tied to their thigh with a ribbon. So, the nursery rhyme of Lucy Locket, is all about Kitty taunting Lucy for dumping her lover and her taking him on. Fancy that!
This true story about Lucy Locket and Kitty Fisher, and the nursery rhyme itself inspired me to create this image. So here are our two ladies of the night in their fine Georgian pomaded wigs, brightly coloured plumes and elegant dresses as two German half-dolls Lucy Locket is on the right with a slightly distracted look on her face, whilst Kitty Fisher on the left is more attentive towards the lost pocket which is a small blue coin purse I was given, and woven through this little assemblage is an embroidered cotton ribbon that came from a slow stitching kit I bought. The scene is displayed on some beautiful Art Nouveau rose patterned fabric that was sent to me from Dorset by a friend a few months ago.
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 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 beautifully hand painted German half-doll with her Eighteenth Century finery, would have been made for a lady’s boudoir. They are two of my larger half-dolls at nine centimetres in height, so I imagine they would have probably been a topper for a jewellery box, brush or pincushion.
5Z11 Polmadie - Wembley sleeper stock move passes Atherstone almost silently - no wheel flats on the new stock right now! Thanks to Terry for alerting me.
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As I stumbled about on the wilder, pathless parts of the Meuse Corridor I sprained my foot but was glad to fall head-long into a patch of Earthnut Pea, Lathyrus tuberosus. So recovering I sat down and looked more closely at the pretty flowers of this Sweet Pea.
Lathyrus tuberous also goes by the curious name 'Mice-with-tails' in various European languages (in The Netherlands 'Muizen-met-staarten' devolves in particular to the Betuwe region where there was once some minor cultivation of this plant).
Whence that name if the flowers don't remotely look like mice? Well, the tubers apparently remind of mice because of their small, blackish oblong shape with a 'string' (=mouse's tail) attached. These tubers, though small, are said to be good to eat after roasting or cooking, tasting a bit like Tame Chestnuts.
Mostly though this Sweet Pea is a thing of beauty.
But I found a number of references to the use of the flowers of Earthnut Pea for the production of an aromatic oil in the seventeenth century. A bit hard to trace the origin of that assertion. In the end I did find the work of a Swiss-German chemist, one Christoph Heinrich Hirzel (1828-1908): his Die Toiletten-Chemie, The Chemistry of Toiletries (1892, 4th ed.). He gives a fascinating account and also a kind of recipe book for the manufacture of various toiletry sweeteners and aromatics. One is for 'Platterbsenessenz' or 'Dufterbsenöl' (Erbse=Pea). Hirzel recommends a mixture of: 1/4 litre of 'Tuberosenextract', 1/4 of Orange flower extract, 1/4 of Rose pomade, and 30 grams of Vanilla extract. His description concludes: "Diese Platterbsenessenz riecht sehr angenehm und erinnert an Orangeblüten"; a bit disingenuous I would think given that a quarter of the mixture is indeed that of Orange flower extract.
Regardless my sprained foot, my lack of having been able to savor the cooked tubers, and Hirzel's disingenuity, this is a Very Pretty Sweet Pea in full flower!
These beautiful whist playing cards were made in Germany by the card firm B. Dondorf in 1909. The deck features beautiful chromolithographed images of people dressed in the pomaded wigs, frock coats, jabots and gowns of the Eighteenth Century, as the kings, queens and knaves in the deck. Sets like these are very collectable today, since even though millions of Dondorf cards were produced, complete packets in such good condition are hard to come by.
The theme for "Looking Close on Friday" for the 21st of June is "playing cards", which I found to be a lovely challenge. Besides the arrangement, my hardest decision was which deck of Dondorf cards did I want to use, since I have three sets in total. This set with its amazing graphics won out in the end. I hope you like my choice for the theme this week, and that it makes you smile.
The firm of B. Dondorf was founded in April 1833 by the lithographer Bernard Dondorf, who headed the company until July 1872. In that year, Dondorf's sons Carl and Paul, as well as his son in law Jacob Fries, assumed control of the firm which continued to operate under the original trademark. Jacob Fries left the firm in the early part of 1890. From the beginning, the company specialised in all branches of lithography. In cooperation with the printing firm of C. Naumann, Dondorf also printed paper bank notes for the Italian National Bank and for the Imperial Japanese Government. In 1871, the firm moved within Frankfurt from the Saalgasse to a new and larger factory site in the Bockenheimer Landstrasse 136. The steady growth of the company required the building of still additional subdivisions in 1890 and 1895. Principal products of the firm were playing cards, various games, greeting and post cards and various religious prints. The export of playing cards at Dondorf's accounted for much of the firm's business. The Scandinavian countries of Denmark, Norway and Sweden in the period before World War I, for example, imported nearly all of their playing cards from Dondorf. Similarly, the Dutch East Indies, now Indonesia were excellent customers. Bernard Dondorf, the founder died in his 94th year. He earned an enviable reputation as a lithographer, especially for his technique of etching the stone with a diamond stylus. His special methods of engraving bank notes were also unique. In 1929 the decision was reached to liquidate the firm.
Seit der Coronakrise sind ja nun alle angehalten, zu Hause zu bleiben. Ich habe die Zeit genutzt um einen neuen Backdrop für die Studiofotografie zu erstellen.
Strobist info:
A Jinbei flash head with a 90cm octabox infront of my face. Triggered via YN622C.
Hablar de ruinas es casi siempre sinónimo de abandono y de deterioro. No es el caso de estos fantásticos restos que distan mucho de ser un horror para los fascinados ojos del visitante. La Iglesia de Sta. Mariña de Dozo, es un bello ejemplo de lo que es uno de los rincones más románticos de la comarca y buena parte de la provincia.
En una falda del Monte de la Pastora, y muy próxima a la ubicación de un antiguo emplazamiento castreño, podremos disfrutar de los fantásticas ruinas de lo que fue en su día una importante iglesia. Con anterioridad debió existir un viejo templo románico de quizás el siglo XII. No se sabe con exactititud si su fundación fue debida a doña María de Ulloa, madre del arzobispo Alonso de Fonseca o a doña Juana de Hungría, esposa de Paio Gómez, quienes habitaron la cercana Torre de San Sadurniño. En cuanto a la cronología es más que probable que se iniciaran las obras en la época de estos, durante los siglos XV o XVI, con remates posteriores en el siglo XVII.
Este templo ojival se compone de cabezera o ábside cuadrado, una sóla nave con cubierta de madera y las capillas laterales. El tamaño de la nave es de 24 x 11,4 m. Del llamado gótico marinero, forma parte de un grupo de iglesias del mismo estilo como pueden ser Sta María de Laxe, Sta María de Muxía, Sta María A Nova o también la iglesia de Sta Columba de Rianxo, la cual quizás sirviera de ejemplo al caso del que nos ocupamos. El templo se divide en cinco tramos marcados por los grandes arcos rebajados de medio punto que aún permanecen intactos. Estos se encuentran decorados con bolas y pomas. El ábside se divide del resto mediante un gran arco apuntado, cubierto de una gran bóveda de crucería, en cuya clave se ha esculpido el Sol, que es la imagen de Cristo. Seis capillas se disponen a ambos lados, de las cuales, una de ellas sería la sacristía.
En la parte frontal, veremos una torre de planta cuadrada, en el lado izquierdo. A ella se asciende por una escalera de caracol interior. De mencionar son también las esculturas dispuestas en los arcos de las figuras de los doce Apóstoles, el Misterio de la Reencarnación y los pecados capitales, pero sobre todo nos llamará la atención la figura de una Virgen preñada y del Cristo con la cruz. De destacar son también los restos de las pinturas de las paredes laterales que dentro de muy poco y debido a las inclemencias climáicas y al nulo mantenimiento, acabarán por desaparecer.
Hoy en día, las ruínas, dan cobijo a un cementerio parroquial y el altar mayor presenta una antigua figura de un Cristo en lo que hace hoy de capilla. Fue abandonada en el siglo XIX, tras un gran incendio que destruyó gran parte de la iglesia. Hoy en día se realiza una sóla misa al año en el Día de los Difuntos.
Las ruinas de Sta Mariña Dozo fueron declaradas monumento histórico-artístico en 1943. Hoy en día quizás precisen de un poco más de atención si queremos conservar los hermosos restos de esta legendaria iglesia.
***
Speaking of ruins is almost always synonymous with abandonment and deterioration. It is not the case of these fantastic remains that are far from being a horror for the fascinated eyes of the visitor. The Church of Sta. Mariña de Dozo, is a beautiful example of what is one of the most romantic corners of the region and a good part of the province.
On a slope of Monte de la Pastora, and very close to the location of an ancient castreño site, we can enjoy the fantastic ruins of what was once an important church. Previously there must have been an old Romanesque temple of perhaps the 12th century. It is not known exactly if its foundation was due to Dona Maria de Ulloa, mother of Archbishop Alonso de Fonseca or Dona Juana de Hungría, wife of Paio Gómez, who lived in the nearby San Sadurniño Tower. As for the chronology, it is more than probable that the works began in the time of these, during the XV or XVI centuries, with later auctions in the XVII century.
This ogival temple is composed of a square head or apse, a single nave with a wooden roof and the lateral chapels. The size of the ship is 24 x 11.4 m. The so-called Gothic sailor, is part of a group of churches of the same style such as Sta Maria de Laxe, Sta Maria de Muxia, Sta Maria A Nova or also the church of Sta Columba de Rianxo, which perhaps served as an example to the case of which we are concerned The temple is divided into five sections marked by large semicircular arches that remain intact. These are decorated with balls and pomades. The apse is divided from the rest by a large pointed arch, covered with a large ribbed vault, in whose key the Sun has been sculpted, which is the image of Christ. Six chapels are arranged on both sides, of which, one of them would be the sacristy.
On the front, we will see a square tower, on the left side. She goes up an internal spiral staircase. Of mention are also the sculptures arranged in the arches of the figures of the twelve Apostles, the Mystery of Reincarnation and the deadly sins, but above all the figure of a pregnant Virgin and of the Christ with the cross will call our attention. Of note are also the remains of the paintings on the side walls that, in very little time and due to the inclement weather and no maintenance, will eventually disappear.
Nowadays, the ruins, give shelter to a parochial cemetery and the main altar presents an ancient figure of a Christ in what today is a chapel. It was abandoned in the nineteenth century, after a great fire that destroyed much of the church. Today there is only one Mass per year on the Day of the Dead.
The ruins of Sta Mariña Dozo were declared a historical-artistic monument in 1943. Nowadays they may require a little more attention if we want to preserve the beautiful remains of this legendary church.
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I’m not sure why we’re so drawn to sunsets and why they always make us feel good. We see plenty of them in our lifetime, and we expect vivid colors, but we’re still awe-struck each time we see them. Is it the completion of the day, or how it makes us feel like we’re able to relax finally after a day of intense sunlight and stress?
I often reference those cheesy Corona commercials when talking about just relaxing for a while. I find it hard to really sit still and do nothing, even enjoying a sunset. I don’t know if that’s ADD, restlessness, or my diet of 4 daily cups of coffee, but I’m learning if I really want some clarity, peace of mind and to hear what He has planned for me, then I must dedicate a little bit of time each week to allow my mind and body to go on screen saver for a while to just digest my mind just wander….
I have so much to do… I’m hungry…… sushi sounds good… sushi is expensive… man, I need to pay off that credit card… I haven’t played cards in a while………… poker… poker face… man I don’t get this Lady Gaga… who names themselves after what a baby says..... I remember when Dylan was a baby… I wonder what Dylan is doing… Is Caiden’s homework done… I remember having homework… wish I had homework instead of housework… man I need to pull those weeds… weed.. where’s my brother… haha, one of my favorite movies is Oh Brother Where Art Thou…. I need more pomade for my hair… I could get some at the store… while I’m there, I could get some food.. I’m still hungry………..
CPK - BBQ chicken chop salad today....
OH, I almost forgot to mention, my lovely photo assistant and flash holder was none other than Jill's Junk who brought her junk and met me down at the pier to help photograph and light this lovely couple. She let me take a few test fires of her Canon 5DM2 which I will never admit in public that I liked, but it had a real snappy feel to it. Nice to meet you Jill!!
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