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Relatively slim pickings on the railway front today with only one non-passenger service on the Tyne Valley line, to break up the monotony of DMU's.
On the plus side it was a substantial formation of HOBC stock returning to Tyne Yard following overnight work near Carlisle.
66507+563 are in charge for the 1030 Caldew Jn to Tyne S.S as it approaches Blaydon on a sunny 16th August 2015.
Supplementing the RMLs were a few former Dublin RVs. They were reregistered R16-18GCT after a few weeks of operation.
All Saints, Ramsholt, Suffolk
Taken with my Sony Xperia™ Z5 smartphone. A new entry on the Suffolk Churches site: www.suffolkchurches.co.uk/ramsholt.htm
riverrun, past Eve and Adam's, from swerve of shore to bend of bay. Ours was the marsh country, and from the strand I climb to the marsh gate, and there across the wide marshes stands All Saints. Here, thousands every year see Ramsholt church for the first time, and every time is like the first time. Now, I step out across the marshes, and in my mind I am Dickens's Pip, I am Joyce's Dedalus; signatures of all things am I here to read.
A bright, freezing day in January 2017, and a perfect day for cycling out to Ramsholt church. I caught the Lowestoft-bound train to Melton, and then cycled out along the long, busy peninsula road, the traffic quietening as it peeled off to bigger, less remote places. The fields flattened out, punctuated by wind-swept pines. The lanes narrowed, zig-zagging down the sides and along the ends of pre-enclosure strips. A sea of mud and ice caked the road surface, and soon almost every trace of human habitation had disappeared. Curlews and oyster-catchers huddled miserably in the open fields as I reached the end of the long lane which leads up to Ramsholt church.
Hardly anyone lives in this parish, but it still maintains several services a month as a result of the Anglican diocese's benefice system. Although this church is just about accessible by car, most people who visit here will come on foot. This is because, just beyond the lane that leads to the church, another lane leads down to the pub on the quayside, the Ramsholt Arms.
Today, this pub is one of the busiest in Suffolk. It hasn't always been so; When I moved to Suffolk thirty years ago you could come here on a sunny day and enjoy the silence of the shoreline as you sat behind your pint of Adnams. It was considered by those who knew of it one of the best kept secrets in the county. A peaceful, laid-back pub overlooking the wide river - what more could you want? The food was superb, and you could be assured of the friendliest of welcomes.
And then came the 1990s, and Suffolk was 'discovered'. It is hard to remember now just how unfashionable it had been before. As recently as 1986, Michael Palin could make a comedy film, East of Ipswich, about going on holiday with his parents in the years after the War to Southwold. Southwold! How absurd! Who would ever want to visit such a backwater, let alone go on holiday there!
Nowadays, it is hard to pick up a colour supplement without finding an article about some actor, or designer, or investment banker who has a holiday cottage near the mouth of the Deben or the Blyth. Foodie articles focus on Suffolk produce and Suffolk restaurants. House prices have rocketed; it simply isn't possible for young locals to live here any more. A beach hut recently exchanged hands in Southwold for about the same as my house in the middle of Ipswich is worth.
And places like Ramsholt are becoming overwhelmed. From being a quiet haven where you took your mum for lunch when she visited, the Ramsholt Arms has become a tourist pub, its large garden full on a summer's afternoon with yachting types up from London for the weekend. Does this sound snobbish? I'm sorry. But you might as well be in Southwold or Aldeburgh. I am seeing my lovely Suffolk destroyed, and it seriously pisses me off.
A large field has been converted to a tourist car park about half a mile before you reach the pub. You walk down onto the strand; although we are a good three miles from the sea, the beach is sandy, and children dig holes and build castles. The lazy river is shallow and slow, if a touch muddy, and paddling is certainly safer than it would be a couple of miles downstream at Bawdsey. The tide is very dramatic; at the turn, it retreats a hundred yards out in less than twenty minutes, leaving a vast expanse of shiny mudflats, an aerodrome for the seagulls.
You wander along the strand upstream,, taking care not to step on the samphire that grows there - I'll be along in the spring to harvest some of it, and I don't want it all trampled, thank you very much. You step up onto the level above, and through a gate onto the bridleway through the marshes. And you see the church for the first time.
From across the reeds, it rises dramatically above you. The round tower appears square at this distance, but as you come closer it begins to look oval, an illusion caused by the buttressing. A similar illusion occurs at Beyton, Suffolk's other buttressed round tower.
The bridleway winds leisurely across the flat marsh. But it is best to keep to it; deep channels snake among the reeds and gorse, and only the brown cattle that somehow find something to graze here seem sure of not falling into them.
If you have come here in spring, you are in for an absolute delight when you pass through the gate on the far side of the marsh. Here, a sunken lane winds up to the church. Until fifty or so years ago, these were so common, but most were either turned into roads, or allowed to return to nature. This one is lined by high banks, six feet or more, and they are a riot in spring of wild flowers and grasses. Poppies spangle them into the distance.
The lane climbs, and suddenly you reach the churchyard. It is about eight feet above you, and you can either continue up to the field and around to the north east, or there is a little stairway cut in the bank of the sunken lane. This takes you up into the graveyard itself.
It would be silly to call this a lonely place, because it has thousands of visitors every year, and unless you come in deepest winter as I did, you cannot be here for long without someone else turning up. But it is lonely in the sense that it is virtually all there is under the sky, apart from an impossibly pretty thatched farmhouse down in the dip beneath the church. The river stretches beyond the marshes (you can just make out the spire of Felixstowe St John on the horizon, some six miles away) and the air is empty except for plaintive bird cries and the wind in the reeds. On a hot, still day, even these are silenced, and you'll swear you can hear the distant clink of boat masts in the river, half a mile off.
This is an ancient place. There was a church here a thousand years ago, and perhaps the base of the tower survives from that time. The church is broadly Norman; the later medieval windows can't disguise this. North and south are strange sets of dumpy lancets, which could date from any time, I suppose. They allow you to see how thick the walls are.
However ancient All Saints is, the strongest resonances here are of the 18th century. This seems to be the last time the Parish was populated to any extent, and there are some superb 18th century headstones set in the wild grasses, including one with a sexton's tools. My four favourites are in a line, to the Waller family. The Wallers can still be found locally; they owned the living at nearby Waldringfield and presented their sons to the living. The last Waller rector of Waldringfield died in harness as recently as 2013. The location and pre-Tractarian character of the graveyard and church meant it provided a perfect setting for a recent BBC adaptation of Charles Dickens's Great Expectations (although the book is actually set in the north Kent marshes, of course).
Curiously, there are hardly any stones to the north of the church. This may be used as evidence for the myth that people are never buried on the north side of churches (in practice, they are - take a look at a few churchyards!) but I think it is simply that people here have chosen to be buried looking over the river - well, you would, wouldn't you.
As you step through the 19th century porch (the frontage is most unusual; bricks lining unknapped flintwork, like a seaside cottage) and into the open church (it is always open) you might be forgiven for thinking that the interior is also an 18th century survival. There are simple wooden box pews, a brick floor, a two-decker pulpit rising on the south side. It is all just about perfect.
In fact, all of this is the result of a restoration of the 1850s. In the first half of the 19th century, Ramsholt church was derelict; unused and unloved. The nave was open to the sky; the walls were 'green with damp'. It seems extraordinary that a church would be furnished in the prayerbook fashion at such a late date, although it probably reflects the predilections, and memories, of elderly churchwardens. Ramsholt is such a backwater that this was still thought to be the proper manner of furnishing a church. As you walk up to the altar, you'll notice that the seats face west, towards the pulpit, rather than east, towards the altar, a reminder that for 300 years it was the Word that was the focus of Anglican worship, not the Sacrament.
There's a nice late medieval font, which seems rather out of place here; you feel that a chunky Norman font, or one of those 18th century bird baths as at neighbouring Bawdsey, would be more appropriate. The simple Norman doorway into the tower seems to call out for the former. If you look through the cracks in the door, you'll see that the base of the tower has been furnished as a vestry.
The damp of the estuary inevitably creeps into this building still, but that is part of its charm. On a summer's day it is cooler inside than out, as if the church were holding on to the grip of winter. On a winter's day the church becomes a sanctuary, but in all seasons a serious house on serious earth... the ghostly silt not yet dispersed. There is something organic about this great oatmeal tower, and the way it and the sandy bluff merge into the reeds and pines above the Deben estuary, at one with its setting, its parish and its long generations.
And that is all there is to Ramsholt now. The pub, a farmhouse and the church, each about half a mile apart. And the marshes, and the water, and the wide Suffolk sky.
B. Ruppes Inc is a health supplement store in historic Barelas. Since it's inception at the turn of the century, B. Ruppes Inc has evolved over the years from at one time a full-service pharmacy to it's current state of selling over the counter medicine, traditional Mexican remedies, herbs, vitamins/supplements, and traditional Mexican medicine supplies and needs.
This mural in their parking lot and is a must to see.
Barelas, Albuquerque, Bernalillo County, NM
I've gone for a little 'rewind' here with this shot of new to Mainline B6LE Wright Crusader pictured in St Budeaux square working back from Saltash to Plymouth on what was back then the old 'Red Line' route 1 & 2.
I remembered when this one turned up from South Yorkshire, it still had the LEDs programmed to destinations from up North!
We had all of the N-BKY batch here at Plymouth at one point along with N144BWG & M918MRW, they supplemented the native B6BLEs W-PAF batch on the then colour branded routes around Plymouth.
Depending on which 'snake oil' salesman you talk to, bladder wrack can be used to benefit all sorts of health conditions, but medical evidence as to it's efficacy is thin on the ground.
One definite benefit is not to fall in the water while trying to photograph it.
Snaefellsnes Peninsular, Iceland.
April 2016. © David Hill
Poppy and Paul spent Saturday scouring the classified ads: Paul's job as a costumed sing-a-gram/flower deliveryman isn't going to pay his bills, and with a piano no longer at Boolster's Brew, he has to look further afield for supplemental income.
Paul's sweater is Mattel, shirt by IT. Poppy's dress is by Squish.tish.
I must be easily pleased - but, this small illustrated colour booklet of some 16 pages is so beautifully produced and is about such an esoteric subject as halibut oil that it is a gem! It was issued about 1950 I would say, given the style and 'feel', and was printed at The Fanfare Press, London, for The Crookes Laboratories who were based at Park Royal in north west London and from where they manufactured many vitamins and supplements including those made from halibut liver oil that provided Vitamin D.
Crookes have a fascinating history and they still exist as a multinational concern, based in Nottingham, as they had been for many years part of Boots the Chemists who had acquired them in 1971. Boots bought the company from the Park Royal 'neighbours' Guinness who had an interest in Crookes from 1960 when they'd jointly bought them along with a division of Philips. They're now owned by Reckitt Benckiser who took over Boots Healthcare manufacturing division in 2005.
The origins of the company go back to the eminant scientist Sir William Crookes, he of the Crookes Tube that allowed the development of many other technologies. It was his son, Henry, who started making colloids in around 1912 and whose concern became part of British Colloids in 1919, the name changing to Crookes Laboratories in 1951.
According to the booklet much clever technology was required from when the fresh halibut livers arrived at Park Royal until the purified capsules left! The charming illustrations and text look at the need for and importance of Vitamin D in such a sun-drenched country as the UK and the various demanding life and work styles encountered by many people. The illustrations are all signed "Xenia" and I'm tempted to think this is no other than Xenia Kashevaroff Cage (1913 - 1995?), the US born artist of some renown but whose work was overshadowed by her one time husband John Cage.
It seems a bit far fetched but Xenia, noted for sculptural forms and mobiles, did a series of posters for BOAC at around the same time and the style is so very similar. Hopefully this can be confirmed one way or the other! This page is striking - I'm not sure if this is Mr A D Green striding manfully along the street protected by his hat, brolly, gloves and Vitamin D!
My father always supplemented our family car with a cheap used pick up... we would use it to take our solid waste junk to the dump locally but would take a beer or two for the John who ran the dump. John would let dad scrounge for stuff that he could repair and used.. We got washer motors so he could build a window cooler... before AC that was the only way we kept cool in the dry hot summers. I would go with him and loved to hunt for dump treasures. I got older dad would let me drive a bit off road before I was old enough to legally drive. I could drive and shift back when most of my friends learn on an automatic trans...
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
First of all it is important to point out that what this eagle is flying of with is a chicken carcasses.
Supplementing the birds natural diet during the winter months has raised many questions.
My post is not meant to raise questions but just to show the power and the majesty of these birds as they try to survive for another day.
Apollolaan 10/07/2023 15h42
Street art Frankey gives the city small inconspicuous surprises. Sometimes quite large, sometimes very small. Every week a photo with one of his recent works appears in the supplement to the newspaper Het Parool. A great opportunity to take a closer look at his work. Sometimes you have to search to find it and sometimes it is already gone.
In 2023 Streetart Frankey is an official participant of the 8th edition of ArtZuid (Amsterdam Sculpture Biennale).
On the existing advertising column in front of the entrance of the biennale I made this image of myself as a billposter that turns things upside down a bit :)
FRANKEY ZET ART ZUID OP Z'N KOP
Apollolaan, Amsterdam Zuid
June 2023 (Het Parool, 24/06/2023)
Frankey (NL, 1977)
Streetart Frankey
Streetart Frankey (pseudonym of Frank de Ruwe) is a Dutch artist who wants to positively influence the street scene with relatively small and often inconspicuous works of art.
He grew up in Nijmegen, father was an inventor at Philips Netherlands. He studied at Delft University of Technology (Industrial design). In daily life director of and working for design collective Natwerk. In Amsterdam, many of his works in the street art category can be found on buildings, streets and bridges, often in addition to existing building elements. He himself about his work;
"I want to push boundaries. Art has no boundaries, that's why I like it so much."
In 2019, a special page has been dedicated to his art in Het Parool for a number of years; first he took care of that section himself, later he had to leave that work to others because of busy work. A little later his work Eberhard van der Laan appeared above the entrance of Paradiso.
One of the works that inspired him is the Boomzagertje in the Leidsebosje, a work by an as yet unknown artist.
[ Wikipedia ]
ArtZuid
ARTZUID is an international large-scale sculpture exhibition which takes place every two years in Amsterdam.
ARTZUID was established in 2008.The initiative came from United Art Consult led by Cintha van Heeswijck. From 2009 on, the exhibition takes place every odd year in the monumental Art-Deco district in Amsterdam, designed in 1917 by Hendrik P. Berlage. ARTZUID sculpture route starts at the Museum Square in front of the Rijksmuseum and stretches for 2,5 kilometers south along the Minervalaan, the Apollolaan and Churchilllaan and finally up to the Station Zuid.
The eighth edition of the biennial Amsterdam Sculpture Biennial ARTZUID took place from 19 May to 24 September 2023. On Apollolaan and Minervalaan in Amsterdam-Zuid, 50 sculptures have been selected by curator Jasper Krabbé under the theme Transfer.
The selected art reflects the transfer of social commitment of artists and iconic movements from the 60s, 80s, and 2000s that brought ‘art to the streets’. Think (Neo)Pop art, Nouveau Realisme, Arte Povera and Street art. With the help of sponsors, ten commissions were given to Dutch artists.
[ Wikipedia ]
The Edge published a lookbook supplement to Windlight Magazine today, showcasing the incredible talents of The Edge Stylists. This is the image I did for my Editorial to the lookbook.
Twice a year we will be showcasing the work of our outstanding new collective of Edge Stylists. The Stylist group was formed recently to include some of the most outstanding and creative stylists, models, bloggers and photographers to grace the current Fashion Scene in SL. They will help the Edge in its mission to promote the creative and artistic side of SL Fashion, both in imagery and in design and presentation. In real life, Fashion thrives and feeds on creativity, with inspiration sparking inspiration. Even in a smaller SL Fashion community than there has been in past years, it is important to continue to champion creative expression and to help the process of nurturing new inspiration. Fashion is generally considered to be an 'applied art' but I personally consider styling, in SL at least, to be a true form of creative expression, especially combined with talented and expressive photography. It is for these talents that I chose the Stylists who make up the Edge Collective.
As our Edge Stylist Group is so new, this first Special Supplement is not themed. Our Stylists have been given a completely free rein to showcase their talents. In these pages you will find a diverse and beautiful collection of images. More will be coming from the Edge over the coming year, so watch this space.
Eleseren Brianna - Editor and Curator of The Edge
Windlight Magazine - issuu.com/windlightmagazine/docs/april-2016-backup
Edge Supplement - issuu.com/windlightmagazine/docs/the_edge-spring2016
Editorial Image - style credits
LIBERTINE Jacket - red - sYs
Bandage Suit - black - ISON
Urbanista Latex leggings - {Indyra}
Sorucis Thigh Boots - Shoenique
Scatterheart Necklace - black - FINESMITH
Love Entwined Ear Cuffs - Chop Zuey
Lolita Paragorn Ring - Lazuri
Hair - Tijana - RAW HOUSE
Makeup - League, Soiree, MONS, {MUA}, R3i
Photo by Eleseren Brianna
Another one of my oldies. I'm slowly putting them up so that they can go to the back of my stream when I upload new stuff.
Why it might be good - nature. Its all nature. Doing its thing & looking spectacular.
The only thing I did was lazily point at it and shoot away. I didn't think about the sunlight falling onto the rose, or how it would translate into a photograph. I didn't think about it at all.
Why am I posting this if I don't particularly like it? Well .. I think it acts as a supplement, telling me what not to do while assuring me about how far (or not so far) I'm come.
There’s also homemade bacon-infused butter, lobster butter, truffle aioli, and cocktail sauce can be added for $4 supplement each.
Lbs
100 Yonge St.
Toronto, ON
(647) 351-4747
lbstoronto.com
Twitter: @LbsToronto
Owners: Jonathan Gonsenhauser and Will Tomlinson
Introducing for TorontoLife: torontolife.com/food/restaurants/lbs-pounds-lobster-burge...
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone +43 / ( 0) 1 / 79557-0
Fax +43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Though cedar waxwings are typically frugivorous (fruit/berry eaters), they are also aerial insectivores! Particularly in breeding season (July-August), cedar waxwings will feast on insects in mid air to supplement their regular diet with precious protein.
Credit: Guillermo Alvarez/USFWS
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Italian postcard in the Collection Cards series, a supplement to the weekly Cioè.
Blue-eyed dreamboat Riccardo Scamarcio (1979) is one of the leading stars of the contemporary Italian cinema. He is known for successful Italian films as Romanzo criminale/Kings of Crime (2005), Mio fratello è figlio unico/My Brother Is an Only Child (2007) and Mine vaganti/Loose Cannons (2010) but also works abroad. He is also a film producer.
Riccardo Scamarcio was born in 1979 in Andria, Puglia, Italy. His mother Irene is a painter. At the age of 16, he left school and went to Rome to train as an actor at the Scuola Nazionale di Cinema. His acting debut was in the TV series Compagni di scuola/Classmates (Tiziana Aristarco, Claudio Norza, 2001). In 2003 followed a part in La meglio gioventù/The Best of Youth (2003), a four-part mini-series directed by Marco Tullio Giordana that covers expansive times of Italian history through the story of one family. The series was presented at the 2003 Cannes Film Festival where it won the Un Certain Regard award, and was then given an international theatrical release. Scamarcio’s first lead role in a feature film was in the teen romance Tre metri sopra il cielo/Three Steps Over Heaven (Luca Lucini, 2004). His role as a handsome bad boy made him immediately a sex symbol in Italy. He co-starred with Italian-Greek actress Valeria Golina in Texas (Fausto Paravidino, 2005). He fell in love with his 14-years older costar and their affair was fodder for the gossip magazines and made him well-known. He then starred in the criminal drama Romanzo criminale/Kings of Crime (Michele Placido, 2005), with Kim Rossi Stuart. In this highly acclaimed portrait of a Mafiosi community in the 1970s, he played a monosyllabic, enigmatic thug, one of three lifelong friends who take control of organized crime in Rome. In 2006 he acted in the TV Mini-series La freccia nera/The Black Arrow (Fabrizio Costa, 2006), adapted from the novel by Robert Louis Stevenson. He played one of two brothers coming of age in a small Italian town in the 1960s and 1970s in Mio fratello è figlio unico/My Brother Is an Only Child (Daniele Luchetti, 2007), based on the novel Il Fasciocomunista by Antonio Pennacchi. Brothers Accio (Elio Germano) and Manrico (Riccardo Scamarcio) embody and celebrate opposing political stances, but share an impassioned love of the same woman that threatens to drive them to blows. Luchetti's political comedy observes the brothers over the course of 15 years, against the ever-shifting backdrop of tumultuous Italian sociopolitical history. Scamarcio played in the local box-office hit Manuale d'amore - Capitoli successivi/Manual of Love 2 (Giovanni Veronesi, 2007), a romantic comedy with Monica Bellucci. Then followed Ho voglia di te/I want you (Luis Prieto, 2007), a sequel to his breakthrough film, Tre metri sopra il cielo/Three Steps Over Heaven (2004), and Go Go Tales (Abel Ferrara, 2007), starring Willem Dafoe. In the following years, he made the thriller Colpo d'occhio/At a Glance (Sergio Rubini, 2008), the comedy Italians (Giovanni Veronesi, 2009) with Carlo Verdone, and with Luca Argentero Il grande sogno/The Big Dream (Michele Placido, 2009), set at a Roman university in 1968. Scamarcio played an illegal immigrant-cum-innocent abroad in Eden à l'Ouest/Eden Is West (2009), directed by celebrated filmmaker Costa-Gavras. Scamarcio partner, Valeria Golino, played his sister in the comedy-drama L'uomo nero/The Cézanne Affair (Sergio Rubini, 2009).
Riccardo Scamarcio was very successful as a gay son of a conservative bourgeois family in the comedy Mine vaganti/Loose Cannons (Ferzan Özpetek 2010). The film was highly praised by film critics and got nominated for thirteen David di Donatello Awards, the Italian Oscars. In France, Scamarcio appeared in the drama Polisse (2011), written, directed by and starring Maïwenn. The film centres on the Child Protection Unit (Brigade de Protection des Mineurs) of the Paris Police. Woody Allen directed him in the magical realist romantic comedy To Rome with Love (2012), set in Rome. He had small parts in the British biographical drama Effie Gray (Richard Laxton, 2014), featuring Dakota Fanning, and the British-German-American romance Third Person (Paul Haggis, 2013), starring Liam Neeson. Back in Italy, he starred in the comedy Una piccola impresa meridionale/A Small Southern Enterprise (2013), written, directed and starred by Rocco Papaleo. He reunited with Willem Dafoe and director Abel Ferrara for Pasolini (2014) about the final days of film director Pier Paolo Pasolini. Scamarcio starred opposite Sharon Stone in the comedy-drama Un ragazzo d'oro/A Golden Boy (2014), written and directed by Pupi Avati. Then followed Maraviglioso Boccaccio/Wondrous Boccaccio (Paolo and Vittorio Taviani, 2015) loosely based on stories from The Decameron by Giovanni Boccaccio. He got a David di Donatello Award nomination for best actor for the romantic drama Nessuno si salva da solo/You Can't Save Yourself Alone (Sergio Castellitto, 2015). Other recnet films in which he appeared are the Italian drama La prima luce/The First Light (Vincenzo Marra, 2015), the American drama Burnt (John Wells, 2015), starring Bradley Cooper, the romantic comedy-drama Io che amo solo te (Marco Ponti, 2015) – a box office hit in Italy, the Italian crime-drama Pericle il nero/Pericle (Stefano Mordini, 2016) and the upcoming American action thriller John Wick: Chapter Two (Chad Stahelski, 2017) in which Keanu Reeves returns as hitman John Wick. Since 2006, Riccardo Scamarcio is engaged to Valeria Golino. In 2010 they set up the film production company, Buena Onda, with Viola Prestieri. Scamarcio produced Golina’s euthanasia-themed directorial debut Miele/Honey (Valeria Golina, 2013). Scamarcio and Golina live in Rome.
Sources: AllMovie, Wikipedia (Italian and English), and IMDb.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are northwest of Lettice’s flat, in the working-class London suburb of Harlesden visiting the home of Edith’s, Lettice’s maid, beloved parents. Edith’s father, George, works at the McVitie and Price biscuit factory in Harlesden as a Line Manager, and her mother, Ada, takes in laundry at home. They live in a small, two storey brick terrace house which opens out directly onto the street, and is far removed from the grandeur of Lettice’s Mayfair flat, but has always been a cosy and welcoming home for Edith and her younger brother Bert all their young lives. Since her father’s promotion in 1922, Edith’s mother is only laundering a few days a week now. The money she makes from this endeavour she uses for housekeeping to make she and George’s life a little more comfortable, but she is able to hold back a little back as pin money* to indulge in one of her joys, collecting pretty china ornaments to decorate their home with.
We are in Ada’s front parlour, which is where most of her decorative porcelain finds from different shops, fairs and flea markets around London are proudly displayed. With busy stylised floral wallpaper and every surface cluttered with ornaments, it can only be described as highly Victorian in style, and it is an example of conscious consumption, rather than qualitative consumption, to demonstrate how prosperous the Watsford family is, especially now that George holds the management position that he does. Like many others of its kind in Harlesden and elsewhere in London, it is the room least used in the house, reserved for when special guests like the parish minister or wealthy old widow and the Watsford’s landlady, Mrs. Hounslow, pay a call. However today’s special guest is not either the minister, nor Mrs. Hounslow. It is Frank Leadbetter, Edith’s beau, who has arranged to visit Edith’s parents on his own, as he has a very important question to ask of them both.
Dressed in his Sunday best suit, Frank sits awkwardly in one of two Victorian high backed barley twist chairs. The combination of the formality of his suit and the hard and uncomfortable horsehair upholstery of the chair encourage Frank to sit with a ramrod stiff back in his seat. He looks awkwardly around the room, allowing his gaze to flit in a desultory fashion around the unfamiliar surrounds of the Watsford’s formal front parlour. Cluttering the surface of an old Victorian sideboard and an ornate whatnot, the cold stares of Queen Victoria, Edward VII, Queen Alexandra and the current King George V and Queen Mary stare out from the glazed surfaces of plates and other objects celebrating coronations and jubilees, whilst on the mantle, flanked by pretty statues of castles and churches, younger versions of George and Ada in sepia pose formally with Edith as a little girl and Bert as a baby, gazing out from brass frames with blank stares. Frank coughs awkwardly and nervously tugs at his stiff collar, feeling hot even though there is no fire going in the small grate of the fireplace.
“Now, now, young Frank!” George booms good naturedly from the one comfortable seat in the room, an old armchair with thick red velvet button back** upholstery. “No need to be nervous, me lad!”
“Oh, you don’t know why I’m here, Mr. Watsford.” Frank replies, running his right index finger nervously around the inside of his collar.
George chuckles. “I think I can guess, Frank.”
Frank gazes down at Ada’s dainty best blue floral china tea set on the lace draped octagonal table set between the cluster of chairs. A selection of McVitie’s*** biscuits brought home by George from the nearby factory sit in a fluted glass dish.
“Will Mrs. Watsford be long, do you think, Mr. Watsford?”
“I shouldn’t think so, Frank. She’s only gone to boil the kettle and fill the pot.”
As if knowing that she was being spoken about, Ada sweeps through the door of the parlour, holding aloft the glazed teapot in the shape of a cottage with a thatched roof with the chimney as the lid that Edith bought for her as a gift from the Caledonian Markets****. “Here we are then,” she says with a heightened level of exuberance. “Tea for three!” She carefully places the teapot in the centre of the tea table.
“Perfect timing, Ada love.” George replies, and without waiting, reaches across the void between him and the tea table and snatches up a biscuit.
“George!” she chides. “Where are your manners?” She looks askance at her husband, who settles back in his seat, quite unperturbed by his wife’s scolding. “Guests first.” She sweeps her hand across the table towards the biscuits as she lowers herself precariously onto the edge of the other high backed barley twist chair. “Frank?”
“Err… umm…” Frank stutters. “Ahh, no… no thank you, Mrs. Watsford. I… I’m not hungry.”
“Oh well, more for us then, Ada love.” George says cheerfully through a biscuit filled mouth, stretching out his hand to the glass dish again.
“George!” Ada cries, slapping her husband’s hand sharply, the sound echoing around the cluttered parlour.
George retreats in his seat, recoiling and rubbing his chastised hand rather like a dog nurses a limp paw.
“Shall I be mother then*****?” Ada asks rhetorically as she automatically picks up the milk jug. “You take milk, don’t you Frank?”
“Err… yes, Mrs. Watsford.” Frank replies as she slops some milk into his cup before adding a dash to her husband’s and her own.
“And sugar?”
“Err.. two please, Mrs. Watsford.”
“Ahh, a sweet tooth after my own heart.” Ada replies with an indulgent smile, putting two heaped teaspoons of sugar into Frank’s cup before adding one to George’s and two to her own. “Now!” she sighs, taking up the cottage ware teapot pouring tea into the cups. “You wanted to talk to us, Frank?”
“Well…” Frank begins.
“You know it feels jolly funny having you here Frank, but not Edith.” Ada interrupts the young man even as he begins. “I’m quite used to you coming with Edith now.”
“Well, you know… I… I really wanted this to be a conversation that I had alone with you and Mr. Watsford,” Frank indicates to George, still licking his wounds. “Mrs. Watsford. So, I asked Hilda to take Edith out shopping today.”
“And she isn’t missing you, Frank?” Ada queries, as she replaces the pot in the middle of the tea table.
“Err…” Frank blushers, heaving and puffing his cheeks out. “Well, I told Edith a bit of a tall tale. I said that I had to help Giuseppe, my chum with his restaurant in the Islington****** today.”
“Oh yes,” Ada remarks with a tone of distaste as she hands George his cup of tea. “Giuseppe. He was your Italian friend who gave you the wine that we shared that first time we met, wasn’t he?”
Frank blushes red at the painful memory of that first rather awkward Sunday luncheon he had at the Watsfords’ when he and Ada had had a disagreement about some of his beliefs about life. “Yes.”
“My, my.” Ada takes up her own cup of tea and cradles it in her lap as she smiles to herself. “Such subterfuge to be alone with us.”
“You might not enjoy poor Frank’s discomfort quite so readily, Ada.” George pipes up from his seat as he sips his tea, tempering his wife.
“I was merely asking a question, George love.” Ada replies with a smug smile.
“No you weren’t, and you know it.” George retorts. “You were bringing up difficult memories of that awkward first tea we all had together, when you know perfectly well that we have all come a long way from there.” He gives his wife a doleful look. “Stop raking over old coals that don’t need to be raked over.”
“I agree, George.” Ada replies calmly. “We have come a long way; however, I was merely reminding Frank that in spite of that, we still have some concerns about his philosophies about life.”
“You have concerns, Ada love. I don’t.”
“Well one of us has to, if Frank has come here asking for Edith’s hand.” Ada turns her attentions to their young guest. “That is why you are here, isn’t it, Frank?”
“Well… I…” Frank stammers.
“Of course it is, Ada love. Frank?” George asks, sitting up in his seat.
“Well yes, Mr. Watsford. That’s what I came for. I came to formally ask for Edith’s hand in marriage.”
George leaps from his seat, dropping his half drunk cup of tea into the tea table noisily, sloshing tea into the saucer in his haste, before he bustles around the small black japanned cane table on which a vase of flowers stands before patting Frank on the back. “Of course! Of course! We’d be delighted, wouldn’t we Ada?” He turns and beams at his wife before turning quickly back to Frank without waiting for a reply. “What took you so long, Frank my boy?”
“Well Mr. Watsford, I know Edith and I have been stepping out for a while now,” Frank explains, sighing with relief and smiling at George’s exuberant acceptance of his request for Edith’s hand. “But I wanted to have a few things in place before I asked you.”
“Jolly good! Jolly good!” George chuckles delightedly. “Have you got a ring yet?”
“I’m not quite there yet, Mr. Watsford, but I’m getting there. I… I also wanted to assure you that my intentions are genuine. I… I love Edith and I don’t want anyone else.”
“Well, of course you don’t, lad!” George puffs, rubbing the young man’s right shoulder comfortingly. “We knew the moment we saw you together, that you two were made for each other, didn’t we Ada?”
Ada doesn’t reply immediately.
“Oh, this is wonderful, Frank!” George shakes Frank’s hands, barely able to contain his joy. “Welcome to the family!”
“Now just hang on for a moment.” Ada’s voice cuts in, slicing the joy with its sharp edge. “Let’s not rush into this without a few clarifying things first.”
“What?” George asks. He snorts preposterously. “Whatever do mean, Ada love? Frank’s just said his intentions are good. I don’t need anything more than that.”
“Well I do.” Ada replies calmly.
“What… what is… is it, Mrs. Watsford?” Frank asks, his voice quavering with nerves.
“Now, if you’d both just sit down for a moment,” Ada says, replacing her cup on the table, indicating for the two men to resume their seats.
Deflated, both Frank and George return to their respective seats.
“Now, Frank,” Ada starts, leaning forward in her seat. “I would just like to say that in principle, I am as pleased as my husband is that you’re asking for Edith’s hand in marriage.”
“Then Ada…?” George begins, but his wife silences him by holding up the palm of her hand to him.
She goes on. “I’d already had words with Edith about the two of you eloping.”
“Oh I’d never do that to you, Mr. Watsford or my Gran, Mrs. Watsford.” Frank assures her, looking earnestly into her unreadable face.
“Yes, I’m glad to hear it, as it confirms what Edith said, which was the same as you.” Ada turns to her husband. “Prospects?”
George looks quizzically at his wife. “Prospects?”
“Yes, prospects!” Ada’s eyes grow wide as she looks knowingly at him. She lowers her voice and whispers, “Remember, we discussed this?” When he looks uncomprehendingly at her again, she adds in a hiss, “When I said you’d go all doolally******* over Frank’s proposal, which you have?”
“Oh!” George pipes up. “Oh yes!” He sits up in his seat and turns to Frank. “Now young man, Both you and Edith have told us that you’re trying to improve your lot in life.” Ada scoffs from her seat. Ignoring her, he asks, “What are your prospects for Edith, once you’re married?”
“Well, it is true that I am trying to improve my circumstances. It’s one of the reasons why I have held off asking for Ediths hand until now. Like I said, I wanted to get a few things in place before I did.”
“Such as?” George’s bushy eyebrow arches over his right eye as he asks.
“Well, as you both know, I’ve been doing extra duties at Mr. Willison’s to build up my skills. I don’t want to be a delivery boy all my life.”
“No of course not, lad!” George pipes up.
“George!” Ada exclaims. “Let the boy finish. I want to hear what he has to say, not you.”
“Err… no, of course not.” George blusters. “Go on, Frank.”
“Well, I’ve been doing a bit of window dressing and arranging of products for Mr. Willison. I’ve also been taking a correspondence course on bookkeeping, which Edith doesn’t know about.”
“Why not?” Ada snaps.
“Because I wanted to complete it first and show that I’ve applied the skills before I told her: rather like a surprise, Mrs. Watsford.”
“Alright Frank.” Ada softens. “And have you?”
“Well, it’s a bit hard to get Mrs. Willison to relinquish anything about the shop’s books, but I did manage to do a bit of bookkeeping earlier this month when she was poorly and in bed. Technically she gave the task to her daughter, Miss Henrietta, but she wanted to do other things in her spare time, so it was reasonably easy to convince her to give it over to me to do, and Mrs. Willison did admit that I did a good job of it.”
“Well that’s something, isn’t it Ada?”
Ada nods in agreement with her husband, but keeps looking at Frank with an observant stare.
Frank continues. “And I’ve been tapped on the shoulder by friends of mine who are part of a trades union.” An uncomfortable look begins to cloud Ada’s features at the mention of unions. “And they tell me that soon there might be an opening or two in one of the suburban grocers for an assistant manager position, which would lead eventually to a position where I’d be running my own corner grocer.”
“In Metroland********?” George splutters. “My daughter all the way out there?”
“It’s not so bad, Mr. Watsford. The Chalk Hill, Grange and Cedars Estates are all built along the railway line not too far from Wembley Park, so Edith would be able to visit you easily, and you’d be able to come and visit us too. We’d live in a nice little flat above the shop with indoor plumbing and all electrified.” Ada tuts at the mention of electricity, but Frank continues to paint a vision of his and Edith’s rosy future. “The children we have, your grandchildren can grow up attending local schools and getting lots of fresh air.”
“Well, since you put it like that, I guess it’s not so bad, is it Ada?”
“Well,” Ada purses her lips. “I’m sure that Edith has told you that I hold no faith in that newfangled electricity, but living in Cavendish Mews she seems to have become a convert.”
“And a lovely new estate is far healthier for any children that we have, Mrs. Watsford. It’s far better than living in a house in Clapham Junction.”
“And how much will this flat of yours cost?” Ada asks seriously.
“Around five shillings a week for a two-up two down******** semi********* in the Chalk Hill Estate, Mrs. Watsford.” Frank says, gaining strength in his convictions, filling his voice with a new boldness and surety. “And, if we were to live in a flat above the grocers’ shop, it would be even less, and we’d still have all the modern conveniences like hot and cold running water and an inside privy.”
“Nothing wrong with an outdoor privy.” remarks George.
“Nothing wrong with an indoor one, either, Mr. Watsford. I only the best for Edith and our children.”
“Alright, young Frank.” George backs down.
“Now, going back to what I had eluded to before, Frank,” Ada continues. “You’re a good lad, Frank Leadbetter, and I can see that by your thoughtfulness and your manners. I know you love our Edith, and you obviously treat her very well…”
“As she deserves, Mrs. Watsford.” Frank assures her.
“I know, Frank.” Ada tempers him. “However, the vehemence with which you spurn your new ideas around is still a bit frightening to me.”
“Oh, there’s nothing to be frightened of Mrs. Watsford.”
“But these labour unions of yours…” Ada’s voice trails off.
“I can assure you, Mrs. Watsford, the unions aren’t bad, and I am not a Communist.” Frank defends himself. “As I said just before, I only want the best for Edith and for the family I hope we will have together. I just want a better world for all of us, and the unions will help with that. However, I swear that I’m not associated with any of those militant factions that popped up after the Russian Revolution. I believe in peaceable actions, discussion and compromise.” Frank looks earnestly at Ada. “I would never put Edith in any danger. I’m a hard working man who just wants a good future. Some of the finer details of it may be different to yours and Mr. Watsford’s, Mrs. Watsford, but at the end of the day, our ideals are the same, and whatever I do, Edith and her wellbeing is central in everything I do, and everything I have planned.”
Ada sighs and smiles. “Alright Frank. So long as she is, I can only give you my blessing too.”
“Oh thank you, Mrs. Watsford!” Frank exclaims, standing up and walking over to Ada who rises from her seat and embraces Frank kindly.
“Good lad!” George says, standing up as well and beaming over his wife’s shoulder, winking at Frank.
He reaches down and snatches up two more biscuits from the fluted glass bowl on the tea table.
“George!” Ada scolds, not quick enough to catch him this time.
He smiles back at her gormlessly.
“At this rate I’m going to have to let out that vest of yours, George Wastford!” Ada remarks.
George turns to Frank. “Are you sure you want the joy of these moments of wedded bliss, Frank my boy?” he asks jokingly.
*Originating in Seventeenth Century England, the term pin money first meant “an allowance of money given by a husband to his wife for her personal expenditures. Married women, who typically lacked other sources of spending money, tended to view an allowance as something quite desirable. By the Twentieth Century, the term had come to mean a small sum of money, whether an allowance or earned, for spending on inessentials, separate and in addition to the housekeeping money a wife might have to spend.
**Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
***McVitie's (Originally McVitie and Price) is a British snack food brand owned by United Biscuits. The name derives from the original Scottish biscuit maker, McVitie and Price, Ltd., established in 1830 on Rose Street in Edinburgh, Scotland. The company moved to various sites in the city before completing the St. Andrews Biscuit Works factory on Robertson Avenue in the Gorgie district in 1888. The company also established one in Glasgow and two large manufacturing plants south of the border, in Heaton Chapel, Stockport, and Harlesden, London (where Edith’s father works). McVitie and Price's first major biscuit was the McVitie's Digestive, created in 1892 by a new young employee at the company named Alexander Grant, who later became the managing director of the company. The biscuit was given its name because it was thought that its high baking soda content served as an aid to food digestion. The McVitie's Chocolate Homewheat Digestive was created in 1925. Although not their core operation, McVitie's were commissioned in 1893 to create a wedding cake for the royal wedding between the Duke of York and Princess Mary, who subsequently became King George V and Queen Mary. This cake was over two metres high and cost one hundred and forty guineas. It was viewed by 14,000 and was a wonderful publicity for the company. They received many commissions for royal wedding cakes and christening cakes, including the wedding cake for Queen Elizabeth II and Prince Phillip and Prince William and Catherine Middleton. Under United Biscuits McVitie's holds a Royal Warrant from Queen Elizabeth II.
****The original Caledonian Market, renown for antiques, buried treasure and junk, was situated in in a wide cobblestoned area just off the Caledonian Road in Islington in 1921 when this story is set. Opened in 1855 by Prince Albert, and originally called the Metropolitan Meat Markets, it was supplementary to the Smithfield Meat Market. Arranged in a rectangle, the market was dominated by a forty six metre central clock tower. By the early Twentieth Century, with the diminishing trade in live animals, a bric-a-brac market developed and flourished there until after the Second World War when it moved to Bermondsey, south of the Thames, where it flourishes today. The Islington site was developed in 1967 into the Market Estate and an open green space called Caledonian Park. All that remains of the original Caledonian Markets is the wonderful Victorian clock tower.
*****The meaning of the very British term “shall I be mother” is “shall I pour the tea?”
******The Italian quarter of London, known commonly today as “Little Italy” is an Italian ethnic enclave in London. Little Italy’s core historical borders are usually placed at Clerkenwell Road, Farringdon Road and Rosebery Avenue - the Saffron Hill area of Clerkenwell. Clerkenwell spans Camden Borough and Islington Borough. Saffron Hill and St. Peter’s Italian Catholic Church fall within the Camden side. However, even though this was the traditional enclave for Italians, immigrants moved elsewhere in London, bleeding into areas like Islington and Soho where they established bars, cafes and restaurants which sold Italian cuisine and wines.
*******Doolally is British and Irish slang for a person who is eccentric or has gone mad. It originated in the military.
*******Metroland is a name given to the suburban areas that were built to the north-west of London in the counties of Buckinghamshire, Hertfordshire and Middlesex in the early part of the Twentieth Century that were served by the Metropolitan Railway. The railway company was in the privileged position of being allowed to retain surplus land; from 1919 this was developed for housing by the nominally independent Metropolitan Railway Country Estates Limited (MRCE). The term "Metroland" was coined by the Met's marketing department in 1915 when the Guide to the Extension Line became the Metro-land guide. It promoted a dream of a modern home in beautiful countryside with a fast railway service to central London until the Met was absorbed into the London Passenger Transport Board in 1933.
********Two-up two-down is a type of small house with two rooms on the ground floor and two bedrooms upstairs. There are many types of terraced houses in the United Kingdom, and these are among the most modest. The first two-up two-down terraces were built in the 1870s, but the concept of them made up the backbone of the Metroland suburban expansions of the 1920s with streets lined with rows of two-up two-down semi-detached houses in Mock Tudor, Jacobethan, Arts and Crafts and inter-war Art Deco styles bastardised from the aesthetic styles created by the likes of English Arts and Crafts Movement designers like William Morris and Charles Voysey.
*********A semi-detached house (known more commonly simply as a semi) is a house joined to another house on one side only by a common wall.
This cluttered and old fashioned, yet cosy front parlour may look realistic to you, however it is in fact made up of pieces from my 1:12 miniatures collection, including pieces from my childhood.
You may think that by 1926 when this story is set, that homes would have been more modern and less Victorian, and many were. However, there were a lot of people during this era who grew up and established their homes during the reign of Queen Victoria and did not want to update their homes, or could not afford to do so, so an interior like this would not have been uncommon in the 1920s and even in the lead up to and during the Second World War.
Fun things to look for in this tableau include:
The old fashioned high backed Victorian chairs with their barley twist detailing and brass casters were made by Town Hall Miniatures
Ada’s collection of commemorative plates of Queen Victoria’s Diamond Jubilee in 1897, the Coronation of King Edward VII and Queen Alexandra in 1902 and the Coronation of King George V and Queen Mary in 1911 on the sideboard and the whatnot are all made by the British miniature artist Rachel Munday. The plate of Edward VIII on the far left is a piece of souvenir ware from around 1905 and is made of very finely pressed tin.
The bust of Queen Victoria was made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. It has been hand painted by me.
The Victorian Prince of Wales (later King Edward VII) vase in the centre of the fireplace has been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys.
The Watsford family photos on the mantlepiece are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are from various suppliers, but all are metal.
The church and castle statues at either end of the fireplace are made of resin and are hand painted. They came from Kathleen Knight’s Dolls’ House Shop in the United Kingdom.
Sitting on the central pedestal table is the cottage ware teapot Edith gave her mother as a gift a few years ago. Made by French ceramicist and miniature artisan Valerie Casson, it has been decorated authentically and matches in perfect detail its life-size Price Washington ‘Ye Olde Cottage Teapot’ counterparts. The top part of the thatched rood and central chimney form the lid, just like the real thing. Valerie Casson is renown for her meticulously crafted and painted miniature ceramics.
Also on the table, the glass dish of biscuits is an artisan piece. The bowl is made from real glass with the biscuits attached and hand painted. It came from Beautifully Handmade Miniatures in Kettering. The teacups, milk jug and sugar bowl also come from Kathleen Knight’s Dolls’ House Shop.
Ada’s wicker sewing basket, sitting closed to show off its pretty florally decorated top, has knitting needles sticking out of it. The basket was hand made by Mrs. Denton of Muffin Lodge in the United Kingdom.
The fireplace, the whatnot, the central pedestal table, the embroidered footstool by the fireplace, the brass fire irons and the ornate black japanned cane table on which Ada’s sewing box stand also came from Kathleen Knight’s Dolls’ House Shop.
The sideboard is a piece I bought as part of a larger drawing room suite of dolls house furniture from a department store when I was a teenager.
The collection of floral vases on the bottom two tiers of the whatnot came from an online stockist of miniatures on E-Bay.
The vase of flowers are all beautifully made by hand by the Doll House Emporium and inserted into a real, hand blown glass vase.
The little white vase in the forefront of the photo is mid Victorian and would once have been part of a tiny doll’s tea service. It is Parian Ware. Parian Ware is a type of biscuit porcelain imitating marble. It was developed around 1845 by the Staffordshire pottery manufacturer Mintons, and named after Paros, the Greek island renowned for its fine-textured, white Parian marble, used since antiquity for sculpture. I have had it since I was about ten years old.
The ‘home sweet home’ embroidery and the painting on the wall come from online shops who sell dollhouse miniatures, as does the Art Nouveau vase on the left hand side of the picture.
ARRIVA Buses Wales VDL Commander 2509 - CX05 AAE sets off from Rhyl on a Sunday journey on route 51 to Denbigh.
Osprey with prey (bird)? We were on Wolf Rd. south of 159th st when we saw a bird sitting in the corn field. Not sure what it was I did a U turn & realized it was an Osprey. At 1st we thought it might be injured. I grabbed the camera & crossed the street to avoid traffic. All of a sudden it took off with what I think is a bird in it's talon. Believing Osprey only ate fish I went on line & found out that 99% of their diet is fish but sometimes they will eat frogs,small animals & birds .
IMG_3657-1
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German collectors card in the Moderne Schönheitsgalerie Series by Ross Verlag, no 6 (of 300). Photo: Ufa. The card was a supplement to 'Edelzigarette' (precious cigarette) Kurmark.
German actress Brigitte Helm (1908-1996) is still famous for her dual role as Maria and her double the evil Maria, the Maschinenmensch, in the silent SF classic Metropolis (Fritz Lang, 1927). After Metropolis she made a string of over 30 films in which she almost always had the starring role. She easily made the transition to sound films, before she abruptly retired in 1935.
Brigitte Helm was born as Brigitte Eva Gisela Schittenhelm in Berlin, Germany, in 1906 (some sources say 1908). Her father was a Prussian army officer, who left his wife a widow not long after. Brigitte gained her acting experience in school productions but never thought of acting classes. After her school exams, she wanted to be an astronomer. But then she was discovered by the famous director Fritz Lang for the lead in Metropolis (Fritz Lang, 1927), then the most expensive German film ever made. Her mother had sent a photograph of her beautiful 16-year-old daughter to Lang's wife, scriptwriter Thea von Harbou. Helm was invited to the set of Die Nibelungen and was given a screen test. She got the double role of the noble and virginal Maria and her evil and sensual twin, the Maschinenmensch, a robot created to urge the workers to revolt and destroy their city. In their 1996 obituary in The New York Times, Robert McThomas and Peter Herzog note: "The film depicts the world of 2006, a time, Lang envisioned, when a ruling class lives in decadent luxury in the loft heights of skyscrapers linked by aerial railways, while beneath the streets slave-like workers toll in unbearable conditions to sustain their masters. But for all the steam and special effects, for many who have seen the movie in its various incarnations, including a tinted version and one accompanied by music, the most compelling lingering image is neither the towers above nor the hellish factories below. It is the staring transformation of Ms. Helm from an idealistic young woman into a barely clad creature performing a lascivious dance in a brothel." Metropolis made Brigitte Helm a star overnight.
UFA gave Brigitte Helm a contract, and over the next 10 years, she acted in 29 German, French, and English films. She was cast as the evil but oh-so-seductive protagonist in the Sci-Fi-horror film Alraune. First in the silent version of 1928, directed by Henrik Galeen. Hal Erickson at AllMovie: "Hanns Heinz Ewers' grim science-fiction novel 'Alraune' has already been filmed twice when this version was assembled in 1928. In another of his 'mad doctor' roles, Paul Wegener plays Professor Brinken, the sociopathic scientist who combines the genes of an executed murderer with those of a prostitute. The result is a beautiful young woman named Alraune (Brigitte Helm), who is incapable of feeling any real emotions - least of all guilt or regret. Upon attaining adulthood, Alraune sets about to seduce and destroy every male who crosses her path. Ultimately, Professor Brinken is hoisted on his own petard when he falls hopelessly in love with Alraune himself." Two years later Helm also starred in the sound version, Alraune/A Daughter of Destiny (Richard Oswald, 1930), for which the Dutch postcard lower in this post was made.
Brigitte Helm played a helpless blind woman who is seduced by a rogue in the wartime melodrama Die Liebe der Jeanne Ney/The Love of Jeanne Ney (G.W. Pabst, 1927). It was Brigitte Helm's first project with Georg Wilhelm Pabst, the director who could - better than any other director - bring out her mysterious adaptability. In his films Abwege/The Devious Path (1928) and L’Atlantide/Die Herrin von Atlantis/Queen of Atlantis (1932) she proved that she could perform more restrained and emotionally expressive characters. In Abwege, she portrays a spoilt woman of the world who from sheer boredom almost destroys her own life. In L'Atlantide (1932), Helm plays a goddess, the mere sight of whom makes men crazy. Werner Sudendorff wrote in his obituary of Helm in The Independent: "Her power is not of this world, but incomprehensible, magical. This was Helm's last really great role, a legendary mysterious sphinx of the German cinema." These films and Marcel L'Herbier's late silent film L'Argent/The Money (Marcel L’ Herbier, 1928) allowed Helm to act outside the tired cliches she was later often subjected to by scriptwriters and producers.
Brigitte Helm's first sound film was the musical Die singende Stadt/City of Song (Carmine Gallone, 1930) with Jan Kiepura. She also appeared in the French and English versions of her German films. Werner Sudendorff: "In her films of the early 1930s, Brigitte Helm became the embodiment of the down-to-earth, affluent modern woman. With her slim figure and austere pre-Raphaelite profile, she seems unapproachable, a model fashion-conscious woman, under whose ice-cold outer appearance criminal energies flicker." However, her sound films, like Gloria (Hans Behrendt, 1931), The Blue Danube (Herbert Wilcox, 1932), and Gold/L’Or (Karl Hartl, 1934), do not have the artistic cachet of her best silent films. Her relationship with the Ufa happened to be very rocky. While the studio had made her a star and kept increasing her pay, the actress was unhappy with the material the Ufa offered her and she was annoyed about the restrictive clauses dictating her weight.
Reportedly Brigitte Helm was Josef Von Sternberg's original choice for the starring role of Der Blaue Engel/The Blue Angel (1930), but the part went to Marlene Dietrich. Helm was also James Whale's first choice for his Bride of Frankenstein (1935), but reportedly she refused to go to America. In 1935, angered by the Nazi control of the German film industry, she didn’t extend her contract with the Ufa. Perhaps another reason for her decision was the negative press reports about her many traffic accidents and the short prison sentence as a result of it. Her last film was Ein Idealer Gatte/An Ideal Husband (Herbert Selpin, 1935), an adaptation of the play by Oscar Wilde.
In private, Brigitte Helm was a timid, modest, and not very ambitious personality. In 1935, after a short but prolific career of 32 films, she married Dr. Hugo Von Kunheim, a German industrialist of Jewish descent, and retired. Bruce Eder at AllMovie: "In addition to no longer needing to pursue her acting, with which she was never 100-percent comfortable, she was repelled by the takeover of the German movie industry by the Hitler government. Her marital status, coupled with her anti-Nazi political views, made it impossible for Helm to continue working in movies or living in Germany. From 1935 onward, the couple lived in Switzerland. After the war, they divided their time between Germany and Switzerland, but Helm chose to live quietly and remain anonymous." The pair would raise four children. In 1968 Helm received the Filmband in Gold for “continued outstanding individual contributions to German film over the years". She steadfastly refused to appear in a film again, nor even grant an interview about her film career, but she always answered requests from her old fans for her signature. Brigitte Helm died in 1996 in Ascona, Switzerland. In particular, her Evil Maria won't be forgotten. Apt for her is the Mae West line: "When I am good, I am very good; but when I am bad, I am better."
Sources: Vittorio Martinelli (Le dive del silenzio), Robert McThomas and Peter Herzog (The New York Times), Werner Sudendorff (The Independent), Bruce Eder (AllMovie), Hal Erickson (AllMovie), Thomas Staedeli (Cyranos), Film Reference, Lenin Imports, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The birds of Australia, supplement /.
London :Printed by Taylor and Francis ... published by the author ...,[1851]-1869..
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are not at Cavendish Mews. Instead, we have travelled east across London, through Bloomsbury, past the Smithfield Meat Markets, beyond the Petticoat Lane Markets* frequented by Lettice’s maid, Edith, through the East End boroughs of Bethnal Green and Bow, and through the 1880s housing development of Upton Park, to East Ham. It is here that we have followed Edith and her beau, grocery delivery boy Frank Leadbetter, to the Premier Super Cinema**, where the pair are treating themselves to one of their favourite Sunday pleasures: a feature film with a newsreel and cartoon before the main event.
Even though spring is finally in the air, it is cold out on the streets of London today, with a biting cold wind, so the warmth of the cinema’s foyer is a welcome respite from the weather outside after the journey up the High Street from the East Ham railway station. The foyer is brightly lit and cheerful. The cinema, renovated in 1922, isn’t called a picture palace for nothing, and no expense was spared with thick red wall-to-wall carpets covering the floors and brightly coloured up-to-date Art Deco wallpaper covering the walls, upon which the latest films are advertised in glamourous and colourful posters. Throughout the space, button backed*** armchairs and settees are arranged in intimate clutches around small tables, allowing patrons like Edith and Frank to await the commencement of their session in comfort. It is at one of these clusters that Edith sits patiently in her black three-quarter length coat and black dyed straw cloche decorated with lilac satin roses and black feathers, with her green leather handbag at her feet as she awaits her beau.
“Here we are then,” Frank says cheerfully. “Tea for my best girl.” He places two utilitarian white cups in saucers from the nearby cinema kiosk on the table that he and Edith are occupying in front of a vase of fresh, fragrant flowers. He takes his seat opposite her, enjoying the luxury of his plush seat as he does. “And,” He fishes into his coat pocket withdrawing a purple box and presents it to his sweetheart with a flourish. “A box of Gainsborough Dubarry Milk Chocolates****!”
“Oh Frank!” Edith exclaims in delight, her cheeks flushing red as she speaks. “You are good to me.”
“Nothing too good for my best girl!” Frank assures her.
Edith smiles as she looks at the beautifully decorated box featuring a lady with cascading auburn hair highlighted with gold ribbons, a creamy face and décollétage sporting a frothy white gown and gold necklace. She traces the embossed gold lettering on the box’s lid with reverence.
“You’re being very solicitous today, Frank.” Edith remarks as she picks up her teacup, staring at Frank as she takes a sip of hot, milky tea from her cup.
“Am I?” Frank replies in a question, his voice full of nonchalance as he picks up his own cup.
“You are, Frank.” Edith opines. “You know you are.”
“How so, Edith?”
“Well for a start, you agreed to come and see ‘Peter Pan’*****.” Edith replies, placing her cup back into her saucer.
“I like ‘Peter Pan’, Edith!” Frank retorts. “I have read the book, I’ll have you know.”
“Yes, but when you may have one of your last chances to see the ‘Thief of Bagdad’****** with swashbuckling Douglas Fairbanks, and you demur to my choice...” Edith does not complete her sentence, but stares across at her sweetheart.
“Oh fie the ‘Thief of Bagdad’!” Frank scoffs. “It will still be running here for a week or two yet. We can see it next Sunday.” He waves Edith’s repark away with a dismissive hand. “Anyway, I chose the last film we saw, ‘Chu-Chin-Chow’*******, and that had enough swashbuckling with villain Abou Hassan being stabbed by Zharat and his forty thieves done away with.”
Edith looks sceptically at Frank. “And this box of chocolates on top of our slap-up tea at Lyon’s Corner House******** in Tottenham Court Road?”
“What?” Frank retorts with incredulity. “Can’t a chap spoil his girl once in a while?”
“Oh, please don’t misunderstand me, Frank!” Edith quickly pipes up with a smile. “I’m not complaining!”
“I should hope you wouldn’t be.”
“But I can’t help being a little bit suspicious.” Edith arches her eyebrow over her right eye and purses her pretty pale lips.
“Well I like that!” Frank answers back, folding his arms akimbo across his chest in defence.
“This wouldn’t have anything to do with the fact that I went to see a clairvoyant the week before last, would it, Frank?” Edith fishes. “And that I didn’t see you last Sunday, because you had to take care of your granny?”
“Clairvoyant? What clairvoyant, Edith?” Frank asks, pleading innocence.
“Oh come on Frank!” Edith laughs. “You know Mrs. Boothby loves a gossip!” she goes on, mentioning Lettice’s charwoman********* who comes to help Edith with all the hard graft around Cavendish Mews a few days a week. “You can’t imagine us not talking, Frank.”
Ignoring her gentle chuckle, Frank continues to decry his irreproachability. “I don’t know what you and Mrs. Boothby talked about.”
“She told me that she saw you Tuesday week ago, the same day I went to see Madame Fortuna the clairvoyant in Swiss Cottage**********, and she told you that I was going to see her. There’s no use trying to say she didn’t, because I know that for all her tall tales and gilding of the lily***********, Mrs. Boothby wouldn’t do that with a story about you.”
Frank unfolds his arms and picks up his teacup, taking a sip of tea. “Alright, so I did meet her that day, Edith, and yes, she told me that you were going to see a clairvoyant, although her description of her was perhaps a little bit less kind than that.”
“Oh yes.” Edith chuckles. “She told me that it was a lot of mumbo-jumbo too, Frank.”
“Well, I don’t know if I’d disagree with her, Edith.” Frank says in concern, cocking an eyebrow. “You know I am a believer in facts, not fiction.”
“Well, I happen to be a believer in Madame Fortuna, and what she had to say.” Edith replies defiantly. “Which I don’t believe to be fiction.”
“And what else did Mrs. Boothby disclose about our meeting in Binney Street, Edith?” Frank asks.
“Oh, not so very much, Frank.” Edith replies with a smirk. “Just that you were out delivering groceries when she saw you.”
“And?” Frank queries.
Edith sighs. “And that she told you how distracted I’ve been about not having a commitment from you about getting married.”
“Which is utter pish-posh************, Edith, and well you know it.” Frank says seriously. “You know I’m committed to marrying you. You’re the only girl for me.”
“I know that, Frank. But Mrs. Boothby also said that you should be a bit more demonstrative with your dedication.”
“I doubt Mrs. Boothby would have used either the word ‘demonstrative’ or ‘dedication’.” Frank laughs.
“Maybe not, Frank.” Edith concurs, chuckling as well. “But she made the point clear, as I’m sure she did with you, Frank.”
“Indeed, she did.”
“So, this is you being more demonstrative of your dedication to me.” Edith says with a smile, toying with the box of chocolates, turning the pretty packaging over in her careworn hands.
Frank thinks for a moment ruminating over in his mind as to whether to tell his sweetheart about Mrs. Boothby’s suggestion that he get on with asking Edith’s parents for their daughter’s hand in marriage, which he did do last Sunday on his afternoon off: a visit which resulted in both George and Ada Watsford readily agreeing to the match. Then he thinks otherwise. Frank may not yet be able to afford a gold wedding band like those which he and Edith saw in the window of Schwar and Company************* along Walworth Road in the South London suburb of Elephant and Castle************** a bit over a month ago, but he has almost finished paying off a silver ring intended for Edith at a smart jewellers shop along Lavender Hill***************, not far from his boarding house in Clapham Junction. Although simple, Frank is having his and Edith’s names engraved on the inside of the band, along with the year 1925. He still wants to surprise Edith with his proposal and the ring, so he decides not to say anything about visiting her parents, knowing that after his conversation with them, that they will not steal Frank’s thunder and give the game away, although it will be far harder for Ada, who is very close to her daughter.
Frank raises his hands. “Guilty as charged, Edith.”
“Oh Frank!” Edith exclaims, a smile of delight breaking out across her lips. “You really are sweet!”
Edith reaches out her hand to him across the polished wooden surface of the pedestal table. Frank stretches out his own hand and allows her to enmesh her fingers with his and squeeze them. The action is only small, but so intimate and full of emotion that Frank takes great comfort from it. Even though Edith does not know his grand plans yet, he knows that everything is alright between the two of them now, and any doubts Edith may have had about his commitment to her have been dispelled by his actions, Mrs. Boothby’s consoling words with Edith at cavendish Mews, whatever prediction Madame Fortuna the clairvoyant made, or most likely a mixture of all of these things. Frank smiles reassuringly across at his sweetheart, who returns his smile wholeheartedly.
“I keep telling you, Edith.” Frank murmurs as his cheeks colour. “You’re not only my best girl, you’re my only girl.” He returns her gentle squeeze with one of his own.
“Well, just you keep telling me that, Frank.” Edith replies softly, looking across at Frank with loving eyes a-glitter with emotion. “I may know it, but I’ll never tire of hearing it.”
“With pleasure, Edith, my best and only girl.” Frank answers.
Just then, the double doors near to them open and with the voluble burble of cheerful chatter, people begin to file out the door in pairs or small groups. Edith and Frank watch the passing parade of mostly women and a smattering of men in their Sunday best as they exit the cinema auditorium, all murmuring about the film they have just seen. As the crowd thins to a trickle with the stragglers leaving the theatre and the vociferous burble of voices dissipates, Frank turns to Edith.
“By the by, what did the clairvoyant, madame whatshername tell you, anyway?”
“Never you mind, Frank Leadbetter!” Edith replies with an air of mystery as she stands up, snatching up the box of chocolates as she does. “She told me the truth. That’s all you have to worry about.”
Frank gets up and follows Edith as they join the crowd of chattering cinema goers as they go into the brightly lit auditorium, and make their way to their plush red velvet seats.
Inside the theatre a fug of cigarette smoke fills the auditorium, a mixture of that created by the previous audience and a few new patrons who just start to light up before the house lights go down. The space is filled with the faint traces of various perfumes, which mix with the stronger traces of cigarettes, fried food, and body odour. Around them quiet chatter and the occasional burst of a cough or a laugh resound. It feels cosy and safe. At the front of the theatre, in a pit below the screen, a middle aged woman whom they have come to recognise by sight from their many trips to the Premier Super Cinema, appears dressed in an old fashioned Edwardian gown with an equally outmoded upswept hairdo that went out of fashion before the war. She starts to play the upright piano with enthusiasm, dramatically banging out palm court music for the audience before the beginning of the newsreel.
Settling in their plush red velvet seats in the middle of the auditorium, Frank winds his arm around Edith’s shoulder. “I love you, my best girl.”
Behind them the projector whirrs to life as the lights dim. Suddenly the screen is illuminated in blinding, brilliant white as the pianist in the pit below the screen starts to play the playful opening bars to the music to accompany Peter Pan.
“I love you too, Frank Leadbetter.” Edith replies as she opens her box of Gainsborough Dubarry Milk Chocolates and proffers the open end to Frank so that he may help himself to one of the delicious, foil wrapped chocolates inside.
*Petticoat Lane Market is a fashion and clothing market in Spitalfields, London. It consists of two adjacent street markets. Wentworth Street Market and Middlesex Street Market. Originally populated by Huguenots fleeing persecution in France, Spitalfields became a center for weaving, embroidery and dying. From 1882, a wave of Jewish immigrants fleeing persecution in eastern Europe settled in the area and Spitalfields then became the true heart of the clothing manufacturing district of London. 'The Lane' was always renowned for the 'patter' and showmanship of the market traders. It was also known for being a haven for the unsavoury characters of London’s underworld and was rife with prostitutes during the late Victorian era. Unpopular with the authorities, as it was largely unregulated and in some sense illegal, as recently as the 1930s, police cars and fire engines were driven down ‘The Lane’, with alarm bells ringing, to disrupt the market.
**The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
***Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
****Starting in the Edwardian era, confectioners began to design attractive looking boxes for their chocolate selections so that they could sell confectionary at a premium, as the boxes were often beautifully designed and well made so that they might be kept as a keepsake. A war erupted in Britain between the major confectioners to try and dominate what was already a competitive market. You might recognise the shade of purple of the box as being Cadbury purple, and if you did, you would be correct, although this range was not marketed as Cadbury’s, but rather Gainsborough’s, paying tribute to the market town of Gainsborough in Lincolnshire, where Rose Bothers manufactured and supplied machines that wrapped chocolates. The Rose Brothers are the people for whom Cadbury’s Roses chocolates are named.
*****Peter Pan is a 1924 American silent fantasy adventure film released by Paramount Pictures, the first film adaptation of the 1904 play by J. M. Barrie. It was directed by Herbert Brenon and starred Betty Bronson as Peter Pan, Ernest Torrence as Captain Hook, Mary Brian as Wendy, Virginia Browne Faire as Tinker Bell, Esther Ralston as Mrs. Darling, and Anna May Wong as the Indian princess Tiger Lily. The film was seen by Walt Disney and inspired him to create his company's 1953 animated adaptation. The film was celebrated at the time for its innovative use of special effects (mainly to show Tinker Bell) according to Disney's 45th anniversary video of their adaptation of Peter Pan. In 2000, this film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry.
******The Thief of Bagdad is a 1924 American silent adventure film directed by Raoul Walsh and starring Douglas Fairbanks, and written by Achmed Abdullah and Lotta Woods. Freely adapted from One Thousand and One Nights, it tells the story of a thief who falls in love with the daughter of the Caliph of Baghdad. In 1996, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant"
*******Chu-Chin-Chow is a 1923 British-German silent adventure film directed by Herbert Wilcox and starring Betty Blythe, Herbert Langley, and Randle Ayrton. Abou Hassan and his forty thieves descend on a small Arabian town on the wedding day of Omar and the beautiful Zharat and kidnap them. Abou sells Zahrat to Kasim Baba, the miser and money lender of Bagdad, while posing as Prince Constantine. Later, Abou poses as the wealthy Chinese prince Chu-Chin-Chow, and bids on Zahrat when she is placed at auction. She pierces his disguise and exposes him. He robs the other bidders of their wealth and escapes with Zahrat. Promising that she will live among untold wealth, he sets her free. After she finds Omar, Abou takes them to his treasure cave, making good on his promise. Ali Baba, brother of Kasim, accidentally discovers the cave and helps himself to the treasure. He then goes for aid to free Zahrat. Kasim, led by his greed, also comes to the cave but is captured and killed by Abou. Zahrat, now free, returns to Bagdad. Ali Baba gives a great feast. Abou appears as a merchant with forty jugs of oil, in which are hidden his forty thieves. Zahrat discovers the deception and, assisted by a powerful slave, they get rid of the hidden thieves. Left alone, Abou is denounced and the multitude turn on him. Cornered, he is stabbed by Zahrat who then returns to her village and finds happiness with Omar.
********J. Lyons and Co. was a British restaurant chain, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons’ first teashop opened in Piccadilly in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the United Kingdom. At its peak the chain numbered around two hundred cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their Art Deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time, the Corner Houses were open twenty-four hours a day, and at their peak each branch employed around four hundred staff including their famous waitresses, commonly known as Nippies for the way they nipped in and out between the tables taking orders and serving meals. The tea houses featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.
*********A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
**********Swiss Cottage is an area in the London Borough of Camden. It is centred on the junction of Avenue Road and Finchley Road and includes Swiss Cottage tube station. Swiss Cottage lies north-northwest of Charing Cross. The area was named after a public house in the centre of it, known as "Ye Olde Swiss Cottage".
***********The term “gilding the lily” came about as a mistaken version of a line from King John, which was “to gild refined gold, to paint the lily.”, and means to adorn unnecessarily something that is already beautiful or perfect.
************Pish-posh is a phrase used in British slang to express disagreement or to say that something is nonsense. The exact origin of this phrase is not precisely documented, but it is considered a colloquial and informal expression that has been in use for many years. It is often used to express scepticism or disagreement in a light hearted manner.
*************Established in 1838 by Andreas Schwar who was a clock and watch maker from Baden in Germany, Schwar and Company on Walworth Road in Elephant and Castle was a watchmaker and jewellers that is still a stalwart of the area today. The shop still retains its original Victorian shopfront with its rounded plate glass windows.
**************The London suburb of Elephant and Castle, south of the Thames, past Lambeth was known as "the Piccadilly Circus of South London" because it was such a busy shopping precinct. When you went shopping there, it was commonly referred to by Londoners, but South Londoners in particular, as “going up the Elephant”.
***************Lavender Hill is a bustling high street serving residents of Clapham Junction, Battersea and beyond. Until the mid Nineteenth Century, Battersea was predominantly a rural area with lavender and asparagus crops cultivated in local market gardens. Hence, it’s widely thought that Lavender Hill was named after Lavender Hall, built in the late Eighteenth Century, where lavender grew on the north side of the hill.
This beautiful Art Deco cinema interior is not all it appears to be, for it is made up entirely with pieces from my miniatures collection.
Fun things to look for in this tableau include:
Edith’s green leather handbag I acquired as part of a larger collection of 1:12 artisan miniature hats, bags and accessories I bought from an American miniature collector Marilyn Bickel. The umbrella comes from Melody Jane’s Doll House Suppliers in the United Kingdom.
The pedestal table , vase of flowers, white teacups and saucers and two flounced red velvet chairs all come from Kathleen Knight’s Doll’s House in the United Kingdom, whilst the dainty box of Gainsborough Dubarry Milk Chocolates, which has been beautifully printed, on the table’s surface, comes from Shepherd’s Miniatures in the United Kingdom.
The chrome Art Deco smoker’s stand in the foreground is a Shackman miniature from the 1970s and is quite rare. I bought it from a dealer in America via E-Bay. The black ashtray inside it is an artisan piece, the bowl of which is filled with “ash”. The tray as well as having grey ash in it, also has a 1:12 cigarette which rests on its lip (it is affixed there). The match box in the stand was made by Little Things Dollhouse Miniatures in Lancashire.
The Art Deco pedestal stand in the foreground has been made by the high end miniature furniture maker, Bespaq, whilst the vase of flowers on it comes from Falcon Miniatures in the United States, who are well known for their realistic and high quality miniatures.
The posters around the cinema walls were all sourced by me and reproduced in high quality colour and print.
The geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, who did so in the hope that I would find a use for it in the “Cavendish Mews – Lettice Chetwynd” series.
The thick and bright red carpet is in fact a placemat which I appropriated in the late 1970s to use as a carpet for my growing miniatures collection. Luckily, I was never asked to return it, and the rest of the set is long gone!
ARRIVA Buses Wales Optare Solo 696 - CX09 BGZ sets off from Rhyl on a Sunday journey on route 36 Circular via Rhuddlan, Dyserth & Prestatyn.
Severe flooding in South Carolina and a call for help has brought about a U.S. Department of Agriculture (USDA) Food and Nutrition Service (FNS) Disaster Supplemental Nutrition Assistance Program (D-SNAP) and several other partner organizations to setup a processing center in the North Charleston Coliseum, where Charleston County residents can apply for assistance in North Charleston, South Carolina, on Tuesday, Nov. 17, 2015. Prior to opening, rows of seats await applicants who will fillout a single form and then be interviewed to determine eligibility. If approved a SNAP card is issued and they are provided information about its use.
In times of emergency, FNS coordinates with state and federal partners, as well as local volunteer organizations, such as the American Red Cross and Salvation Army, to provide USDA Foods to shelters and other mass feeding sites and, in limited cases, distribute food packages directly to households in need. USDA Foods are 100% domestically produced, processed and procured agricultural commodities that are made available to schools, tribes, and low-income individuals through FNS Nutrition Assistance Programs. Once retail food stores reopen, if survivors still need nutrition assistance and the area has received a ‘Presidential Disaster Declaration with Individual Assistance,’ State agencies may request to operate D-SNAP. People who may not normally qualify for nutrition assistance benefits may be eligible for D-SNAP if they had disaster-related expenses, such as loss of income, damage to property, relocation expenses, and, in some cases, loss of food due to power outages. Those already participating in the SNAP may be eligible for supplemental benefits under D-SNAP. For more information please visit this web site: www.fns.usda.gov/disaster. USDA photos by Lance Cheung.