create his own style, and deliver with every portrait his visiting card… in order that he can be recognized in every one of his pictures :-)

Helmar Lerski

HMM! HPPT!

camellia, 'Shishi-Gashira', sarah p duke gardens, duke university, durham, north carolina

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

Macro Mondays: Card

My husband, David, is the youngest of seven (born between 1924 & 1951) and the family historian in the family. These are his family photos. I understand that Carte de Visite were collectable cards in their day and could include "famous" people so they are not necessarily all family. Hard to know unless they have information on the back.

"The carte de visite (French: visiting card), abbreviated CdV, was a type of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. Each photograph was the size of a visiting card, and such photograph cards were commonly traded among friends and visitors in the 1860s. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons."

"The carte de visite was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm × 89 mm mounted on a card sized 64 mm × 100 mm. In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The carte de visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format. This made the format an overnight success. The new invention was so popular that its usage became known as "cardomania" and spread quickly throughout Europe and then to America and the rest of the world." From Wikipedia, the free encyclopaedia.

Si vedono i residui piedistalli della limonaia che collegava la piscina al palazzo .Ora di proprietà della Fondazione Cassa di Risparmio .Il parco è stato riaperto al pubblico.

Il palazzo è sede di mostre che si svolgono nella città.

Con Palazzo Vitelli alla Cannoniera (sede della pinacoteca cittadina ) è il biglietto da visita della città.

Fatto costruire nel 1540 da Paolo Vitelli su disegno del

Vasari, è stato affrescato dal Gherardi .

On see the residual pedestal of lemon-house who connected the swimming pool to palace. Now of property of Cassa di Risparmio foundation. The park was reopen to public.The palace is seat of exhibition who happened in the town.

With Palazzo Vitelli alla Cannoniera ( Art Gallery of Town ) is visiting card of town.

Building to 1540 by Paolo Vitelli on project of Vasari ( Friend of Vitelli ) and to fresco by Gherardi .

While searching for a magnet for this week's theme found this tiny magnet stuck to an Indian one rupee coin and decided this will be the one !

Inserted a visiting card between the magnet and coin to show them both clearly

“The slotted spoon can catch the potato.” – the final line of Jack’s Mother in the musical “Into the Woods” (1987) by Stephen Sondheim.

What Jack’s Mother says is true, but this spoon is not intended to catch potatoes. So, what kind of spoon is it that is pierced, yet is not used for straining? It is a sugar sifting spoon. Sugar sifters are small ladle shaped spoons which could be used at the table to take the powdered sugar from sugar bowls or sugar baskets and sprinkle it over fruit, puddings or cakes. During the Nineteenth Century refined sugar became cheaper and thus readily available to a larger section of the population. Sugar sifter spoons developed in the mid Eighteenth Century and are similar in form and size to sauce ladles, but with flattened bowl bases. The bowls were decorated with elaborate pierced patterns. This sifting ladle made in 1853 by the silversmiths firm Yapp and Woodward in Birmingham. John Yapp and John Woodward registered their business in 1845. At one stage they were partners with Joseph Willmore. They were renowned for making Visiting Card Cases. It is not usually possible to identify the artist or designer responsible for a particular design on a piece of cutlery, which makes this sifting ladle a delightful exception to the rule.

The theme for "Looking Close on Friday" on the 1st of March is "one spoon and one fork". This is a nice, easy theme. However, me being me, I didn’t want to use just any old spoon and fork. Therefore I decided to use this beautiful sterling silver sugar sifting ladle with its ornate piercing and elegant handle. Of course, sugar sifting ladles are seldom seen these days and it is an archaic and obsolete piece of cutler from the Victorian age, so when it came to a fork, I decided to use an equally old fashioned and obsolete piece of cutlery: an ornately decorated rather trident looking silver pickle fork (used to withdrawing pickles from pickle jars to avoid getting oily fingers) with a sterling silver collar and a mother of pearl handle. Whilst both pieces are now obsolete, they are still beautiful objects that remind us of a time when even the most utilitarian items were beautiful works of art. I have placed them against a hand embroidered tablecloth from the 1850s, which also harks back to a slower and more genteel time when such handicrafts were common. As this is the case, I have given the image a slightly sepia tone to give that vintage feel. I hope you like my choice for this week’s theme, and that it makes you smile.

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

☑️ For a full view screen on black ... Just press L on your keyboard!

Residents and visitors from the municipality of Salto, in the interior of São Paulo, have just benefited from different infrastructure works. The Republican Convention Highway, SP-079, received the Estaiada Bridge, a lookout point, in addition to the duplication in 300 meters to the Jundiaí River bridge.

"The bridge becomes the visiting card of this tourist resort," said Governor Geraldo Alckmin during the inauguration event. “And we still have the lookout. This panoramic observatory that is equivalent to a 12-story building ”, compared the governor.

The bridge structure is 227 meters long. The total width is 29.1 meters, of which 15.56 meters comprise the cable-stayed section over the Tietê River. The lane is composed of two lanes, 3.50 meters long for traffic, in addition to a cycle path and sidewalks for pedestrians. At the top of the bridge mast, a lookout was built with an area of ​​approximately 110 m².

Access is via a panoramic elevator. With a capacity for 110 people, it measures 41 meters in height. The new venture, in addition to strengthening tourism and economic development, will promote better traffic and good security conditions.

The work, carried out by the Department of Highways (DER) received an investment of R $ 19.1 million. The venture also had an investment of R $ 5.9 million, through a transfer from the Department of Support to the Development of Resorts (DADE), from the Secretariat of Tourism, to the city hall of the tourist resort of Salto.

Salto, São Paulo, Brazil

Thanks a lot for your visits, comments, faves, invites !

Regards, Serge

"Formato visita" (11 x 6.5 cm.) probably means that the photo was used like a calling or visiting card, except that their is no name or other information.

Would seem World War I or earlier.

The oldest part of Chernigov, a hill on the high bank of the Desna, where was the prince's detinets and a complex of defense buildings of the city. On the shaft there are 12 cast-iron bastion cannons of the XVII century, which are considered the visiting card of the city.

Россия. Переславль-Залесский.

Спасо-Преображенский собор (1152 г.) и памятник князю Александру Невскому.

В центре Переславля-Залесского расположен самый древний храм города, его гордость и визитная карточка - Спасо-Преображенский собор.

Глядя на это древнее сооружение поражаешься кажущейся простоте и совершенству форм.

В соборе были крещены князь Ярослав, отец Александра Невского и сам Александр Невский, а также Юрий, сын Дмитрия Донского; здесь был рукоположен в игумены Сергий Радонежский; здесь бывали Даниил Московский, Иван III и их семьи, приезжал на богомолье Иван Грозный.

Russia. Pereslavl-Zalessky.

The Transfiguration Cathedral (1152) and the monument to Prince Alexander Nevsky.

In the center of Pereslavl-Zalessky there is the most ancient temple of the city, its pride and visiting card - the Transfiguration Cathedral.

Looking at this ancient building, one is amazed at the apparent simplicity and perfection of forms.

Prince Yaroslav, the father of Alexander Nevsky and Alexander Nevsky himself, as well as Yuri, the son of Dmitry Donskoy, were baptized in the cathedral; Sergius of Radonezh was ordained hegumen here; Daniel of Moscow, Ivan III and their families visited here, Ivan the Terrible came on a pilgrimage.

My husband, David, is the youngest of seven (born between 1924 & 1951) and the family historian in the family. These are his family photos. I understand that Carte de Visite were collectable cards in their day and could include "famous" people so they are not necessarily all family. Hard to know unless they have information on the back.

"The carte de visite (French: visiting card), abbreviated CdV, was a type of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. Each photograph was the size of a visiting card, and such photograph cards were commonly traded among friends and visitors in the 1860s. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons."

"The carte de visite was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm × 89 mm mounted on a card sized 64 mm × 100 mm. In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The carte de visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format. This made the format an overnight success. The new invention was so popular that its usage became known as "cardomania" and spread quickly throughout Europe and then to America and the rest of the world." From Wikipedia, the free encyclopaedia.

"I have to confess that I had gambled on my soul and lost it with heroic insouciance and lightness of touch. The soul is so impalpable, so often useless, and sometimes such a nuisance, that I felt no more emotion on losing it than if, on a stroll, I had mislaid my visiting card."

- Charles Baudelaire

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Thanks a lot for visits and comments, everyone... Have a lucky week...!

Please don't use this image on websites, blogs or other media without

my explicit permission. © All rights reserved

Sugar sucriers (sugar bowls), sugar casters, sugar sifting spoons and sugar scoops: what an elegant and genteel history our forebears left us. How pleasurable it must have been to take sugar with tea, drinks or dessert using these wonderful sterling silver objects and implements.

No doubt you have a sugar bowl (also known as a sucrier) somewhere about the house, sterling silver or otherwise, but have you ever heard of a sugar caster, a sugar sifting spoons or sugar scoops before?

Sugar casters, which have been used from the Seventeenth Century, were the natural progression from sugar boxes. Sugar boxes were often highly ornamented and decorative to advertise their owner’s wealth, yet were not convenient for using at the dinner table while eating or drinking. The term ‘caster’ is a reference to the way which the sugar is cast across the food, and dispensed evenly. The shape and form of the silver sugar caster is based on the need to sprinkle sugar when sweetening drinks or food. Therefore the pierced dome shape of the top of the sugar caster allows sugar to pass through delicately and gradually, while the solid bottom of the caster is the container for the sugar. Generally, the height of the sugar caster has grown over time.

Sugar sifters are small ladle shaped spoons which could be used at the table to take the powdered sugar from sugar bowls or sugar baskets and sprinkle it over fruit, puddings or cakes. During the Nineteenth Century refined sugar became cheaper and thus readily available to a larger section of the population. Sugar sifter spoons developed in the mid Eighteenth Century and are similar in form and size to sauce ladles, but with flattened bowl bases. The bowls were decorated with elaborate pierced patterns.

Sugar scuttles were Victorian inventions and the first examples appeared in the 1850s. Many unusual items were first introduced in this period to coincide with the Great Exhibitions. They were made throughout the latter part of the Victorian period and into the early Twentieth Century. They went out of vogue after the Second World War. Always in the shape of a coal scuttle with a slanted body open at one end and sitting on a pedestal foot, together with a matching serving spoon or scoop that was hung either on a handle or on the scuttle lip. Many were hand engraved or chased with floral work.

This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.

This week the theme, “I spy with my little eye, something beginning with an S” was chosen by Laszlo,Laszlo Papinot.

I immediately thought of sterling silver when Laszlo announced the theme. Then I thought that sugar also starts with an ‘s’, so I called in some favours from some like-minded friends to share some pieces of sugar related sterling silver to meet this week’s theme.

Top left: an Art Deco sugar caster made in 1935 by Aaron Lufkin Dennison of Handsworth, Birmingham. (Private collection.)

Aaron Lufkin Dennison was an American watchmaker and businessman who founded a number of companies. Born in Maine in 1812, around 1862, Aaron Dennison started a business making watch cases in Birmingham and supplied the London office of the Waltham Watch Company. In 1879, Alfred Wigley joined Aaron to form the firm of Dennison, Wigley & Company. Aaron died in Birmingham in 1895. Following his death, his son Franklin became a partner in the firm. This very successful company continued until 1905 when it was renamed the Dennison Watch Case Company, and that company continued until 1967. As well as producing watch cases, they also produced luxury silver goods.

Top middle: a large Victorian Rococo Revival sucrier made in 1840 by Patrick Loughlin of Great Ship Street, Dublin. (Private collection).

This ornately decorated sugar bowl is wonderfully large, with a 15 centimetre diameter and measuring 10 centimetres in height. Obviously its owners were wealthy, and perhaps liked to display their wealth through such a large sucrier. Irish silver is quite rare, with much British assayed pieces melted down during the fraught relationship between Britain and Ireland. This piece is also rare because Patrick Loughlin was only a silversmith between 1831 and 1848.

Top right: a Georgian sugar caster made in 1801 by Thomas Wallis II in London. (Private collection).

Apprenticed to his father, Thomas Wallis I, silversmith Thomas Wallis II first registered himself in 1777. In 1810, Thomas Wallis II entered in partnership with silversmith Jonathan Hayne and established Thomas Wallis and Company.

Bottom left: a sifting ladle made in 1853 by the silversmiths firm Yapp and Woodward in Birmingham. (Private collection).

John Yapp and John Woodward registered their business in 1845. At one stage they were partners with Joseph Willmore. They were renowned for making Visiting Card Cases. It is not usually possible to identify the artist or designer responsible for a particular design on a piece of cutlery, which makes this sifting ladle a delightful exception to the rule.

Bottom second from left: a Georgian revival sucrier made in 1901 in Chester by William Aitken of Vyse Street, Birmingham. (Private collection).

William Aitken was a maker of sterling silver and silver plated items during the Victorian and Edwardian period in Birmingham between 1891 and 1904 and was also active in Chester at the same time. His motto was “Nothing is too large; nothing is too small”. It was said of him that “it is an impossibility to mention any article which can be made in silver that is not in the stock of this maker”.

Middle bottom: a Regency Revival sucrier made in 1925 in Birmingham by the silversmiths Charles Boyton and Son Ltd. manufacturing silversmiths, Upper Charles Street, London. (Private collection).

The firm of Charles Boyton and sons was founded in 1809 and eventually wound up in 1933. The director Charles Boyton junior (1885 - 1958) broke away from the old firm and set up wholesale silversmiths in Maryebone Lane and a retail premises in Wigmore Street in 1934. Some of his work is inspired the Pyramid pattern designed Harold Nielson in 1926 for George Jonson. His business closed in 1939.

Bottom fourth from left: an Art Nouveau sucrier made in Dublin in 1908 by Sharman Dermott Neill. (Private collection).

Sharman Dermott Neill established the retail business of Sharman D. Neill on the Edgware Rd, London around 1852. It remained open until 1880. Premises in Donegall Place, Belfast were established in 1884. In 1909 the firm was converted into a Ltd. Sharman Dermott Neill was a descendent of Robert Neill, who in partnership with Henry Gardner, advertised \'Telescopes\' in 1810. Sharman D. Neill Ltd. is still open at 7 - 9 Royal Avenue, Belfast, selling luxury goods and jewellery.

Bottom right: a sugar scoop made in 1898 by Robert James Chaplin and Sons of Aldersgate Street, London. (Private collection).

This sugar scoop is unusual because unlike most, it has a long handle. Most sugar scoops have stumpy silver handles, yet this one has a long handle made of ivory. The silversmiths James Chaplin and Sons was registered in 1890. It closed in 1921. It is not usually possible to identify the artist or designer responsible for a particular design on a piece of cutlery, which makes this sugar scoop a delightful exception to the rule.

A photograph of Florence Dorothy Castell taken in 1904 by F Southwell at 449 Battersea Park Road, London.

This is a carte de visite (cdv), a photograph mounted on a piece of card the size of a formal visiting card. This type of photograph became very popular during the 19th century.

Florence Dorothy Castell was born on 02 April 1904 at 17 Kersley Street, Battersea, London SW.

Dorothy's father, Walter Henry Castell, was an engine fitter. The birth was notified by Dorothy's mother, Florence Emily Castell (nee Ridgwell), and registered on 05 May 1904 by the Registrar W.J.L Bray.

Florence Dorothy Castell became known as Dorothy Castell, or Dorrie.

Wright Archive collection

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Carte de Visite photograph of a young woman, late 1800s.

Photograph by James Frederick Lowrie who traded under the name of F Valery and operated a studio in The Parade, Beckenham, England. Lowrie was born in 1853 and died in his other studio at Victoria Chambers, High Street, Bromley, in May 1906 from a heart attack.

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The carte de visite, (visiting card), abbreviated CdV or CDV, was a type of small photograph which was patented in Paris, France by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. It was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm (2.125 in) × 89 mm (3.5 in) mounted on a card sized 64 mm (2.5 in) × 100 mm (4 in). In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format. This made the format an overnight success. The new invention was so popular it was known as "cardomania" and it spread throughout Europe and then quickly to America and the rest of the world.

Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.

By the early 1870s, cartes de visite were supplanted by "cabinet cards," which were also usually albumen prints, but larger, mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in). Cabinet cards remained popular into the early 20th century, when Kodak introduced the Brownie camera and home snapshot photography became a mass phenomenon.

Source Wikipedia: en.wikipedia.org/wiki/Carte_de_visite

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A carte de visite photograph of a young Victorian lady, circa 1870s, by Hellis and Sons photographers, London. Carte de visite (CDV) was a type of small photograph, the size of a visiting card, which were traded among friends and visitors.

Wright Archive collection

Sugar sifters are small ladle shaped spoons which could be used at the table to take the powdered sugar from sugar bowls or sugar baskets and sprinkle it over fruit, puddings or cakes. During the Nineteenth Century refined sugar became cheaper and thus readily available to a larger section of the population. Sugar sifter spoons developed in the mid Eighteenth Century and are similar in form and size to sauce ladles, but with flattened bowl bases. The bowls were decorated with elaborate pierced patterns.

This week the Flickr Friday theme is "spoon" and I thought this was an unusual type of spoon that might be of interest, as it represents a more genteel time in our history.

This sifting ladle was made in 1853 by the silversmiths firm Yapp and Woodward in Birmingham. (Private collection).

John Yapp and John Woodward registered their business in 1845. At one stage they were partners with Joseph Willmore. They were renowned for making Visiting Card Cases. It is not usually possible to identify the artist or designer responsible for a particular design on a piece of cutlery, which makes this sifting ladle a delightful exception to the rule.

The We're Here! gang is visiting CARD: Anything Card today to celebrate our friend Bill's birthday. Here are just a few of the many that I've saved over the years.

Piotr was playing the guitar on the square near the central metro station in Warsaw. I was making photos of people passing by and he asked me to make him a photo abuse l and email it to him. I talked with him for a while taking photos in the meantime. He said that he likes to sit here on the square late at night and play the guitar just for himself. l asked him to make photo of me. And finally I gave him my visiting card and promised to send him the photos.

This picture is #17 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page

"Ruzicska Gyula műterméből

Debreczen, Piacz utcza 32 sz."

Printed as a postcard rather than a visiting card.

Gyula Ruzicska (1859-1931) operated as a photographer in Debrecen from 1906 to 1925.

helyiertek.derimuzeum.hu/?p=2291

Wright Archive collection

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Carte de Visite photograph of a young man, late 1800s.

Photograph by James Frederick Lowrie who traded under the name of F Valery and operated a studio in The Parade, Beckenham, England. Lowrie was born in 1853 and died in his other studio at Victoria Chambers, High Street, Bromley, in May 1906 from a heart attack.

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The carte de visite, (visiting card), abbreviated CdV or CDV, was a type of small photograph which was patented in Paris, France by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. It was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm (2.125 in) × 89 mm (3.5 in) mounted on a card sized 64 mm (2.5 in) × 100 mm (4 in). In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format. This made the format an overnight success. The new invention was so popular it was known as "cardomania" and it spread throughout Europe and then quickly to America and the rest of the world.

Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.

By the early 1870s, cartes de visite were supplanted by "cabinet cards," which were also usually albumen prints, but larger, mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in). Cabinet cards remained popular into the early 20th century, when Kodak introduced the Brownie camera and home snapshot photography became a mass phenomenon.

Source Wikipedia: en.wikipedia.org/wiki/Carte_de_visite

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on a fountain in Bonn

Wright Archive collection

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Carte de Visite photograph of a woman with spectacles, late 1800s.

Photograph by James Frederick Lowrie who traded under the name of F Valery and operated a studio in The Parade, Beckenham, England. Lowrie was born in 1853 and died in his other studio at Victoria Chambers, High Street, Bromley, in May 1906 from a heart attack.

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The carte de visite, (visiting card), abbreviated CdV or CDV, was a type of small photograph which was patented in Paris, France by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. It was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm (2.125 in) × 89 mm (3.5 in) mounted on a card sized 64 mm (2.5 in) × 100 mm (4 in). In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format. This made the format an overnight success. The new invention was so popular it was known as "cardomania" and it spread throughout Europe and then quickly to America and the rest of the world.

Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.

By the early 1870s, cartes de visite were supplanted by "cabinet cards," which were also usually albumen prints, but larger, mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in). Cabinet cards remained popular into the early 20th century, when Kodak introduced the Brownie camera and home snapshot photography became a mass phenomenon.

Source Wikipedia: en.wikipedia.org/wiki/Carte_de_visite

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Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

"Why do you add to Russia's troubles" ?

Re-posted and re-titled, from an earlier Yuletide Snap.

Imperialist NAZI Russians, go home ! Slava Ukraini !

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

Starting a new seasonal series - Visiting Wellesley Park... depicting a small but charming park located in Cabbagetown area here in Toronto.

It's not far from Riverdale Farm I visited regularly last year and reflected in Riverdale Walks series... So all the last year I also did monthly shots of this park and now it's time to form a series from them.

This park is featuring this perfect maple tree that can be park's visiting card, I think! I'm quite charmed by this majestic Maple and thought that I will outline it here a bit in this snowy state of January. Visiting that day I found a couple of VIP snowmen there sitting under the tree - it was a cute touch to the scene.

More impressions from Wellesley Park are coming soon - stay tuned / bientot a l'ecran :-)

Carte de visite by an unidentified photographer. Adella M. Limeburner (1847-1938) carefully inscribed the back of this portrait with her name, using a single thin pencil rule as a guide, and finished her work with ink flourishes and her hometown of Belfast, Maine. Federal census records for Belfast list her as a 22-year-old living at home with her parents, older sister and younger brother in 1860. The man pictured in the photograph may be her father, Thomas (1814-1880), a 55-year-old stonecutter. Adella is mentioned again in 1880, single, living at home, and working as a schoolteacher.

I encourage you to use this image for educational purposes only. However, please ask for permission.

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

The Bozzhira rock is a visiting card of Western Kazakhstan. Sharp cliffs are remnants against the background of the vast expanses of deserts and salt marshes

By John Watkins

Charles Dickens (1812-1870) was an English writer who is often referred to as the greatest novelist of the Victorian period. He rose to fame in 1836 with the serial publication of The Pickwick Papers and his popularity has continued throughout his lifetime and to the present day. Among his work are some of Britain’s best loved stories such as A Christmas Carol, The Adventures of Oliver Twist and Hard Times.

This portrait is called a carte-de-visite and was taken at the studio of John & Charles Watkins, London, in about 1865. A carte-de-visite is a photograph mounted on a piece of card the size of a formal visiting card of the 1850s. The format was introduced by the French photographer Andre-Adolphe-Eugene Disdéri (1819-1889) in 1854. The craze for collecting celebrity cartes-de-visite in albums reached its peak during the 1860s but the format remained popular until the beginning of the twentieth century.

We're happy for you to share this digital image within the spirit of The Commons. Certain restrictions on high quality reproductions of the original physical version of apply though; if you're unsure please visit the National Media Museum website.

For obtaining reproductions of selected images please go to the Science and Society Picture Library.

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia

A Victorian Carte de Visite (CdV) photograph of a lady named Hobern standing in front of a backdrop of The Crystal Palace.

This photograph was taken by Daniel Fruwirth in his studio at:

1, Palace Road, Upper Norwood (opposite Crystal Palace Railway Station).

from Wikipedia:

The carte de visite (French: visiting card), abbreviated CdV, was a type of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. Each photograph was the size of a visiting card, and such photograph cards were commonly traded among friends and visitors in the 1860s.

Wright Archive collection

Took the ferry boat yesterday and made this photo. The ferryboats in Lisbon are definitely a visiting card for anyone.

"Photo Visiting Card, 12 for 25 cts."

A Victorian-era sample calling card with pasted-on photograph.

Originally posted on Ipernity: Photo Visiting Card, 12 for 25 Cents.

Smallhythe Place (NT) (Gd.1), Tenterden, Kent

NATIONAL TRUST + ENGLISH HERITAGE ALBUM

www.flickr.com/photos/45676495@N05/albums/72157701116949872

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century, and has been in the care of the National Trust since 1947. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard - in Old English hythe means "landing place". though today it is sevral miles from the sea it was once coastal and a centre for ship building, including many fighting ships for Henry VIII fleet.

In more recent times it was the home of the esteemed Victorian actress Ellen Terry from 1899 to her death in the house in 1928. Today the house houses Ellen Terry's vast theatre collection, many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre, in particular three costumes from Henry Irving’s spectacular production of Much Ado About Nothing at the Lyceum Theatre

While the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre

Diolch yn fawr am 68,478,477 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel

Thank you 68,478,477 amazing views, enjoy and stay safe

Shot 26.09.2018 in Smallhythe, Kent Ref 137-017

Smallhythe Place in Small Hythe, near Tenterden in Kent, is a half-timbered house built in the late 15th or early 16th century and since 1947 cared for by the National Trust. The house was originally called 'Port House' and before the River Rother and the sea receded it served a thriving shipyard: in Old English hythe means "landing place".

It was the home of the Victorian actress Ellen Terry from 1899 to her death in the house in 1928. The house contains Ellen Terry's theatre collection, while the cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre.

Terry first saw the house in the company of Henry Irving, the manager of the Lyceum Theatre in London's Covent Garden, with whom she shared a famous theatrical partnership for nearly 24 years. The house was opened to the public by Terry's daughter Edith Craig in 1929, as a memorial to her mother. The National Trust supported Craig in her running of the museum from 1939, and took over the property when she died in 1947. It was designated as a Grade II listed building by English Heritage on 8 May 1950.

Smallhythe Place contains many personal and theatrical mementoes, including two walls devoted to David Garrick and Sarah Siddons. Other exhibits include a message from Sarah Bernhardt, a chain worn by Fanny Kemble, Sir Arthur Sullivan's monocle and a visiting card from Alexandre Dumas. There are also several paintings by the artist Clare Atwood, one of the romantic companions of Edith Craig.

In an adjoining room is a letter from Oscar Wilde begging Terry to accept a copy of his first play. There is also a selection of sumptuous costumes dating from Terry’s time at the Lyceum Theatre. In 1929, Craig set up the Barn Theatre in the house's grounds, where the plays of William Shakespeare were performed every year on the anniversary of her mother's death. This tradition continues to this day.

-Wikipedia