Author. Devotee of Hermes and Hekate. Sarcastic old witch. High Priestess Temple of Witchcraft. Asexual, She/Her pronouns are fine for now. Mostly reasonable answers to witchcraft questions.
Once upon a time, before Instagram, a group of young friends went on a camping trip and captured some pretty great memories. More than a hundred years have passed, but time has stood still for these smiley Victorians in black & white – almost as if a friend has returned home from their weekend o
Et si nous remontions le temps ... Autre époque, autres tenues, autres coiffures. L'époque des photos en noir et blanc. Toujours avec élégance, même au jardin. Ici un côté romantique, dans cette pose. Puis ces clichés qui se transformaient en cartes...
retro-vintage-photography.blogspot.fr/
Pictorialism, an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality. The Pictorialist perspective was born in the late 1860s and held sway through the first decade of the 20th century. It approached the camera as a tool that, like the paintbrush and chisel, could be used to make an artistic statement. Thus photographs could have aesthetic value and be linked to the world of art expression. Constant Puyo, 1903 Constant Puyo, Apparition, 1910 Constant Puyo, 1896 Constant Puyo, 1896 Constant Puyo, 1896 Constant Puyo, 1896 Constant Puyo, 1896 Constant Puyo, 1896 Constant Puyo, 1896 Constant Puyo, 1896 Adolph de Meyer, 1896 Adolph de Meyer, 1896 Adolph de Meyer, 1896 Adolph de Meyer, 1896 Baron Adolph De Meyer - The Cup, 1896 Baron Adolph De Meyer The Black Bowl by George Seeley, circa 1907 Portrait of Martine McCulloch by Gertrude Käsebier, 1910 Mary Pickford, 1917 by Nelson Evans Dolores, Vogue, May 1919 by Adolph de Meyer
sassy: adjective ˈsa-sē impudent, lively, spirited, vigorous, distinctively smart and stylish, showing no respect for people in authority, saucy, pert, confident, chic. Students from five states smile through the gate of Ashley Hall in Charleston, South Carolina, March 1939. Photograph by An
Callot Soeurs was a fashion design house opened in 1895 at 24, rue Taitbout in Paris, France. It was operated by the four Callot sisters: Marie Callot Gerber, Marthe Callot Bertrand, Regina Callot Tennyson-Chantrell and Joséphine Callot Crimont. The eldest sister, Marie, was trained in dressmaking and they were all taught by their mother, a lacemaker. The sisters began working with antique laces and ribbons to enhance blouses and lingerie. Their success led to an expansion into other clothing and in 1914 they moved to larger premises on the Avenue Matignon. Marie, the elder sister was in charge of design, having earlier worked for Raudnitz and Co., prominent Parisian dressmakers. The couturier Madeleine Vionnet was apprenticed at Callot upon her return to Paris. It was here that she refined her technique in couture. Callot Soeurs clothing was known for its exotic detail. They were among the first designers to use gold and silver lamé to make dresses. During the 1920s they were one of the leading fashion houses in Paris, catering to an exclusive clientele from across Europe and the United States. In 1926 the American designer Elizabeth Hawes, while working in Paris, regularly wore Callot Soeurs. Hawes insisted that people should wear what they personally liked, not what was considered fashionable, and despite American buyers at that time considering Callot Soeurs' dresses out of date and unfashionable, she happily wore their "simple clothes with wonderful embroidery" that lasted her for several years.[1] In 1928 Pierre Gerber, Marie Callot Gerber's son, took over the business but could not survive in the highly competitive market and, in 1937, the House of Callot Soeurs closed and was absorbed into the House of Calvet (Marie-Louise Calvet); under the Callot label. However, World War II made matters difficult in France. Similarly to what happened with the House of Vionnet in 1939, Calvet and the Callot label finally closed in 1952. In 1988, rights in the Callot label were purchased by the Lummen family known to have relaunched the House of Vionnet in 1995.
Offering a new Fine Art quality archival pigment reprint of Elmer Chickering's portrait of actress Maude Fealy, early 1900s. This is a high quality print, unframed, approximately 7x10" on 8.5x11" archival fine art paper, suitable for matting, framing and display. Elmer Chickering (1857–1915) was a photographer specializing in portraits in Boston, Massachusetts, in the late 19th and early 20th centuries. He kept a studio on West Street, and photographed politicians, actors, athletes and other public figures. Maude Fealy (1886 - 1971) was an American actress. In the first decade of the 20th century, Memphis-born Fealy became the favorite actress of the post-card and cabinet card collectors. Blessed with a gorgeous face and a tumult of dark hair, she generated a photographic legacy disproportionate to her modest skills as an actress. From the Fine Art Los Angeles Collection, a unique group of fine art photos from the pioneers of photography. Your print will not have a watermark and will be shipped safely in a rigid photo mailer for its protection. FREE SHIPPING in the U.S. Enjoy!
Photographer F. Künzl, České Budějovice/Budweis (Bohemia, Czechia), cabinet card, circa 1905.
With the Edwardian era, which lasted from 1900 to 1912, came many life improvements that we still use today, such as electricity, cars, and vacuum cleaners. Still, it has also given us a fair share of bizarre facts, most of them concerning women.
Like everyone else, I am having Downton Abbey withdrawals. Why do I love Downton Abbey so much? Well, besides, the house, I love the fashio...
Photos reveal curvy beauties who were considered as low as prostitutes by some for showing off the shapes of their legs and thighs.
Postcard: Rotary Photo 1861 Q.
Photos reveal curvy beauties who were considered as low as prostitutes by some for showing off the shapes of their legs and thighs.
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The Bathing Hut by Charles James Lewis, British, 1830-1892 Read more about the bathing huts, pictured in the above painting, here. Photos taken in 1906 showing women at the beach. It must have been quite a windy day but they look thrilled to be there. As I do like to sew, I was interested in the design of the back of their jackets, in the photo, above, and would certainly like to know the colors they were wearing. Because of the lack of color photography, it is easy to believe that Victorian women either wore black, or white, but that is not the case. The clothing I've seen in museums is varied and vivid in color. At a glance, it appears that the styles of this era were all alike, but closer observation will reveal that there was rarely any two ladies dressed exactly alike. I spite of the hundreds of Victorian houses built prior to 1906, it would be hard to find two exactly alike. It seems that these ladies went to the beach for more than the summer sun. Many of them carried with them books, sketching paper, watercolors and writing tablets.
