Grass Curl 53883186816_23a81ca0ee_b
The Dune Blue Curls are back in bloom along the new Pony Pen beach access ramp The Dune Blue Curls are back in bloom along the new Pony Pen beach access ramp.
Video: Treasure Hunt Biggies & Barbies! My sister and I were generously given two large boxes of dollies in July of 2024. We filmed this video after they were all cleaned up.
Dolls in photo, top row (from left to right)
-Girl of the Year 2006 Jess McConnell
-Tenney Grant
-Bitty Twins
-Wellie Wishers Willa
-Mini Maryellen
-1996 Shannon (by Gotz)
-1980-1982 The Little People "Brigitte"
-1985 Wykoosa Valley Cat Koosa "Tabby"
-1985 Cabbage Patch Kids "Noah"
Middle row:
-1984 Cabbage Patch Kids "Dorothy"
-1986 Cabbage Patch Cornsilk Kids "Winnie"
-1986 Cabbage Patch Circus Kids "Lenore"
-1983 Cabbage Patch Kids "Delilah"
-1985 Cabbage Patch Kids "Penelope"
-1985 Cabbage Patch Kids "Poppy"
-1985 Cabbage Patch Kids World Traveler Spain "Sarita"
Bottom row:
-1986 Barbie and the Rockers
-1989 Wedding Fantasy Barbie
-1989 Barbie and the All Stars
-1991 Rappin' Rockin' Barbie
-1992 Secret Hearts Barbie
-1992 My First Barbie
-1993 Dress 'N Fun Barbie
-1995 Skating Star Barbie
-1997 Movin' Groovin' Barbie
-1998 Happenin' Hair Barbie
-1998 Butterfly Art Barbie
-1999 XXXOOO Barbie
-1999 Pretty Flowers Barbie
-2001 Jello Fun Barbie
-2003 Princess Palace Barbie
-2009 I Can Be Ballerina Barbie (brunette)
-2009 I Can Be Ballerina Barbie (blonde)
-2014 Endless Curls Barbie
-2000 Surf City Midge
-2001 Salon Surprise Teresa
Video:
www.youtube.com/watch?v=m75_E0dom4o
curled up 53882681371_36670eea01_b
curls 53882917823_e46e60b81e_b
Dragon fly, on a Blackberry branch Blackberry cane
Riverway Sports Complex,
Burnaby, British Columbia, Canada
A dragonfly is a flying insect belonging to the infraorder Anisoptera below the order Odonata. About 3,000 extant species of dragonflies are known. Most are tropical, with fewer species in temperate regions. Loss of wetland habitat threatens dragonfly populations around the world. Adult dragonflies are characterised by a pair of large, multifaceted, compound eyes, two pairs of strong, transparent wings, sometimes with coloured patches, and an elongated body. Many dragonflies have brilliant iridescent or metallic colours produced by structural coloration, making them conspicuous in flight. An adult dragonfly's compound eyes have nearly 24,000 ommatidia each.
Dragonflies can be mistaken for the closely related damselflies, which make up the other odonatan infraorder (Zygoptera) and are similar in body plan, though usually lighter in build; however, the wings of most dragonflies are held flat and away from the body, while damselflies hold their wings folded at rest, along or above the abdomen. Dragonflies are agile fliers, while damselflies have a weaker, fluttery flight. Dragonflies make use of motion camouflage when attacking prey or rivals.
Dragonflies are predatory insects, both in their aquatic nymphal stage (also known as "naiads") and as adults. In some species, the nymphal stage lasts up to five years, and the adult stage may be as long as 10 weeks, but most species have an adult lifespan in the order of five weeks or less, and some survive for only a few days. They are fast, agile fliers capable of highly accurate aerial ambush, sometimes migrating across oceans, and often live near water. They have a uniquely complex mode of reproduction involving indirect insemination, delayed fertilisation, and sperm competition. During mating, the male grasps the female at the back of the head, and the female curls her abdomen under her body to pick up sperm from the male's secondary genitalia at the front of his abdomen, forming the "heart" or "wheel" posture.
Dragonflies are powerful and agile fliers, capable of migrating across the sea, moving in any direction, and changing direction suddenly. In flight, the adult dragonfly can propel itself in six directions: upward, downward, forward, backward, to left and to right. They have four different styles of flight.
Take me; you rich, powerful, handsome Indian man What strikes me is how colorful this classic Indian painting is, with its burgundy red and golden yellow. This painting is not large so its details are especially intricate. Back in 1835, I think this artwork was for the Indian elite, acting sort of like our modern Vogue magazine. That is to say: This is what the prince and princess wear. Got the money? Well, then this is what is cool for you to look for and buy too.
Title: A couple embrace on a terrace (circa 1835)
Artist: Unknown (Type: Indian school, Jaipur style)
Material: "Ink, opaque watercolor, lacquer, possibly glass, and gold on paper"*
Venue: University of Louisville's Speed Art Museum (on loan from the San Diego Museum of Art)
*Source: Plaque at the Speed Art Museum. It explains the piece:
"Images depicting the subject of a royal couple gazing intently into each other's eyes were highly sought after among the pan-Indian elite clientele. The intertwined forms of these lovers are draped in finery in a setting replete with fine decorative detail. This painting includes characteristics of Jaipur painting that brought the city's artists commercial success since the founding of its royal workshops in 1727. These include the jewelry, turban style, and the upturned hair curl at the nape of the man's neck, all of which reflect the costume and hair styles favored by the ruler of the period, Pratap Singh, who reigned from 1778 to 1803."
lines and light near plaça d'espanya, the interplay of lines, shadows, and the striking hair of two individuals creates a captivating scene. the dramatic backlighting highlights their silhouettes, making their curls glow with an ethereal quality. the crisscrossing shadows and architectural lines add a geometric rhythm to the composition, enhancing the visual intrigue of this moment.
Styling Products for Curly Hair | Curly Hair Cream, Serum & More Explore curly hair styling products including serum for curly hair, heat protection spray, cream, mist, and more! It controls, protects, and defines your curls.
Bad Moon Rising Made with Art House Whimsy's The Raven Masquerade, Coven Camp, Fine Art Dark Atmosphere, Goth Girl Gang, Julie Mead’s Curly Curls and crosshatch by Rebecca McMeen.
Curled pondweed Potamogeton crispus The Chase 53882380968_1fd605dda4_b
Curled pondweed Potamogeton crispus The Chase 53882485644_75851f647c_b
That Summer Feeling Featuring: .:District 28:. , Unorthodox , Tantrum , ADD
✎Credits:
Head: Lelutka - Avalon
Body: Reborn
Hairbase system that works with the hair: Unorthodox Unorthodox Scalpz UNITS
Hair: Unorthodox Slay Curls
Icecream: .:District 28:. Ice Cream Treats
Bikini: ADD Aurin Bikini, available at Dubai Event , opens 20th of the month, closes next month 15th
Slippers: Tantrum Love Me Lots Flop Flops, available at Cosmopolitan event , opens July 22nd, closes August 3rd
moi, réinventée back in the mists of time.
Please : Right Click and select "Open link in new tab"
www.youtube.com/watch?v=A7f76Bkff2c
beat hotel - allan taylor
Paris nineteen fifty-six, number nine rue Git le Coeur
Word is out and everybody's beating on the door
Madame Rachou will let you in, just smile and ring the bell
Welcome to Nirvana at the Beat Hotel
The sweet smell of Pernod, a Gauloise cigarette
It's a cosmic congregation but you ain't seen nothing yet
It's an open invitation, an existential clientele
All looking for Nirvana at the Beat Hotel
They looked for it in New York City and San Francisco Bay
They looked for it in bebop jazz and it blew them all away
They tried out every avenue and then said "What the hell,
We'll look for it in Paris at the Beat Hotel"
Burroughs came up from Tangiers, Ginsberg from New York
Kerouac came up from Italy and slept out in the park
Gregory Corso came and went and where he's at no one can tell
He's still looking for Nirvana at the Beat Hotel
Take me to your leader, take me to the man
Someone has got the answer, someone's got the perfect plan
If you're looking in the alleys, if you're looking in the bars
You'll find us in the gutter, looking at the stars
This ragged band of poets, Christians, Buddhists, Jews
A new Beat generation searching for the Muse
Some found it in the arms of a mystic mademoiselle
Looking for Nirvana at the Beat Hotel
The rooms count up to forty-one, but you can sleep out in the hall
For a few centimes you can get a drink and write your poems on the wall
And the marijuana mixes with the Tukish toilet smell
It's all part of Nirvana at the Beat Hotel
Alex Campbell strums an old guitar someone picked up in Spain
Ginsberg's howling poetry and Kerouac's drunk again
The rent is overdue there must be something they can sell
Maybe they can sell Nirvana at the Beat Hotel
Someone's taking photographs, Janine takes off her clothes
Marlene's meditating and concentrating on her toes
Jasmine hides in room sixteen and curls up in her shell
She's communing with Nirvana at the Beat Hotel
Take me to your leader, take me to the man
Someone has got the answer, someone's got the perfect plan
If you're looking in the alleys, if you're looking in the bars
You'll find us in the gutter, looking at the stars
They did it for the journey and not for getting there
Fame is in a whisper when you pay the taxi fare
It's just this side of heaven and a long, long way from hell
It's somewhere in Nirvana at the Beat Hotel
Nothing lasts forever, and forever's in a rhyme
It's a Buddha-like connection and everybody has their time
If you want to drink the water you've got to dig into the well
And maybe then you'll find Nirvana at the Beat Hotel
It was over by nineteen sixty-three and everyone had gone
But they'd opened up the road and the revolution was getting won
And when the poems were painted over and they rang the final bell
It was goodbye to Nirvana at the Beat Hotel
The myth is stronger than the truth, and the truth can sometimes lie
To see it all for what it was you need an uncorrupted eye
Was the journey worth it, only time will tell
Still looking for Nirvana, at the Beat Hotel
Take me to your leader, take me to the man
Someone has got the answer, someone's got the perfect plan
If you're looking in the alleys, if you're looking in the bars
You'll find us in the gutter, looking at the stars
Looking at the stars
We're looking at the stars
Jaguar Pendant 800-1521 (Pre-Columbian) This pendant represents a jaguar, an animal with which a warrior would have wanted to be associated. The animal's mouth is open to display its dangerous teeth, and the end of its characteristic tail is curled upwards. The front feet have loops for suspension.
Raw and refined gold was as valuable as it was symbolic to the people of Precolombian Panama. Because of its reflective nature, which mirrored the shining sun, working with and wearing gold signaled a characteristic of the divine. In order to create complex and beautiful gold pieces, many goldsmiths adapted the lost wax method of metallurgy. This technique—probably initially developed in the Northwest region of Colombia—used wax and clay to create a mold, enabling molten metal to be poured into the cast and melt the surrounding parts to produce exquisite and thin ornamentation.
Pendants were worn by men around the neck on ceremonial occasions. Columbus noted that the inhabitants of Panama who came to greet him wore gold pendants in the shape of eagles. This piece could have been created in Columbus's time or during the previous 600 years.
Panamanian
1 3/8 x 3 9/16 in. (3.5 x 9 cm)
medium: gold and copper alloy
culture: Panamanian
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/8663
Woman's Head with Diadem 1st century BCE-1st century CE (Hellenistic-Roman) When this head was acquired by Henry Walters, it was incorrectly attached to the statue of a maiden. However, it actually belongs to an Archaistic statue. The tight curls over the forehead, the soft smile, and arched brows are Archaistic features, while the almond-shaped eyes are inspired by sculpture of the Classical period.
9 1/16 x 6 5/16 x 6 7/8 in. (23 x 16 x 17.5 cm)
medium: marble
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/11652
Jupiter 1st century BCE-4th century CE Standing, carrying a patera in the right hand and an eagle on the left wrist. The god wears not only a himation which passes under his right arm and over his left shoulder, but also a chiton. He has a very long beard. His hair is bound by a plain band; at the front, small lumps represent curls. The complete drapery is unusual and may be due to provincial origin. There is no sign of tooling after casting.
H: 3 1/8 in. (8 cm)
medium: bronze
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/31689
Left Arm late 4th-late 1st century BCE The fragment consists of a hand and an arm complete nearly to the shoulder. Thumb and fingers are very narrow at the base of the nail. Nails are crudely indicated. The thumb and first two fingers are extended, the other two fingers curled, the elbow bent, and the muscles of the arm strained in violent action. It appears that the arm was not in a vertical position but was raised somewhat. Unless the hand held something which as left no trace, the action may be dancing. The break at the top crosses a rectangular cutting for an inlaid repair. The arm is hollow. The surface is black with patches of red and green, and has been roughly scraped in cleaning.
L: 10 3/8 in. (26.4 cm)
medium: bronze
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/24340
Left Arm 4th century BCE Arm from a small statue, probably of a boy. The arm was raised nearly to shoulder level while the hand held something about which the fingers curled lightly, perhaps the rein of a chariot. The modeling is very fine.
Just below the shoulder, near the broken edge, there is a solid cross section of bronze. Either a core is concealed or the arm is solid; the great weight proves that it is not hollow cast and empty.
L: 16 7/16 in. (41.7 cm)
medium: bronze
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/40574
Isis Holding Cobras 1st century BCE (Ptolemaic) Isis stands holding a rearing serpent in each hand; the serpents wear discs on their heads and their tails curl around her arms. The goddess' garment is long and pleated with a knot in the front. Her crown, with uraei, horns, feathers, a disc, and serpents sits atop her wig and vulture cap.
Egyptian
H: 11 3/4 in. (29.8 cm)
medium: bronze
culture: Egyptian
dynasty: Ptolemaic Dynasty
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/23540
Infant Dionysus 1st century BCE-1st century CE (Ptolemaic-Roman Imperial) Standing with his weight on his right leg, left leg back as though taking a step, this child lifts his gaze up and to his left, as he also raises his left hand. The right arm is missing below the shoulder, as is much of the right foot. The child’s hair is arranged in tight ringlets around his face and the back of his neck; the curls are bound into a top knot above his forehead. The hair on top of his head is pressed flat and held by a wide diadem; wave patterns indicate the texture of the hair, and he may have a short braided section at the top of his head. The child is otherwise nude but may have worn a small garment, such as an animal skin, across his torso, as perhaps indicated by the fact that no nipple is rendered on the left. Statuettes of infant Dionysus wear animal skins in this manner. The head is disproportionately small compared to the rather solid body, and the eyes are disproportionately large on the head. The lips would have been inlaid, perhaps with copper (now missing), and there are traces of silver inlay on the eyes.
Egyptian
H: 17 1/8 × max preserved W: 8 3/16 in. (43.5 × 20.8 cm)
medium: highly leaded bronze
culture: Egyptian
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/33391
Bust of a Standing Man ca. 2040 BCE (First Intermediate) This bust, broken off across the breast and upper arms, was once probably part of a seated tomb statue. There are no traces of a rear pillar. He wears a short, close-fitting wig of rectangular rows of curls, which leaves his modeled ears uncovered. He originally wore a short kilt, but now only the top of it is preserved, to be found at his back. His eyelids are carved. His pectorals are indicated, and he possesses a bipartite torso. His arms are close to his body. Other than being broken above the waist, this piece is well preserved.
Egyptian
H: 4 3/4 in. (12.1 cm)
H without base: 4 3/4 x W: 3 5/8 x D: 2 1/8 in. (12 x 9.2 x 5.4 cm)
medium: black granite
culture: Egyptian
dynasty: 9th-10th Dynasty
Walters Art Museum, 1931, by bequest.
art.thewalters.org/detail/11033
fredau-studio-portrait_0109-Edit © Copyright 2015 Barrie Spence. All rights reserved and moral rights asserted. Theses images are not in the public domain and may not be used without licence.
Comments are very welcome and very much appreciated, but any with linked/embedded images will be removed.
Cylinder Seal with Enkidu Vanquishing the Bull of Heaven 20th-17th century BCE (Early Old Babylonian/Isin Larsa) At the center of the depicted scene is a handled jug on a stand. Flanking this motif on both sides is an animal contest motif with a bearded hero/bull-man in horned headdress battling a bull-man. At the edge of the scene is a cuneiform inscription in two registers at the top, and beneath it is a small four legged animal with a long tail that curls upward.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 7/8 x Diam: 9/16 in. (2.3 x 1.4 cm)
medium: hematite
culture: Babylonian
Walters Art Museum, 1941, by purchase.
art.thewalters.org/detail/3746
Cylinder Seal with Enkidu Vanquishing the Bull of Heaven 20th-17th century BCE (Early Old Babylonian/Isin Larsa) At the center of the depicted scene is a handled jug on a stand. Flanking this motif on both sides is an animal contest motif with a bearded hero/bull-man in horned headdress battling a bull-man. At the edge of the scene is a cuneiform inscription in two registers at the top, and beneath it is a small four legged animal with a long tail that curls upward.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Babylonian
H: 7/8 x Diam: 9/16 in. (2.3 x 1.4 cm)
medium: hematite
culture: Babylonian
Walters Art Museum, 1941, by purchase.
art.thewalters.org/detail/3746