maybe you think now AnaLee gets crazy – to make wool boots and stockings in the summer begin ;)) smile…no I am not…
I am so happy to see all the hippie items around RL and SL that I had to do this
all who know me a longer time remembre the great JOY stockings… THEY GROWN UP TO BOOTS – 😉 this boots are a great accessoire for all you like special. And they will be go perfect to your boho styles…
and not only the old designs are to find…;) – like the first time I couldn´t stop- I made a lot more textures and now it is YOUR AGONY OF CHOISE
– 42 different designs you will find now into the store and in each pack you have a 2long or 2 short versions form a design…the stockings and boots are to wear single as well so that you can wear a short or longer version from it.
hair – !VA! vanigy hair by Tabata Jewell – tinted
dDx by Kallisti Burns – tinted (here you find a lot of dreads….
In April 1906 (Former building on this site was sold by Auction) – Messrs C. E. Manthorpe & Co was previously on this site which was a large substantial brick store 57ft x 49ft with iron roof, heavy jarrah flooring, large doors, windows and spouting which was sold by auction and removed so as to build this new building.
**(Written on the plaque on the King Street side is:- Tranby Building built in the Victorian Free Renaissance Style.
Architect – Summerhayes.
Built for W. J. Cotton, Grocers and Produce Merchants, originally 2 storeys, the 3rd storey added at a later date).**
In 1907 TEMPERANCE HOTEL, ppr. C. W. Genge.
In 1908 George Collis, employed as a Cook, shot himself with a revolver in his room at the GWALIA CAFE, Perth.
In 1908 GWALIA TEMPERANCE HOTEL, ppr. Jones & Nielson. & H. A. Stephenson, Produce Merchant. & Doherty’s Gymnasium.
In 1909 GWALIA TEMPERANCE HOTEL, ppr. William R. Jones. & H. A. Stephenson, Produce Merchant.
In 1909 Frederick French 23yrs, Carpenter, attempted suicide in a room at the GWALIA TEMPERANCE HOTEL, WELLINGTON ST., with his throat cut, the razor laying next to the bed, he was worried about not being able to obtain employment.
In 1910 GWALIA TEMPERANCE HOTEL, ppr. Jules Gandiol & Ockerby, Lehmann & Co. Ltd, Produce Merchants.
In 1911 WINDSOR COFFEE PALACE, ppr. William J. Ahern. & Hy. A. Stephenson, Produce Merchant. & Ockerby, Lehmann & Co, Ltd, Produce Merchants.
In 1912-13 WINDSOR COFFEE PALACE, ppr. William J. Ahern. & Hy. A. Stephenson, Produce Merchant. & Universal Providers, Manufacturers & Importers.
In 1914-15 WINDSOR COFFEE PALACE, ppr. Batista Fornero. & C. A. Lloyd & Co, Produce & mer. brks. & Austn. Co-op. Export & Dist. Co. Ltd. & Universal Providers & Importers, ppr. Baron H. Frieze, also Clothing Manu across at no.585).
In 1916 WINDSOR COFFEE PALACE, ppr. Batista Fornero. & W. E. Sainsbury & Co, Produce Salesmen. & Wildridge & Sinclair, Engineers. & J. W. Henderson, Mech Eng. & Universal Providers & Imp, ppr. Baron H. Frieze.
In 1917-18 WINDSOR COFFEE PALACE, ppr. Batista Fornero. & W. E. Sainsbury & Co, Produce Salesmen. & J. Wildridge & Sinclair, Engineers. & J. W. Henderson, Mech Eng. & Foggitt, Jones & Co. Ltd, Produce Merchants.
In 1919 WINDSOR BUILDINGS ppr. C. M. Hinckley. & Barrow Noseda & Co. Ltd, Produce Merchants. Bag Exchange of W.A. Ltd. & W. E. Sainsbury & Co, Produce Merchants. & J. Wildridge & Sinclair, Refrigerating Engineers. J. W. Henderson, Mech Eng. & Foggitt, Jones & Co. Ltd, Produce Merchants.
In 1920 WINDSOR BUILDINGS ppr. Miss C. M. Hinckley. & H. A. Leaman & Co. & Noseda, Barrow & Co. Ltd, Produce Merchants. Western Furniture & Leather Co. & C. S. Baty & Co. Night Lighting System. & E. Hazel, Produce Merchants & Auctioneer. & W. E. Sainsbury & Co. J. Wildridge & Sinclair, Refrigerating Engineers. J. W. Henderson, Mech Eng. & Foggitt, Jones & Co. Ltd, Produce Merchants.
In 1921 WINDSOR BUILDINGS ppr. Miss C. M. Hinckley. & W. S. Williams, Tailor. & Noseda, Barrow & Co. Ltd. & Western Furniture & Leather Co. & E. Hazel, Auctioneer. Heales & Son, Agents. L. W. Church, Agent. & H. Byers, Acct. & Fed Carters & Drivers Union. & W. E. Sainsbury & Co. & S.A.M. Dairy Co. & J. W. Henderson, Mech Eng. & Foggitt, Jones & Co. Ltd, Produce Merchants, Ham & Bacon Curers.
In 1922 RAOB BUILDINGS. & British Drug Co. & Buffalo Club. & Grand Lodge RAOB, SSBA. & Criterions Lodge GSBA. & Midland Junction Lodge No.54 GLE. & Bohemian Lodge GSBA. & E. Hazel, Auctioneer. & Australian Ins Staffs Fed. & R. Harrison, Photographer. & Syd Musto, Indent Agt. & Mark Charters & Co, Indent Agts. & W. E. Sainsbury & Co. & SAM Dairy Co. & R. P. North & Co, Baggage Shipping.
In 1923-25 RAOB BUILDINGS. & British Drug Co. & Buffalo Club. & Grand Lodge RAOB, SSBA. & Criterions Lodge GSBA. & Midland Junction Lodge No.54 GLE. & Bohemian Lodge GSBA. Nedlands Lodge GSBA & Australian Ins Staffs Fed. & A. Mendelowitz, Tailor. & M. Lone, Tailor. & Vacant & A. V. Donovan. & Mark Charters & Co, Indent Agts. & W. E. Sainsbury & Co. & Sam Manu. Co. & R. P. North & Co, Baggage Shipping.
In 1926-29 RAOB BUILDINGS. & Westralian Buffalo Club. & Grand Lodge RAOB, SSBA. & Criterions Lodge GSBA. & Midland Junction Lodge. & Sir John Evert Lodge GSBA. & Nedlands Lodge GSBA. & Leederville Lodge GLE. & Sykes & Armstrong, Window Display Artists. & Industrial Science Lab. & A. Mendelowitz, Tailor. & W. Barnes, Tailor. & Mercury Chemical Co. & S.A.M. Manu Co. & Vacant.
In 1930 Charles P. McAlinden, Display & Advert. & SAM & Cook Dairy Mch. & T. Clark & Co, Shipping Agents. & Sullivan’s Boxing Academy Room 7, opened by Phil Sullivan, State Lightweight and Welterweight champion.
In 1931-35 Charles P. McAlinden, Display & Advert. & SAM & Cook Dairy Mch. & T. Clark & Co, Shipping Agents
In 1936-38 Charles P. McAlinden, Display & Advert. & Perth Clothing Co. & Three Ways Signs Aust. & Vacant & T. Clark & Co, Shipping Agents.
In 1939 Charles P. McAlinden, Display & Advert. & Perth Clothing Co. & Laray Studio Photographers. & Vacant & Vacant.
In 1940 Charles P. McAlinden, Display & Advert. & Perth Clothing Co. & Laray Studio Photographers. & Clarkson’s W.A. Ltd. & State Labour Bureau.
In 1941 Charles P. McAlinden, Display & Advert. & Perth Clothing Co. & State Labour Bureau.
In 1942 Charles P. McAlinden, Display & Advert. & Perth Clothing Co. & Jno Sands Pty Ltd, Stnrs. & State Labour Bureau.
In 1944-45 Dept of Labour & National Service. & District Manpower Office. & Women’s Vol Services.
In 1946-47 Dept of Social Services, & District Manpower Office, & Women’s Vol Services. & Commonwealth Employment Service.
In 1949 Commonwealth Employment Service.
in 2012 This building was painstakingly restored with all render and paint removed by hand with a metal scrapper, revealing the beautiful brickwork.
2014 – La Veen Coffee Cafe’
Built in 1906.
— at 575 – 579 Wellington St., Cnr King St., Perth.
Show off your funky style in this distinctive bohemian style tunic. Cut in a silhouette that’s flattering on any figure for comfortable easy casual wear. Can be worn with leggings, slacks or your favorite pair of jeans.
-Flared draped silhouette
-Full poets sleeves
-Decorative stitching throughout
-In Grey and Tan earth tones
Made from Wool/acrylic blend recycled sweaters .
Hand or Gentle Wash, Cold, Lay Flat to Dry.
Shown modeled on a size 14 mannequin, 5 feet 10 inches tall.
BIOGRAPHY (From Wikipedia, the free encyclopaedia)
Sir Anthony van Dyck (Dutch pronunciation: [vɑn ˈdɛi̯k], many variant spellings; 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching.
LIFE AND WORK
Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp. His talent was evident very early, and he was studying painting with Hendrick van Balen by 1609, and became an independent painter around 1615, setting up a workshop with his even younger friend Jan Brueghel the Younger.
By the age of fifteen he was already a highly accomplished artist, as his Self-portrait, 1613–14, shows. He was admitted to the Antwerp painters’ Guild of Saint Luke as a free master by February 1618. Within a few years he was to be the chief assistant to the dominant master of Antwerp, and the whole of Northern Europe, Peter Paul Rubens, who made much use of sub-contracted artists as well as his own large workshop.
His influence on the young artist was immense; Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".
The origins and exact nature of their relationship are unclear; it has been speculated that van Dyck was a pupil of Rubens from about 1613, as even his early work shows little trace of van Balen’s style, but there is no clear evidence for this.
At the same time the dominance of Rubens in the small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, in Rubens’s contract for the major commission for the ceiling of the Carolus Borromeuskerk, the Jesuit church at Antwerp (lost to fire in 1718), van Dyck is specified as one of the "discipelen" who was to execute the paintings to Rubens’ designs.
In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. It was in London in the collection of the Earl of Arundel that he first saw the work of Titian, whose use of colour and subtle modeling of form would prove transformational, offering a new stylistic language that would enrich the compositional lessons learned from Rubens.
After about four months he returned to Flanders, but moved on in late 1621 to Italy, where he remained for 6 years, studying the Italian masters and beginning his career as a successful portraitist.
He was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artist’s colony in Rome, says Bellori, by appearing with "the pomp of Zeuxis … his behaviour was that of a nobleman rather than an ordinary person, and he shone in rich garments; since he was accustomed in the circle of Rubens to noblemen, and being naturally of elevated mind, and anxious to make himself distinguished, he therefore wore—as well as silks—a hat with feathers and brooches, gold chains across his chest, and was accompanied by servants."
He was mostly based in Genoa, although he also travelled extensively to other cities, and stayed for some time in Palermo in Sicily. For the Genoese aristocracy, then in a final flush of prosperity, he developed a full-length portrait style, drawing on Veronese and Titian as well as Rubens’ style from his own period in Genoa, where extremely tall but graceful figures look down on the viewer with great hauteur. In 1627, he went back to Antwerp where he remained for five years, painting more affable portraits which still made his Flemish patrons look as stylish as possible. A life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695.
He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, which added to his ability to obtain commissions. By 1630 he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he also produced many religious works, including large altarpieces, and began his printmaking (see below).
King Charles I was the most passionate and generous collector of art among the British monarchs, and saw art as a way of promoting his elevated view of the monarchy. In 1628, he bought the fabulous collection that the Gonzagas of Mantua were forced to dispose of, and he had been trying since his accession in 1625 to bring leading foreign painters to England. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was an especial target, who eventually came on a diplomatic mission, which included painting, in 1630, and later supplied more paintings from Antwerp. He was very well-treated during his nine-month visit, during which he was knighted. Charles’s court portraitist, Daniel Mytens, was a somewhat pedestrian Dutchman. Charles was very short (less than 5 feet (1.5 m) tall) and presented challenges to a portraitist.
Van Dyck had remained in touch with the English court, and had helped King Charles’s agents in their search for pictures. He had also sent back some of his own works, including a portrait (1623) of himself with Endymion Porter, one of Charles’s agents, a mythology (Rinaldo and Armida, 1629, now in the Baltimore Museum of Art), and a religious work for the Queen. He had also painted Charles’s sister, Queen Elizabeth of Bohemia in the Hague in 1632. In April that year, van Dyck returned to London, and was taken under the wing of the court immediately, being knighted in July and at the same time receiving a pension of £200 per year, in the grant of which he was described as principalle Paynter in ordinary to their majesties. He was well paid for paintings in addition to this, at least in theory, as King Charles did not actually pay over his pension for five years, and reduced the price of many paintings. He was provided with a house on the river at Blackfriars, then just outside the City and hence avoiding the monopoly of the Painters Guild. A suite of rooms in Eltham Palace, no longer used by the Royal family, was also provided as a country retreat. His Blackfriars studio was frequently visited by the King and Queen (later a special causeway was built to ease their access), who hardly sat for another painter while van Dyck lived.
He was an immediate success in England, rapidly painting a large number of portraits of the King and Queen Henrietta Maria, as well as their children.
Many portraits were done in several versions, to be sent as diplomatic gifts or given to supporters of the increasingly embattled king. Altogether van Dyck has been estimated to have painted forty portraits of King Charles himself, as well as about thirty of the Queen, nine of Earl of Strafford and multiple ones of other courtiers. He painted many of the court, and also himself and his mistress, Margaret Lemon.
In England he developed a version of his style which combined a relaxed elegance and ease with an understated authority in his subjects which was to dominate English portrait-painting to the end of the 18th century. Many of these portraits have a lush landscape background. His portraits of Charles on horseback updated the grandeur of Titian’s Emperor Charles V, but even more effective and original is his portrait of Charles dismounted in the Louvre: "Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that he seems at first glance nature’s gentleman rather than England’s King".
Although his portraits have created the classic idea of "Cavalier" style and dress, in fact a majority of his most important patrons in the nobility, such as Lord Wharton and the Earls of Bedford, Northumberland and Pembroke, took the Parliamentarian side in the English Civil War that broke out soon after his death.
The King in Council by letters patent granted Van Dyck denizenship in 1638, and he married Mary, the daughter of Patrick Ruthven, who, although the title was forfeited, styled himself Lord Ruthven. She was a Lady in waiting to the Queen, in 1639-40; this may have been instigated by the King in an attempt to keep him in England.
He had spent most of 1634 in Antwerp, returning the following year, and in 1640–41, as the Civil War loomed, spent several months in Flanders and France. In 1640 he accompanied prince John Casimir of Poland after he was freed from French imprisonment.
PORTRAITS AND OTHER WORKS
With the partial exception of Holbein, van Dyck and his exact contemporary Diego Velázquez were the first painters of pre-eminent talent to work mainly as Court portraitists. The slightly younger Rembrandt was also to work mainly as a portraitist for a period. In the contemporary theory of the hierarchy of genres portrait-painting came well below history painting (which covered religious scenes also), and for most major painters portraits were a relatively small part of their output, in terms of the time spent on them (being small, they might be numerous in absolute terms). Rubens for example mostly painted portraits only of his immediate circle, but though he worked for most of the courts of Europe, he avoided exclusive attachment to any of them.
A variety of factors meant that in the 17th century demand for portraits was stronger than for other types of work. Van Dyck tried to persuade Charles to commission him to do a large-scale series of works on the history of the Order of the Garter for the Banqueting House, Whitehall, for which Rubens had earlier done the huge ceiling paintings (sending them from Antwerp).
A sketch for one wall remains, but by 1638 Charles was too short of money to proceed. This was a problem Velázquez did not have, but equally van Dyck’s daily life was not encumbered by trivial court duties as Velázquez’s was. In his visits to Paris in his last years van Dyck tried to obtain the commission to paint the Grande Gallerie of the Louvre without success.
A list of history paintings produced by van Dyck in England survives, by Bellori, based on information by Sir Kenelm Digby; none of these still appear to survive, although the Eros and Psyche done for the King (below) does. But many other works, rather more religious than mythological, do survive, and though they are very fine, they do not reach the heights of Velázquez’s history paintings. Earlier ones remain very much within the style of Rubens, although some of his Sicilian works are interestingly individual.
Van Dyck’s portraits certainly flattered more than Velázquez’s; when Sophia, later Electoress of Hanover, first met Queen Henrietta Maria, in exile in Holland in 1641, she wrote: "Van Dyck’s handsome portraits had given me so fine an idea of the beauty of all English ladies, that I was surprised to find that the Queen, who looked so fine in painting, was a small woman raised up on her chair, with long skinny arms and teeth like defence works projecting from her mouth…"
Some critics have blamed van Dyck for diverting a nascent, tougher English portrait tradition—of painters such as William Dobson, Robert Walker and Isaac Fuller—into what certainly became elegant blandness in the hands of many of van Dyck’s successors, like Lely or Kneller. The conventional view has always been more favourable: "When Van Dyck came hither he brought Face-Painting to us; ever since which time … England has excel’d all the World in that great Branch of the Art’ (Jonathan Richardson: An Essay on the Theory of Painting, 1715, 41). Thomas Gainsborough is reported to have said on his deathbed "We are all going to heaven, and Van Dyck is of the Company."
A fairly small number of landscape pen and wash drawings or watercolours made in England played an important part in introducing the Flemish watercolour landscape tradition to England. Some are studies, which reappear in the background of paintings, but many are signed and dated and were probably regarded as finished works to be given as presents. Several of the most detailed are of Rye, a port for ships to the Continent, suggesting that van Dyck did them casually whilst waiting for wind or tide to improve.
Probably during his period in Antwerp after his return from Italy, van Dyck began his Iconography, eventually a very large series of prints with half-length portraits of eminent contemporaries. Van Dyck produced drawings, and for eighteen of the portraits he himself etched with great brilliance the heads and the main outlines of the figure, for an engraver to work up: "Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art".
However, for most of the series he left the whole printmaking work to specialists, who mostly engraved everything after his drawings. His own etched plates appear not to have been published commercially until after his death, and early states are very rare. Most of his plates were printed after only his work had been done; some exist in further states after engraving had been added, sometimes obscuring his etching. He continued to add to the series until at least his departure for England, and presumably added Inigo Jones whilst in London.
The series was a great success, but was his only venture into printmaking; portraiture probably paid better, and he was constantly in demand. At his death there were eighty plates by others, of which fifty-two were of artists, as well as his own eighteen. The plates were bought by a publisher; with the plates reworked periodically as they wore out they continued to be printed for centuries, and the series added to, so that it reached over two hundred portraits by the late 18th century. In 1851, the plates were bought by the Calcographie du Louvre.
The Iconography was highly influential as a commercial model for reproductive printmaking; now forgotten series of portrait prints were enormously popular until the advent of photography: "the importance of this series was enormous, and it provided a repertory of images that were plundered by portrait painters throughout Europe over the next couple of centuries". Van Dyck’s brilliant etching style, which depended on open lines and dots, was in marked contrast to that of the other great portraitist in prints of the period, Rembrandt, and had little influence until the 19th century, when it had a great influence on artists such as Whistler in the last major phase of portrait etching.
Hyatt Mayor wrote:
Etchers have studied Van Dyck ever since, for they can hope to approximate his brilliant directness, whereas nobody can hope to approach the complexity of Rembrandt’s portraits.
His great success compelled van Dyck to maintain a large workshop in London, a studio which was to become "virtually a production line for portraits". According to a visitor to his studio he usually only made a drawing on paper, which was then enlarged onto canvas by an assistant; he then painted the head himself. The clothes were left at the studio and often sent out to specialists. In his last years these studio collaborations accounted for some decline in the quality of work. In addition many copies untouched by him, or virtually so, were produced by the workshop, as well as by professional copyists and later painters; the number of paintings ascribed to him had by the 19th century become huge, as with Rembrandt, Titian and others.
However, most of his assistants and copyists could not approach the refinement of his manner, so compared to many masters consensus among art historians on attributions to him is usually relatively easy to reach, and museum labelling is now mostly updated (country house attributions may be more dubious in some cases). The relatively few names of his assistants that are known are Dutch or Flemish; he probably preferred to use trained Flemings, as no English equivalent training yet existed. Adriaen Hanneman (1604–71) returned to his native Hague in 1638 to become the leading portraitist there.
Van Dyck’s enormous influence on English art does not come from a tradition handed down through his pupils; in fact it is not possible to document a connection to his studio for any English painter of any significance.
INFLUENCES IN OTHER FIELDS
Van Dyck painted many portraits of men, notably Charles I and himself, with the short, pointed beards then in fashion; consequently this particular kind of beard was much later (probably first in America in the 19th century) named a vandyke or Van dyke beard (which is the anglicized version of his name).
During the reign of George III, a generic "Cavalier" fancy-dress costume called a Van Dyke was popular; Gainsborough’s ‘Blue Boy’ is wearing such a Van Dyke outfit.
The oil paint pigment van Dyck brown is named after him, and Van dyke brown is an early photographic printing process using the same colour.
The British Royal Collection, which still contains many of his paintings of the royal family and others, has a total of twenty-six paintings.
The National Gallery, London (fourteen works), The Museo del Prado (Spain) (twenty-five works), The Louvre in Paris (eighteen works), The Alte Pinakothek in Munich, the National Gallery of Art in Washington DC and the Frick Collection have examples of his portrait style. Wilton House still holds the works he did for one of his main patrons, the Earl of Pembroke, including his largest work, a huge family group portrait with ten main figures.
Tate Britain held the exhibition Van Dyck & Britain in 2009.
Colour : White
Fruit : Strawberry
Candy : I only eat Chocolate
Chocolate : Everything good but not dark chocolate
Cold drink : Water and Champagne 😛
Hot drink : Coffee and Tea
Ice cream : Vanilla with chocolate ice magic
Crisps : Salt and vinigar
Soup : More like chicken stew
Car : Ford Fiestia
TV show : Community
Movie : Ferris Bueller’s Day Off
Sport : Soccer
Perfume : DKNY Pure
Stock Blythe doll : Bohemian Peace
Custom Blythe Doll : Joli
Meat : Chicken
Vegetable : Tomato
Genre of music :Rock
City to visit : Hong Kong (again)
Celebrity crush : David Tennant (His the best Dr)
Book : Reading Flickr 😛
Sports team : Any
Pet : Fish
Meal : Chicken Katsu Curry
Flower : Anything that smells and looks nice
Dessert : Tart Lemon tart
Smell : Chocolate
Games : Whatever my man makes me play 😛
Piece of Jewelry : Bracelets
Jeans : I like boyfriend style, nice and baggy
Electronics : Phone
Hair product : Shampoo
Sandwich : Toasted Tuna and mayonnaise
Condiment : Kewpie
Thing to collect : Domos
Time of day : Morning
day of week : Saturday
actor : Any funny ones 😛
actress : Any funny ones 😛
season : spring
designer : Love H&M but they don’t have any stores in Aus 🙁
comfort food : I don’t eat when I’m sad
piece of clothing : I collect cool socks. I have bought nearly a dozen already on this trip