Baker-Miller Pink #FF91AF

Baker-Miller Pink is a tone of pink claimed to reduce hostile, violent or aggressive behavior. The color is also known as P-618, Schauss pink, or Drunk-Tank Pink. and was originally created by mixing one gallon of pure white indoor latex paint with one pint of red trim semi-gloss outdoor paint.

I want to shake that tear out of her eye

Amphibiomorphic pots

Amphibiomorphic Modeled and Painted Pottery from Argentine Patagonia and Central-Southern Chile. Functional Interpretation and Identification of Species Based on Mimetic and Aposematic Traits

QuikClot Combat Gauze

kaolin hemostat

clotting time

eating of kaolin - geophagy - suppression of appetite

https://www.enviromedica.com/eating-clay

cf: Fuller's earth
bleaching, decontaminating, cosmetic

association with chalk - Vale of the White Horse...

bernardaud

A is for

wound man

WTF Primark!

"and you thought corsets had boning?" schiaparelli pins the dress to carrie. to her shoulders, her arms, her torso, her waist. endless needles. steel through skin. carrie gasps. black hides blood. blood soaks her. trapunto bones absorb it. the bones are stuffed with batting. sciaparelli licks blood from her own fingers. "blood,' she says, 'tastes like pins!"   mccormack 64

vendetta painting

articles of china

bucranium // or bull in a bone-china shop

Thomas Robert Guest 1754–1818

ANNC (Prehist).514
Object types: vessel
Description: vessel
Materials: ceramic
Dimensions: 3.81 cm x 5.3975 cm (top) [height x diameter]
Date: Bronze Age (Britain) (c. 2500 - c. 800 cal. BC)
Period: Bronze Age (Britain) (c. 2500 - c. 800 cal. BC)
Associated Places: Winterslow Hut Barrow Group, Wiltshire, England (place of excavation)
Associated Persons: Allan Borman Hutchins (excavator)
Acquisition: Presented by the Rev. A. B. Hutchins, 1847.

`In field not far from road which leads from Amesbury turnpike into Bulford'. Prob. either BuLFORD 2, 3, or 4. Ex. A. B. Hutchins 1824 or earlier: primary (crouched?) skeleton, grooved dagger, and beaker beneath immense sarsen; 2 secondary cremations in urns, one being LBA with applied horse shoe bands. (Wessex grave 52.) Mod. Wilts. Hund. of Alderbury, 209 Arch. xliii. 350, fig. 27; BAP 373. Dagger in ASH; beaker lost? Urn in SAL (formerly in ASH.). 

The Winterslow Hut, Bronze Age, 1500 - 1150BC
Reverend Allan Borman Hutchins, the Curate of Grately, excavated a large bell barrow near The Old Pheasant Inn at Winterslow in 1814. Within the barrow he found at least three burials. The oldest was a male buried with a beaker pot. The middle burial was a cremation accompanied by a biconical urn. The final burial was also a cremation contained in an urn along with a bronze razor and a quanitity of hair. The hair has been reanalysed and is now thought to be sheep wool rather than human hair. One of the burials contained a number of amber beads, probably from a necklace. The smaller urn is in the ‘Trevisker’ style distinctive to south west Britain and is named after a site in Cornwall where it was first recognised.

The Winterslow Hut was an inn, now known as the Pheasant Inn. It was a famous coaching inn where William Hazlitt once resided and wrote his Winterslow Essays and which, at different times, was visited by Charles and Mary Lamb and Rudyard Kipling.

 It was here that the Exeter mail coach was attacked by a lioness in 1816. The lioness was part of a menagerie on its way to Salisbury Fair and severely mauled one of the horses plus a large Newfoundland dog before being recap-tured. The coach passengers with great presence of mind locked themselves inside the inn while the keepers recaptured the lioness from under a granary. Several of the inns on the turnpike and coaching roads in southern Wiltshire were 'Huts'. There was a Cribbage Hut at Sutton Mandeville, which must have been named from the card game that was played there. The word 'Hut' may have derived from its meaning of a shelter for troops which seems to been in use from the mid 16th century. The inn provided shelter to travellers for the night and may have begun life as a wooden hut.

A Bronze Age round barrow cemetery situated to the northwest of 'The Pheasant Hotel'. The cemetery comprises at least 13 round barrows, mainly bowl barrows visible as earthworks and cropmarks. Nine of the barrows were identified by Grinsell (1957) and designated as Winterslow 4-12. Five were visible as earthworks and four recorded as levelled earthworks. Two additional barrow sites were also recorded by Grinsell (undated) and another by Stephens and Stone (1939). Aerial photographs also show many circular cropmarks, interpreted as barrow sites within the vicinity of the cemetery. Ordnance Survey field investigations in October 1970 identified four of the barrows as definite earthworks and two as slight earthworks. None of the other barrow sites could be determined. The site of one other barrow site was recorded, it was visible as a very slight earthwork. Nine of the barrows have been scheduled. Two bowl barrows survive as substantial earthworks - one is 23 metres in diameter with a maximum height of 0.8 metres. The other has a diameter of 15 metres and maximum height of 1.2 metres. Both have traces of the barrow ditch visible. Three other barrows survive as slight earthworks ranging from 20 metres to 30 metres in diameter. The sites of three more barrows are visible on aerial photographs.

Victor Alexander Sederbach

1755-56
27 figures  were commissioned in 1755 by John Ivory Talbot to decorate the interior of his newly built Gothick Great Hall. The figures were made and fired in the grounds of Lacock by Austrian sculptor Victor Alexander Sederbach.

Pevsner // On these brackets and in these niches stands the extraordinary statuary of Victor Alexander Sederbach, a pleasant, modest man and a cheap sculptor. Beyond that we know absolutely nothing about him. His Christian names sound North-East German, his surname South German or Austrian, and the statues in Austrian abbeys are indeed perhaps the nearest comparison to these wild, violent, and unrefined mid-C18 pieces. They are made of terracotta, and it has been suggested that Sederbach was perhaps a Hafner, i.e. stove-maker, and not a sculptor.  (The Buildings of England: Wiltshire)

The Foreigner who has been here ever since May has executed his Performance in a very Workmanlike manner and your Niches are filled by a set of Inhabitants worthy such Repositories. I presume you are acquainted with the method of making Models for Statues. He proceeds on the same principles, only Bakes them afterwards, by which means they become of a Red Colour and ring like a Garden Pot … I fancy Lord Shelburn will employ him on his arrival at London, where he goes next week; however, as so many of your friends are Connoisseurs, I would advise them seeing his Performances, which are both Easy and not Expensive. His name is sonorous, no less than Victor Alexander Sederbach and yet lodges at one King’s a grocer in Green Street, near Castle Street, Leicester Fields. I am sorry he did not show all his Performances to the Gentleman you sent a note by, but on asking the Reason, was told that someone the day before had Broke a Figure, which made him extremely Captious...

Wizard / Victor Alexander Sederbach by csm_photosculpture on Sketchfab

cups in cultural life and death

AA Gill
Wedgwood blue pacific

superhard

🐳

you gone get worldstarred

Happy innocent fun land

they pay you in emoticons

 

ღ Here to have fun ღ

invigilation

betty woodman / ica
invigilator's chair /pace