Craf-T
F.E. Toan
Craf-T
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medievalpoc:

Various Designers
British Porcelain Dessert Figurines of Black Servants
England (1760s-70s)
Soft-paste porcelain painted with enamels and slightly gilded.




The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. 
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host. The increasing availability of porcelain through factories like Meissen, and sugar from the West Indies meant a greater number of people could enjoy decorative desserts. 

Black Africans offered exotic associations and were a marker of luxury within the English home. In the 18th century about 10,000 Africans are estimated to have been living in England. Many worked as, often unpaid, domestic staff. 

-Victoria and Albert Museum




These figurines show how depictions of Black British in the 1700s began to shift away from individualism in many ways, and become more objectified than in previous works from earlier centuries. These figures are symbols of wealth and ownership, rather than being portraits of individuals. They also are a harbinger of mass-produced factory items; although these were not cheap, many of the same were made.
The V&A description of these people as “Black Africans” is othering; it’s safe to say that these figured represent British people of African descent, who had been living in England in great numbers since the Middle Ages.
[x] [x] [x] [x] [x] [x] [x]
medievalpoc:

Various Designers
British Porcelain Dessert Figurines of Black Servants
England (1760s-70s)
Soft-paste porcelain painted with enamels and slightly gilded.




The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. 
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host. The increasing availability of porcelain through factories like Meissen, and sugar from the West Indies meant a greater number of people could enjoy decorative desserts. 

Black Africans offered exotic associations and were a marker of luxury within the English home. In the 18th century about 10,000 Africans are estimated to have been living in England. Many worked as, often unpaid, domestic staff. 

-Victoria and Albert Museum




These figurines show how depictions of Black British in the 1700s began to shift away from individualism in many ways, and become more objectified than in previous works from earlier centuries. These figures are symbols of wealth and ownership, rather than being portraits of individuals. They also are a harbinger of mass-produced factory items; although these were not cheap, many of the same were made.
The V&A description of these people as “Black Africans” is othering; it’s safe to say that these figured represent British people of African descent, who had been living in England in great numbers since the Middle Ages.
[x] [x] [x] [x] [x] [x] [x]
medievalpoc:

Various Designers
British Porcelain Dessert Figurines of Black Servants
England (1760s-70s)
Soft-paste porcelain painted with enamels and slightly gilded.




The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. 
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host. The increasing availability of porcelain through factories like Meissen, and sugar from the West Indies meant a greater number of people could enjoy decorative desserts. 

Black Africans offered exotic associations and were a marker of luxury within the English home. In the 18th century about 10,000 Africans are estimated to have been living in England. Many worked as, often unpaid, domestic staff. 

-Victoria and Albert Museum




These figurines show how depictions of Black British in the 1700s began to shift away from individualism in many ways, and become more objectified than in previous works from earlier centuries. These figures are symbols of wealth and ownership, rather than being portraits of individuals. They also are a harbinger of mass-produced factory items; although these were not cheap, many of the same were made.
The V&A description of these people as “Black Africans” is othering; it’s safe to say that these figured represent British people of African descent, who had been living in England in great numbers since the Middle Ages.
[x] [x] [x] [x] [x] [x] [x]
medievalpoc:

Various Designers
British Porcelain Dessert Figurines of Black Servants
England (1760s-70s)
Soft-paste porcelain painted with enamels and slightly gilded.




The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. 
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host. The increasing availability of porcelain through factories like Meissen, and sugar from the West Indies meant a greater number of people could enjoy decorative desserts. 

Black Africans offered exotic associations and were a marker of luxury within the English home. In the 18th century about 10,000 Africans are estimated to have been living in England. Many worked as, often unpaid, domestic staff. 

-Victoria and Albert Museum




These figurines show how depictions of Black British in the 1700s began to shift away from individualism in many ways, and become more objectified than in previous works from earlier centuries. These figures are symbols of wealth and ownership, rather than being portraits of individuals. They also are a harbinger of mass-produced factory items; although these were not cheap, many of the same were made.
The V&A description of these people as “Black Africans” is othering; it’s safe to say that these figured represent British people of African descent, who had been living in England in great numbers since the Middle Ages.
[x] [x] [x] [x] [x] [x] [x]
medievalpoc:

Various Designers
British Porcelain Dessert Figurines of Black Servants
England (1760s-70s)
Soft-paste porcelain painted with enamels and slightly gilded.




The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. 
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host. The increasing availability of porcelain through factories like Meissen, and sugar from the West Indies meant a greater number of people could enjoy decorative desserts. 

Black Africans offered exotic associations and were a marker of luxury within the English home. In the 18th century about 10,000 Africans are estimated to have been living in England. Many worked as, often unpaid, domestic staff. 

-Victoria and Albert Museum




These figurines show how depictions of Black British in the 1700s began to shift away from individualism in many ways, and become more objectified than in previous works from earlier centuries. These figures are symbols of wealth and ownership, rather than being portraits of individuals. They also are a harbinger of mass-produced factory items; although these were not cheap, many of the same were made.
The V&A description of these people as “Black Africans” is othering; it’s safe to say that these figured represent British people of African descent, who had been living in England in great numbers since the Middle Ages.
[x] [x] [x] [x] [x] [x] [x]
medievalpoc:

Various Designers
British Porcelain Dessert Figurines of Black Servants
England (1760s-70s)
Soft-paste porcelain painted with enamels and slightly gilded.




The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. 
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host. The increasing availability of porcelain through factories like Meissen, and sugar from the West Indies meant a greater number of people could enjoy decorative desserts. 

Black Africans offered exotic associations and were a marker of luxury within the English home. In the 18th century about 10,000 Africans are estimated to have been living in England. Many worked as, often unpaid, domestic staff. 

-Victoria and Albert Museum




These figurines show how depictions of Black British in the 1700s began to shift away from individualism in many ways, and become more objectified than in previous works from earlier centuries. These figures are symbols of wealth and ownership, rather than being portraits of individuals. They also are a harbinger of mass-produced factory items; although these were not cheap, many of the same were made.
The V&A description of these people as “Black Africans” is othering; it’s safe to say that these figured represent British people of African descent, who had been living in England in great numbers since the Middle Ages.
[x] [x] [x] [x] [x] [x] [x]
medievalpoc:

Various Designers
British Porcelain Dessert Figurines of Black Servants
England (1760s-70s)
Soft-paste porcelain painted with enamels and slightly gilded.




The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. 
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host. The increasing availability of porcelain through factories like Meissen, and sugar from the West Indies meant a greater number of people could enjoy decorative desserts. 

Black Africans offered exotic associations and were a marker of luxury within the English home. In the 18th century about 10,000 Africans are estimated to have been living in England. Many worked as, often unpaid, domestic staff. 

-Victoria and Albert Museum




These figurines show how depictions of Black British in the 1700s began to shift away from individualism in many ways, and become more objectified than in previous works from earlier centuries. These figures are symbols of wealth and ownership, rather than being portraits of individuals. They also are a harbinger of mass-produced factory items; although these were not cheap, many of the same were made.
The V&A description of these people as “Black Africans” is othering; it’s safe to say that these figured represent British people of African descent, who had been living in England in great numbers since the Middle Ages.
[x] [x] [x] [x] [x] [x] [x]
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gasoline-station:

THE HEIDELBERG PROJECT 
The Heidelberg Project is art, energy, and community - "It’s an open-air art environment in the heart of an urban community on Detroit’s East Side. Tyree Guyton, founder and artistic director, uses everyday, discarded objects to create a two block area full of color, symbolism, and intrigue. Now in its 27th year, the Heidelberg Project is recognized around the world as a demonstration of the power of creativity to transform lives."
gasoline-station:

THE HEIDELBERG PROJECT 
The Heidelberg Project is art, energy, and community - "It’s an open-air art environment in the heart of an urban community on Detroit’s East Side. Tyree Guyton, founder and artistic director, uses everyday, discarded objects to create a two block area full of color, symbolism, and intrigue. Now in its 27th year, the Heidelberg Project is recognized around the world as a demonstration of the power of creativity to transform lives."
gasoline-station:

THE HEIDELBERG PROJECT 
The Heidelberg Project is art, energy, and community - "It’s an open-air art environment in the heart of an urban community on Detroit’s East Side. Tyree Guyton, founder and artistic director, uses everyday, discarded objects to create a two block area full of color, symbolism, and intrigue. Now in its 27th year, the Heidelberg Project is recognized around the world as a demonstration of the power of creativity to transform lives."
gasoline-station:

THE HEIDELBERG PROJECT 
The Heidelberg Project is art, energy, and community - "It’s an open-air art environment in the heart of an urban community on Detroit’s East Side. Tyree Guyton, founder and artistic director, uses everyday, discarded objects to create a two block area full of color, symbolism, and intrigue. Now in its 27th year, the Heidelberg Project is recognized around the world as a demonstration of the power of creativity to transform lives."
gasoline-station:

THE HEIDELBERG PROJECT 
The Heidelberg Project is art, energy, and community - "It’s an open-air art environment in the heart of an urban community on Detroit’s East Side. Tyree Guyton, founder and artistic director, uses everyday, discarded objects to create a two block area full of color, symbolism, and intrigue. Now in its 27th year, the Heidelberg Project is recognized around the world as a demonstration of the power of creativity to transform lives."
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elhieroglyph:

W Magazine
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wgsn:

Surrealism and graffiti art takes a conceptual turn for #AW14 from yohjiyamamoto #PFW
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myampgoesto11:

Paper sculptures by Christine Kim
myampgoesto11:

Paper sculptures by Christine Kim
myampgoesto11:

Paper sculptures by Christine Kim
myampgoesto11:

Paper sculptures by Christine Kim
myampgoesto11:

Paper sculptures by Christine Kim
myampgoesto11:

Paper sculptures by Christine Kim
myampgoesto11:

Paper sculptures by Christine Kim
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ryanlovelace:

Click Here for the bus’ page - The Cosmic Collider
Home is where you park it.  My 1948 Chevy bus, built over 2012/2013 with many reclaimed materials and bits as it came along.  More to do, but so far so good.  Photo as of winter 2014.
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homeisaplaceinthehills:

Gígja Einarsdottir
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mellut:

Romantic Friendships
Inspired by this article, about sweet lady romances in history:
http://www.autostraddle.com/sexy-lesbian-love-letters-1896-to-1934-209681/
<3
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