Monday, April 22, 2019

Story image for 1920s pearl necklace from Pittsburgh Post-Gazette

Browns' gowns: Clothing exhibit revives a fashionable family's history

Pittsburgh Post-Gazette-Sep. 17, 2018
On the first floor, a Victrola plays music from the 1920s near a dress from the flapper era. “We even have a pair of picnic pants,” said volunteer ...
Story image for 1920s pearl necklace from

Katie & Derek • September 17, 2016 5, 2018
For her bridal jewellery, Katie wore her new engagement ring, a pearl necklacefrom her Nan, a bracelet that was custom made from her mom's ...
Story image for 1920s pearl necklace from Daily Mail

Is Chanel's 'sweetie' necklace autumn's silliest fashion fad? Jewellery ...

Daily Mail-Oct. 14, 2014
Ever since those two 'C's first interlinked in the 1920s, Chanel has been one of .... It's a tongue in cheek take on the traditional string of pearls.
Story image for 1920s pearl necklace from Internet Stones. COM Media

Historic Pink Diamond Leads Sotheby's Geneva May 12, 2015 ...

Internet Stones. COM Media-Apr. 27, 2015
The 55 cm (22 inch) pearl necklace falling under the category of .... Lot 496, titled “Natural Pearl and Diamond Necklace, circa 1920” was ...

1 comment:

Anonymous said...

The article "the Theater and the dream" Maximilian Voloshinlists
many semiotic characteristics of the theater, for example, a mismatch of logic
reality and logic of the theater:
"Ordinary reality transferred to the stage, there ceases to be
believable and convincing; however, as theatrical signs, absolutely
conditional and primitive, become through the prism of theater and compelling and
the most likely" (Voloshin M. Theater and dream // the Mask. -
1912-1913. - No 5. C. 5);
He cites the example of when the sword was taken the beloved's heart. In
one case it turned out to be a real sheep's heart, which, however, does not
made no impression. When he appeared on the scene flannel
heart shaped card worms, the success was complete. Semiotic conclusion
the M. Volochisk. "theatre does not deal with the realities of things, and
only with their signs. "Everything is transitory -- only the sign" (ibid.P.6).
Accordingly formulates the requirement to theatrical scenery: "They
should be no images, and signs of reality" (There
same). He also bring an example with the appearance of the living poodle in
the production of "Faust":
"But when it appears in public inevitably frustrated laugh:
live poodle was a violation of the scenic realities. He made the logic
another world" (ibid.P.7).