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Ostrich portraits
Straußen Portraits
Die Protagonisten der Straußenfarm stellen sich nochmals vor. Keine Paradiesvögel, aber lustige und bissige Gesellen allemal.
Spieglein Spieglein an der Wand wer ist der Schönste im ganzen Land.
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Roncaglia (I) 12-05-1988
FS E.626.406
-22680-
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The Grade I Listed Avebury Manor & Garden a National Trust property consisting of an early 16th-century manor house and its surrounding garden, in Avebury, near Marlborough in Wiltshire.
The manor house is privately occupied, and part is open to the general public. The house was leased and restored by Alexander Keiller who took an intense interest in Avebury henge in the late 1930s. The garden was completely redesigned in the early 20th century. The topiary and other formal gardens are contained within walls and clipped box, creating numerous "rooms".
In 2011, Avebury Manor became subject of the BBC One programme The Manor Reborn. During the course of the programme, Avebury was refurbished by a group of experts, in collaboration with the National Trust.
The earliest parts of the present house were probably built after Sir William Dunch of Little Wittenham in Berkshire (now Oxfordshire) purchased the estate in 1551. It was some way from most of his lands which centred on Wittenham, but he appears to have purchased it because of an interest in ancient monuments such as the Avebury Stone Circles. In the 1580s, he passed it on to his younger son, Walter Dunch. The latter's daughter, Deborah, Lady Moody, grew up at the manor before emigrating to America and founding Gravesend in Brooklyn in 1645. In 1787 William Hallett of Morning Walk fame, bought the estate along with Faringdon House Berkshire. The house has had many extensions and changes over the centuries, the final addition to the manor is the West Library. The library was added by the Jenner family who occupied the house in the early 20th Century.
Foto scattata giorno 13 novembre 2014 presso la stazione di Reggio Calabria Centrale. Partenza del regionale 22680 proveniente da Melito di Porto Salvo e diretto a Lamezia Terme Centrale.
Departure regional 22680 from Melito di Porto Salvo and directed to Lamezia Terme Centrale.
Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.
Utilisation commerciale soumise à autorisation spéciale préalable.
Les RhB connaissent en 2020 une vague de modernisation sans précédent, tant pour le renouvellement du matériel roulant, la rénovation des gares et l'adaptation de l'infrastructure.
56 rames à quatre caisses "Capricorn" de Stadler sont en cours de livraison.
Les gares sont adaptées pour répondre aux normes PMR et l'infrastructure ferroviaire subit de nombreux chantiers pour améliorer la fluidité de l'exploitation.
Des séries de véhicules typiques sont appelées à disparaître prochainement et des gares perdront leur "cachet" romantique, tout en y gagnant en accessibilité.
Les nouvelles locomotives de service Geaf 2/2 20603 et 20602 stationnent devant la locomotive Gmf 4/4 23404 "D4" en compagnie d'un chasse-neige.
Les RhB ont commandé à Stadler 7 petites locomotives Geaf 2/2 série 206.
Ces engins, qui remplaceront plusieurs séries, sont livrés d'usine avec les accessoires de déneigement manuel sur la plateforme avant.
22680
After emerging out of the last tunnel between Dharakoh and Maramjhiri 12722 NZM-HYB Dakshin Express negotiates the sharp curve and gradient with an offlink Bhusawal WAP-4 # 22680 in charge, it was banked by twin BSL WAG-5's!
Coachbuild/Carroceria: Temsa HD13
Engine/Motorizacion: DAF MX11-330
Length/Longitud: 13 metres
Plate/Matricula: 2986-MNS (2024)
Typ: Elektrolokomotive, Baureihe F 140 AC 2, "AngelTrainsCargo" (ATC) vermietet an die "Häfen und Güterverkehr, Köln"
Vorbild: 185 604-6
Nachbildung: Epoche 4
Modell: H0, DC
Leihgabe: WEB A308.1366
BSL WAP-4 #22680 ' Khandesh' passes through Khadavli at a good speed hauling 12880 Bhubaneshwar - Mumbai LTT Superfast Express.
The brain stops functioning at 17800 ft, sounds more impressive than 5154 m doesn't it, and I felt like a zombie when I stood at that altitude. It's not only due to the low oxygen at those heights that might contribute though, it's more from the grandeur of the landscape that lies before the eyes. The emerald hues of Guru Dongmar (meaning: The Red-Faced Guru) Tso (meaning: lake) titillate the visual senses, while the Khangchengyao 22680 ft (6913 m) looms in with all its impressiveness behind these waters and Chomiomo 22405 ft (6829m) adds to the supporting cast in the distance. One hardly gets time to think as visitors are allowed there for a very short time. When we got there, a friend and I, along with a motley crew of other travellers, we had taken a group tour after all, I climbed down to the banks of the lake and looked around and picked up a place from where it seemed to me that the best possible view could be obtained. There were a few other travellers there by the lake, most deciding to stay put where they had arrived after the back breaking journey, but a few intrepid ones had come down the hill and were perambulating around the lake though they preferred to go towards the right bank which I presumed took one closer to the mountains, while I had preferred to view it from a more central perspective. There was a strong wind blowing and apparently the wind gets stronger until it is no longer safe to stand there; the waters were choppy and small waves were splashing on the shore. So, deciding to make a wave a point of interest, I got down to composing my frame. All the photos I had come across of this place were in landscape orientations, I didn’t remember seeing any vertical frame, so I decided to try to be a little different and try to capture a vertical frame. After numerous attempts I did manage to capture an interesting enough splash and then I had to wind down, as our driver had requested us not to take too long. So reluctantly, I and my friend, who had joined me in the meantime, trudged back uphill. Halfway up the slope I saw one of our co-travellers waving to us, indicating us to hurry up, then when we were within earshot he informed us that some of the co-passengers were not feeling well due to altitude induced effects and in fact the couple of oxygen cylinders that had been taken along by one of the travellers was exhausted by all the fellow passengers. The driver didn’t want to risk it and wanted to return as soon as possible. The situation was made worse by a couple of fellows in a vehicle parked close by passing out, which sparked a sense of tense anticipation amongst the people in our vehicle, so even though I had wanted to take in more of this place, I didn’t have any other option but to take my seat. Again, photographically speaking, had to satisfy myself with a daylight frame, there being no chances of any morning/evening frames, as access to this place is limited to daylight hours from mid-morning to early afternoon, due to security reasons, it being just along the Indo-China border though I feel it’s more so for the dizzying altitude and generally weather begins to worsen during the afternoons with strong winds blowing in. Still was thankful for having witnessed this magnificent view and being able to have the experience of a lifetime.
A District Line train of R stock sits in the bay platform at Dagenham East about to form a train to Richmond. The rear car is an unpainted aluminium R49 car. You can see on the front, paler than the rest of the panelling, where the red 'V' stripe used to be.
According to my Brian Hardy 'bible' this is car 22679 or 22680 - and thanks to Dstock7080 we know that it is almost certainly no 22679.
Typ: Elektrolokomotive, Baureihe F 140 AC 2, "AngelTrainsCargo" (ATC) vermietet an die "Häfen und Güterverkehr, Köln"
Vorbild: 185 604-6
Nachbildung: Epoche 4
Modell: H0, DC
Leihgabe: WEB A308.1366
KJM WDP4 No. 20058 hums through Thippasandra with train 22680 06h10 Hassan to Yesvantpur InterCity Express on 22nd January 2019.
Under light drizzle, sexy red-hot BSL WAP-4 #22680 races at MPS through Kapan(SECR) with Pune bound 12130 HWH-PUNE Azad-Hind SF Express
CR loco BSL WAP-4 22680 with NFR rake 12513 SC-GHY SF Exp in SCR Zone sliding down from a gradient after GT..
H6 HWH : Scania R450 6x2 Tractor Unit of H. Williams Haulage with a low loader trailer carrying a couple of DAF LF 6x2 cement mixers of Ronez Ltd. from Guernsey, Channel Islands.
The cement mixers are registered 22680 and 458xx.
M4 - Leigh Delamere, westbound.
25-04-2023
Prema "Svedočbi zrelosti" rođen je 03.08.1849, prema skeniranom izvatku "Lecturis..."; rodio se 5.8.1849.
KAVIĆ, Leopold (Lavoslav), violončelist (Zagreb, 10. X. 1849 - Zagreb, 19. IX. 1918). U Zagrebu učio 1857--63. u školi HGZ violončelo u I. Oertla, kod kojega je skladbu Slavjanin svirao na završnom koncertu. Maturirao u klasičnoj gimnaziji 1867, zatim u Beču studirao medicinu, ali se posvetio glazbi. Od 1882. više je godina bio violončelist u dvorskom orkestru Miklosa Jozsefa Esterhazyja na dvoru u Tati, zatim kratko član orkestra Narodnoga pozorišta u Beogradu, odakle je otišao u Rusiju. Svirao violončelo najdulje kao član orkestra u gradovima Kazanj i Nižni Novgorod. Vrativši se 1900. u Zagreb, postao članom orkestra HNK. Muzicirao također u komornim sastavima te na priredbama glazbenih amatera.
UT.: A. Goglia: Komorna muzika u Zagrebu. Sv. Cecilija, 24 (1930) 5, str. 152. - Isti: Učitelji violončela u Zagrebu i njihovi učenici muzičari. Ibid., 27(1933) 3, str. 78. - Isti: Lujo Šafranek-Kavić. Ibid., 36 (1942) 3/4, str. 91. I. Ać.
Od 1895 čelist je u orkestru Zagrebačkog kazališta, kolega oca dr. Milovana Zoričića.
Vidi scan svjeođbi iz gimnazije.
1916 S LeoKavić ili KLLav 19060521
Coachbuild/Carroceria: Temsa HD13
Engine/Motorizacion: DAF MX11-330
Length/Longitud: 13 metres
Plate/Matricula: 2986-MNS (2024)
Hochleistungs-E-Lok
der Baureihe 185.5
Modell der 91 80 6 185 604-6 D-HGK
Häfen und Güterverkehr Köln AG
Coachbuild/Carroceria: Temsa HD13
Engine/Motorizacion: DAF MX11-330
Length/Longitud: 13 metres
Plate/Matricula: 2986-MNS (2024)
Castle Gates - the street that is close to Shrewsbury Castle, leading into the town centre.
Gala Bingo
On the corner of Castle Gates with Meadow Place.
This building was formerly the Granada Theatre.
Built and operated by Shrewsbury Empires Ltd. (a company within the Granada Theatres Ltd.), the Granada Theatre opened on 14th November 1934 with Jack Hulbert in "The Camels Are Coming".
The Granada has a striking facade with four central round columns and two side piers supporting a plinth over the entrance. Inside the decoration is in a French Renaissance style which was carried out by interior designer Theodore Komisarjevsky. Seating was provided in stalls and circle levels and stage facilities were included, but not in a full height stage house. There was also a cafe/restaurant located on the first floor of the foyer for the convenience of patrons and the general public. This was the only purpose built Granada theatre in the circuit that was not equipped with an organ.
A mixed programme of stage shows and films carried on through the years until 1972 when it was announced there would be no more stage shows. Soon afterwards Granada Theatres Ltd applied for a gaming licence for the building and it closed as a cinema on 31st March 1973 with Charles Bronson in "The Valachi Papers" and "Anatomy of a Pin-Up".
It re-opened as a Granada Bingo Club from 17th April 1973 and since May 1991 it has continued as a Gala Bingo Club.
On 17th November 1995, the Granada Theatre was designated a Grade II Listed building by English Heritage.
Grade II listing below
SHREWSBURY
SJ4912NW CASTLE GATES
653-1/11/788 (West side)
Gala Bingo Club
II
Bingo club, formerly Granada Cinema. 1937. By Cecil Masey with
interiors by Theodore Komisarjevsky. Brown brick and white
tile with stone dressings and parapeted roof. Classical style.
2 and 3 storeys. Narrow tall frontispiece has 4 giant
Corinthian columns in antis with pilasters either side all
supporting an entablature. Blank attic with elaborate crowning
cornice of acanthus leaves. 2-storey 4-window range of metal
windows within portico. Glazed double doors on ground floor.
INTERIOR: much original detailing survives. Foyer has
Corinthian pilasters and modillion cornice, balustrading to
balconies and engraved mirror tympana to arches. Auditorium
has Corinthian aedicule leading to stage, with large decorated
panels either side. These have balustrades surmounted by
elaborate pierced screens and pilasters in between decorated
with arabesques. Ceiling has shallow beam and coffering
decoration in circle. Curving balcony.
Listing NGR: SJ4935412886
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Im November 2010 hat Trix die MHI-Lok 185 604-6 der HGK ausgeliefert. Es bleibt zu hoffen, das 2011 weitere Varianten dieser gelungenen Form folgen.
IID 1076733 22680
This has been identified by Flickr user Arthur Robinson as an image of the Fitzroy River Barrage in Rockhampton.
flickriver.com/photos/javier1949/popular-interesting/
Expo “Interpretando a Goñi” www.laneomudejar.com/interpretando-a-goni-exposicion
Goñi www.lorenzogoni.com/ es.wikipedia.org/wiki/Lorenzo_Go%C3%B1i multiversosdegoni.com/tag/goni/
Nieves Sebastián www.theodoravan.es/index.php?route=product/category&p...
LA NEOMUDEJAR LNM Centro de artes de vanguardia y residencia artística internacional. Calle Antonio de Nebrija s/n. Estación de Atocha, Madrid.
La Neomudejar tiene como prioridad favorecer, impulsar y dar visibilidad al creador emergente. La creación por encima de los discursos y las teorías imperantes en los circuitos actuales del arte. El centro de artes de vanguardia entronca con la base de las teorías naturales de contraposición al arte establecido. Esta arquitectura creativa parte de la identificación de las carencias del colectivo artístico y opta por una respuesta basada en la ejecución por encima del discurso academicista imperante. El objetivo es asentar un espacio internacional de referencia, para creadores multidisciplinares con carácter de continuidad para los nuevos códigos y lenguajes que profundicen en la experimentación. Videoarte, instalaciones, performes, street art, parkour, robótica, translación de cuerpos, etc… son algunas de las disciplinas que pretende acompañar. Especial atención se da a formatos tecnológicos de nueva generación así como a los desechados, que merecen una revisión al amparo de un reciclado consciente y creativo en pugna con la inmediatez y caducidad de las sociedades de consumo actual.
Un espacio con vocación de Resistencia Artística Internacional. Para ello se hizo un trabajo de investigación a fin de encontrar el inmueble adecuado a la singularidad de la propia propuesta. Tras más de un año de trabajo y gracias a la colaboración de Adif, que apoya el proyecto de forma continuada dentro de su programa de Responsabilidad Social y Sostenibilidad, se firma un contrato de alquiler en condiciones especiales para el desarrollo y recuperación del espacio como el Centro de Artes de Vanguardia y Residencia Artística Internacional. La recuperación del espacio adquiere una dimensión diferente al tomar la arquitectura y la decadencia del edificio como punto de inflexión para reflexionar sobre los procesos de creación y rehabilitación. Poner en valor estos conceptos es parte y todo del concepto de “La Neomudejar”. El marcado carácter como espacio de trabajo viene derivado de uso original ya que albergó durante décadas los talleres de formación de Renfe. Los lucernarios, la cubierta en diente de sierra, los amplios espacios, las antiguas calderas, la fragua, el mobiliario de carpintería, etc… terminan por reforzar este concepto.
La Neomudejar pertenecía a la antigua estación de Atocha y la vía del tren llegaba a la misma puerta desde donde se surtía directamente desde los vagones de mercancías. Por ello podemos relacionar históricamente al edificio con la vanguardia ya que en el momento de su construcción –Finales del S XIX, comienzos del XX-, las principales estaciones de ferrocarril eran la puerta de las ciudades al mundo por donde entraban todas las innovaciones tecnológicas y por supuesto, artísticas. La situación geográfica dentro de la ciudad de Madrid también es un punto relevante para conceptualizar de nuevo este antiguo edificio ya que se encuentra en las inmediaciones del llamado eje Prado-Recoletos que engloba la principal oferta cultural de la ciudad abarcando el Museo del Prado, Museo Nacional Centro de Artes Reina Sofía, Museo Thyssen-Bornemisza, Caixa-Forum Madrid y La Casa Encendida.
El estilo arquitectónico del edificio, encuadrable en el neomudejar, del que toma nombre la institución, provee al centro de una señas de identidad propias. Un estilo que se enmarca dentro de las corrientes medievalistas europeas de finales del XIX que reivindican estilos propiamente nacionales, en este caso un estilo puramente español, el mudéjar, que en su reinventado desarrollo decimonónico se ve unido a las construcciones industriales, ferroviarias, religiosas y especialmente a las taurinas, encontrándose cantidad de ejemplos de construcciones neomudéjares en todo el país, y muy singularmente en la ciudad de Madrid.
Art House Madrid es la promotora del Centro de Artes de Vanguardia y Residencia Artística Internacional de Madrid y cuenta con el apoyo y patrocinio de Adif.
www.laneomudejar.com/video-pintura-mural-en-la-neo/
www.adif.es/es_ES/ocio_y_cultura/doc/LaNeomudejarDossier.pdf
www.adif.es/es_ES/ocio_y_cultura/doc/LaNeomudejarFolleto.pdf
www.flickr.com/photos/116919706@N08/
theartboulevard.org/es/lab-esp/informacion-util/post/6314...
Built and operated by Shrewsbury Empires Ltd. (a company within the Granada Theatres Ltd.), the Granada Theatre opened on 14th November 1934 with Jack Hulbert in "The Camels Are Coming".
The Granada has a striking facade with four central round columns and two side piers supporting a plinth over the entrance. Inside the decoration is in a French Renaissance style which was carried out by interior designer Theodore Komisarjevsky. Seating was provided in stalls and circle levels and stage facilities were included, but not in a full height stage house. There was also a cafe/restaurant located on the first floor of the foyer for the convenience of patrons and the general public. This was the only purpose built Granada theatre in the circuit that was not equipped with an organ.
A mixed programme of stage shows and films carried on through the years until 1972 when it was announced there would be no more stage shows. Soon afterwards Granada Theatres Ltd applied for a gaming licence for the building and it closed as a cinema on 31st March 1973 with Charles Bronson in "The Valachi Papers" and "Anatomy of a Pin-Up".
It re-opened as a Granada Bingo Club from 17th April 1973 and since May 1991 it has continued as a Gala Bingo Club.
On 17th November 1995, the Granada Theatre was designated a Grade II Listed building by English Heritage.
22680 “C&O Diner – Gadsby’s Tavern” – C&O Railway Heritage Center, 705 Main St., Clifton Forge, Alleghany, VA. May 18, 2018. Decimal Degrees: 37.815698, -79.822298
“C&O Diner – Gadsby’s Tavern”
“C&O Dining Car No. 965, Gadsby’s Tavern, is owned and has been preserved and refurbished by the Chesapeake & Ohio Historical Society.
It is the last remaining car from the original 1932 George Washington consist. Gadsby’s Tavern is an all-steel car of the type referred to as ‘heavyweight.’ This was the standard railroad passenger car type from 1910 until 1950.
Specifications for Gadsby’s Tavern, C&O No. 965:
Built: Pullman Car manufacturing Co., 1922 and principally assigned for use on C&O’s premier passenger train named the Fast Flying Virginian or ‘F.F.V.’
Rebuilt and air-conditioned in 1932 for C&O’s new train The George Washington.
Retired in 1967; removed from the roster and sold in 1968.
Purchased by the C&O Historical Society in 1985.
Length: over couplers 82 feet; Weight: 183,500 pounds.
Trucks: six-wheel.
Roof-style: Clerestory (air-conditioning ducts installed in this space).
Capacity: 34 to 44 people depending on the table arrangement and a mixture of two and four seat tables.
In 1932, the Chesapeake & Ohio Railway’s officials decided that the line would participate in the national observation of George Washington’s 200th birthday by inaugurating a new passenger train named for the great man. C&O also began calling itself ‘George Washington’s Railroad,’ because it traveled over a route originally projected by Washington. The creation of the new train at a time when most railroads were in deep retrenchment because of the Depression gave the C&O a great reputation.
The George Washington was created by rebuilding existing heavyweight passenger cars. The Pullman Company refurbished a number of its sleeping cars, and the C&O rebuilt three diners, three combination cars, and several coaches for the new service. These cars were among the very first to be air-conditioned. They were decorated inside with etchings, paintings, sculpture, and other motifs associated with Washington and his times. The train name was placed on the letterboard of the cars instead of the railway’s or Pullman’s name, and the cars were each named for people, places, and events in Washington’s life.
Three dining cars from C&O’s roster were rebuilt for the new train: Michie’s Tavern, Raleigh Tavern, and Gadsby’s Tavern. They were named for places that had been frequented by Washington. The original colonial-era inn named Gadsby’s Tavern was (and is) located in Alexandria, VA. Like this dining car, it has been refurbished and today serves meals in the Colonial style.
The George Washington, given the train numbers 1 and 2, operated on an overnight schedule between Washington, D.C. and Cincinnati, with through cars to Indianapolis, Chicago, and St. Louis. The train was introduced with great fanfare on April 24, 1932. Included in a display of the trains equipment the week before its inauguration was diner No. 965, Gadsby’s Tavern.
Gadsby’s Tavern diner was used on The George Washington and other C&O trains until 1967, when it was used on The George Washington and other C&O trains until 1967, when it was retired and sold the following year. After passing through several owners, the car was purchased by the C&O Historical Society in 1985. Over the next eight years, it was rebuilt and its dining room was cosmetically returned to its approximate 1932 appearance. The kitchen had been greatly modified after being sold by the C&O, so the kitchen that is now present was patterned after the original plan, but equipped with more modern commercial equipment.
The C&O Historical Society completed the restoration of Gadsby’s Tavern in 1993. It was painted the original 1932 Pullman Green with gold lettering. It is now painted with post- 1950 yellow-blue-gray paint scheme. The car has an operable kitchen that can be used to prepare meals.”
Under upper photograph:
“Pullman Builder’s photo of diner No. 963, Michies Tavern in 1932. This car is identical to Raleigh Tavern and Gadsby’s Tavern. All three cars were used on The George Washington. This car is in the original green/gold paint scheme.”
Beneath middle photograph:
“Color lithograph showing Gadsby’s Tavern set with decorative service plates in 1932.”
Under middle right documents:
“A typical menu from the 1930s featuring C&O’s ‘Mount Vernon’ and Tavern’ dinners. The ‘Mount Vernon’ dinner was $1.25 ($21.83 in today’s money).”
Below bottom row photograph:
“Specially designed china ware featured the Stuart portrait of Washington. The ‘service plate,’ which was used strictly for decoration and never for food, featured as broad coin-gold rim. This dining service is one of the most renowned of any railroad.”
“Gadsby’s Tavern in 1965 with its yellow-blue-gray paint scheme.
“Gadsby’s Tavern, for which the car was named, in Alexandria, VA. It is in operation today as a museum and restaurant, and is one of several Colonial-era taverns frequented by George Washington. Cars on the train were named for these and other places in Washington’s life.”
“Steward and cook in Gadsby’s Tavern kitchen.”
“The famous George Washington tail sign.”
A charity celebrity football match played in Male' last night to raise money to help little children with a rare Heart disability.
Are you on Facebook? if so click here to see more photos of the event
Pantograph of BSL WAP4#22680 standing on a loop line of Gondia Junction.
Date:-08/05/2011
Time:- 02:40pm
Camera:- Nikon Coolpix L120
ARC means Addicts Rehabilitation Center. I heard they had drug problems and overcame the problem by sining Gospel songs. I didn't know much about Gospel songs, but I was impressed by the great power of their songs.
*I accepted HS NYV Tours's request to use this photo in www.harlemspirituals.com/ .
My super cool Color Run photos - by Flickr Photographer @Taipei 9/28 more at ... www.flickr.com/photos/100973533@N07/tags/thecolorruntaipe...
My super cool Color Run photos - by Flickr Photographer @Taipei 9/28 more at ... www.flickr.com/photos/100973533@N07/tags/thecolorruntaipe... or www.flickr.com/photos/100973533@N07/tags/thecolorruntaipe...
ISS009-E-22680 (14 September 2004) --- The eye of Ivan was photographed as the category 4 hurricane churned in the Gulf of Mexico late Tuesday (23:05:13 GMT, Sept. 14) by astronaut Edward M. (Mike) Fincke aboard the International Space Station, 230 miles above Earth. At the time, Ivan produced winds of 140 mph. Fincke, the NASA Station Science Officer, and Station Commander Gennady Padalka are in the final month of a six-month mission aboard the research platform.