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Francesco Mazzola, called Parmigianino, Self-Portrait in a Convex Mirror, 1523-24 (Kunsthistorisches Museum, Vienna)
Francesco Mazzola, called Parmigianino, Self-Portrait in a Convex Mirror, 1523-24 (Kunsthistorisches Museum, Vienna)
© Diana Yakowitz 2011 All rights reserved.
Colombia Crest, the highest point on the mountain with lenticular or convex clouds on its summit. This shot also shows the interesting terminus of one of the glaciers or at least a part of the glacier system. Mt. Rainier has the greatest single-peak glacial system in the United States. Glaciers radiate from the summit and slopes of the 14,411 foot volcano. This mild telephoto shot was taken from "The Trail of the Shadows" across the road from the Longmire Inn on the south side of the mountain. The color version is below in the comment as well as another shot which is the left slope of this view.
Amanita caesarea (Scop.: Fr.) Pers. ex Schwein –complex
Descripción:
Píleo de 115 a 148 mm de diámetro, convexo en jóvenes, umbonado en adultos, margen fuertemente
estriado a surcado, margen recto, borde entero; superficie glutinosa, lisa, color rojo naranja 78/B que se
torna de color amarillo 57/A hacia el margen, el centro puede tomar un color café-naranja 74/C aunque en
ejemplares jóvenes es de color rojo intenso. Cutícula desprendible, con contexto color amarillo 54/A bajo
ella. Contexto de 12 mm de grosor, carnoso, color blanco que se tiñe de amarillo hacia la cutícula.
Himenio con láminas subadheridas, muy juntas, anchas, color 42/A que se intensifican amarillo 46/A en el
borde. Lamélulas truncadas con borde crenulado. Estípite de 188 mm de longitud, 22 mm de diámetro en
el ápice y 21 mm de diámetro en la base, superficie escamosa que se acentúa hacia el ápice, escamas de
color amarillo naranja 55/A, sobre un fondo blanco. Contexto de 6 mm de grosor, color blanco, carnoso,
hueco en el centro, contexto algodonoso de color blanco. Anillo colgante, membranoso, parte externa
estriada, tomentosa, color amarillo 46/A; parte interna escamosa, algodonosa, lisa hacia el margen, color
naranja 74/A
. Volva sacciforme, membranosa, irregular en la parte externa y lisa en la parte interna, color
blanco. Esporas globosas a subglobosas, lisas, hialinas, inamiloides.
Reacciones macroquímicas: KOH (3%), NaOH (5%): Colorea de amarillo la cutícula del píleo. H2
SO4
(1:3) y Fenol 5%: Negativo en todas las estructuras.
Material estudiado: Referencia: 86.2002, Aldea Chuipachec, Totonicapán, 27/06/02.
Hábitat: En bosques de Abies guatemalensis y Pinus ayacahuite. Otras especies de este complejo pueden
desarrollarse también en bosques de Pinus, Pinus-Quercus y Pinus-Quercus-Liquidambar.
Comentario: Las especies de este complejo se cuentan entre las más populares y de mayor demanda y
distribución en el país. Se conocen con los nombres de Hongo de San Juan, Sanjuanero, Q'atzuy, Q'antzuh
y Kantzu (en estos tres últimos nombres significa tecomate amarillo), en los idiomas Kaqchikel, K'iche' y
Chuj respectivamente.
A foto of the whole can be found with German text here [shortened translation below]:
www.flickr.com/photos/indianwolle/30925891776/in/photolis...
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The Hezilo chandelier is a romanesque chandelier in the cathedral in Hildesheim. It was commissioned by Bishop Hezilo (1054–1079), who was probably also responsible for the scheme of texts & illustrations. [...] The chandelier has a diameter of 6 meters. It is made from gilt copper and has Latin texts along the upper & lower edges. Between the texts is a convex surface ornamented with foliage & vines. The topmost edge of the ring has 72 square candleholders.
Along the circumference there are 12 towers alternating with 12 "gates". The towers[, alternating round & square in shape,] have each a Greek cross as base, each with 4 apses [alternating square & round] and a door opening. Each is surmounted by a smaller tower of the same shape, with a sphere at the very top.
The gates are flat [i.e. square in cross section], only a little taller than the ring, and closed [ajour] at the back, where the supporting cables are attached. Each gate is flanked by 2 richly ornamented narrow round towers, and crowned by a plate with the name of an apostle. In the openings there were probably originally apostle statues.
In the middle there used to be a large lamp hanging from a chain.
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According to Wikipedia [de.wikipedia.org/wiki/Heziloleuchter#Inschrift], the order of the text fragments has been altered. These fotos start where the text begins and travel to the right.
The original texts, according to the earliest source [~1500]:
+URBS EST SUBLIMIS MIRIS FABRICATA FIGURIS
VNDIQVE PERFECTA FIDEI COMPAGINE IVNCTA
GERMINE VIRTVTVM QVAE MIRE SVRGIT IN ALTVM
AVCTORES OPERIS TOGA VESTIT CANDIDA PACIS
IN VIRTVTE SVA SOLIS SOL LVCET IN ILLA
ET SOLIVM REGNI CORDIS LOCAT IN PENETRALI
CVIVS VESTIBVLO VETVS ET NOVVS EXCVBAT ORDO
MISTICA DISCERNIT TENET ASPICIT OMNIA NOVIT
FLORIBVS HIC VIVIS ANIMARUM CVRIA LVCIS
ANTE DEI FACIEM DIVINUM SPIRAT ODOREM
HOS PATER ET VERBVM CIVES ET SPIRITVS HORVM
VNVS ET IPSE REGIT QVI QVOD SVNT IPSE CREAVIT
+ MATER IVSTITIAE VIA VITAE GRATIA CVLPE
ISTIVS ORNATVS PIA VIRGO SUSCIPE MVNVS
ETQUE DO (et quod?) PARS ONERIS PER TE QVOQVE PARS SIT HONORIS
DA PATER ETERNE PATRIS VNICE SPIRITVS ALME
VT PRVDENS FORTIS IVSTVS MODERAMINE MITIS
HIC SERAT ATQVE METAT QVOD LUCIS IN HORREA CEDAT
ET SPES ATQVE FIDES ET AMORIS VT ACTIO PERPES
HVNC REGAT AD SPECIEM DAT PACIS VISIO PACEM
CONSVMENS IGNIS CONSVMAT ET OMNIA CARNIS
NE CAREAT PATRIA VIA LABILIS VRGEAT ISTA
SED MVNDVS CORDE SANCTVS ET IVSTVS IN ORE
SIT ODOR SPONSO SVPER OMNIA BALSAMA CHRISTO
See the large view!
Sierck-les-Bains est une commune française, située dans le département de la Moselle et la région Lorraine.
D'après certains auteurs, le nom de Sierck serait d'origine romaine, pourtant aucune découverte de cette époque n'y a été faite. On admet aujourd'hui que l'acception des mots latins « circum » et « circulus » correspond à la situation géographique de la localité bâtie sur la partie convexe d'un méandre de la Moselle à son confluent avec le ruisseau de Montenach. Cette position, face à la colline du Stromberg, aux portes du Luxembourg et de l'Allemagne, justifie la présence d'un château-fort qui semble avoir précédé la ville. On situe leur construction au Xe ou XIe siècle. À cette époque, Sierck qui dépendait des archevêques de Trèves devint possession du duc Gérard Ier de Lorraine et le resta jusqu'au traité de Vincennes en 1661 avec toutefois quelques interruptions.
Les origines de la famille de Sierck sont incertaines. D'aucuns la prétendent issue de celle d'Ardenne. Quoiqu'il en soit, elle apparaît au Xe siècle et s'éteint vers 1530. C'est sous l'autorité de cette famille que la cité connut son plus grand développement, tant du point de vue économique qu'architectural. Certains de ses membres occupèrent de hautes fonctions religieuses, ce qui ne fut pas sans importance pour la ville. Il faut citer à ce titre Jean de Sierck, évêque d'Utrecht puis de Toul, mort en 1305 et Jacques de Sierck, archevêque de Trèves fondateur de l'université de cette ville, mort en 1456.
En 1285, Ferri de Sierck est présent au tournoi de Chauvency-le-Château, qui a lieu près de Montmédy, et joute contre Millet de Thil.
C'est en 1295, lorsque Ferry III de Lorraine lui octroie une charte d'affranchissement, que la ville s'entoure d'une enceinte fortifiée, l'arrière des maisons donnant sur la Moselle formant barrière défensive. Jusqu'à la fin du XVIIIe siècle le bourg ne sortira guère des limites ainsi fixées. Les rues s'organisent suivant deux axes imposés par les cours d'eau. De la Porte de Trèves au Nord-Est à la Porte de Thionville au Sud-Ouest, la Grand' Rue suit la courbe du méandre de la Moselle, tandis que les rues du Moulin et des Tanneries bordent le ruisseau de Montenach de la Porte des Broches à la place du Vieux Marché. Arnould VI de Sierck fut à l'origine de plusieurs édifices majeurs de la région : le château de Meinsberg (commune de Manderen), longtemps résidence principale de la famille de Sierck, l'ancienne église de Contz-les-Bains, et à Sierck, la reconstruction presque complète du château, l'édification de l'église justifiant entre autres son érection en paroisse au milieu du XVe siècle.
La prospérité de la ville, jusqu'à la guerre de Trente Ans avait favorisé l'exercice de nombreuses activités commerciales et artisanales. Les maisons et boutiques que bouchers, drapiers, tanneurs firent construire du XVe au XVIIe siècle, donnent encore aujourd'hui son caractère à la ville. Les fortifications ayant perdu de leur intérêt stratégique à la fin du XVIIIe siècle, un quai fut construit le long de la Moselle à partir de 1785 pour assainir la ville basse et faciliter la circulation ; les façades se tournèrent vers la rivière et les portes furent abandonnées ou détruites. La ville put alors s'étendre.
Chef-lieu de canton depuis 1790, Sierck fit partie de celui de Launstroff de 1802 à 1806. Les bombardements de 1944 détruisirent toutes les maisons de la rue des Juifs et l'Hôtel de ville. Sierck-sur-Moselle n'est devenu que tardivement Sierck-les-Bains. La nouvelle appellation fait référence à la courte existence au XIXe siècle siècle d'un petit établissement thermal à l'emplacement de la gare actuelle. Aujourd'hui, si le commerce et l'artisanat restent les activités principales de cette petite ville de 1 665 habitants d'après le recensement de 1982, la qualité de son patrimoine l'autorise à envisager un développement du tourisme sans doute important pour son avenir.
From Wikipedia, the free encyclopedia
Zen Magnets - Neodymium Magnetic Balls (@Varies)
These builds were derived using a truncated 12-ball triangle (tips of triangle removed).
Soccer ball Truncated Icosahedron (@240) formed from 20x truncated 12-ball triangles.
Triangle-Ring Subunit
(@012) - pinch 3xball sides together to form a 6xball triangle on inside, 6xball ring on outside
Convex Regular Icosahedron - formed from 20xTriangle-Ring subunits (using Triangle side to form 20xfaces)
(@240) - 5xTriangle-Rings top)+(5xTriangle-Rings top middle)+(5xTriangle-Rings bottom middle)+(5xTriangle-Rings bottom)
Extended Convex Regular Icosahedron (480) formed by adding/stacking additional Triangle-Ring Subunits on each Triangle-Rings aligned on each face Ring side to Ring side and Triangle side facing out.
A view of the forecourt of the former 'Morecambe Promenade' railway station taken tooking north with the art deco Midland Hotel in the background.
'Morecambe Promenade' station was opened by the Midland Railway in 1907 as a replacement for a smaller station at Northumberland Street, approximately where there replacemnet 1990s built station now stands. Initially the station was just named 'Morecambe' but following the grouping of the railways into the 'Big Fou' in 1923 when all railways in the town came under the ownership of the London, Midland & Scottish Railway the station was renamed 'Morecambe Promenade' to differentiate it from the company's former London & North Western Railway 'Morecambe Euston Road' station. Following closure of Esuton Road station in the 1960s the station name reverted to Morecambe and was closed in 1994 when replaced by a smaller station approximately where the original Northumberland Street station stood. Since closure the station buildings have been renovated and now hous an arts venue 'The Platform', a Tourist information centre and 'The Station' pub whilst the former plaform area has been filled in and is now occupied by the indoor 'Festival Market whilst a cinema and KFC restaurant have been built on adjoining former railway property.
The Midland Hotel is an outstanding Art Deco building in Morecambe. It was built by the London, Midland and Scottish Railway (LMS), in 1933, to the designs of architect Oliver Hill, with sculpture by Eric Gill.
It was built to replace two earlier hotels: one in Morecambe that was built in 1848 by the 'Little North Western' Railway (see OTH entry for Ingleton) and had been renamed the Midland Hotel in 1871 when the Midland Railway took it over; the other, a hotel at Heysham, called the Heysham Towers, which was converted from a private house in 1896. The Heysham Towers was intended to serve railway steamer traffic from Heysham Harbour to Belfast, but it was not a success and was sold in 1919.
In 1932, the London, Midland and Scottish Railway (LMS) bought land from Morecambe Corporation to build the new 40-bedroom Midland Hotel. It opened in July 1933.
The building owes a lot to the Streamline Moderne branch of Art Deco. Oliver Hill designed a three storey curving building, with features such as a central circular tower containing the entrance and a spiral staircase, and a circular cafe at the north end. The front of the hotel also boasts two Art Deco seahorses, which can be viewed at close detail by access to the restored hotel's new rooftop terrace.
The hotel stands on the seafront with the convex side facing the sea, while the concave side faces the former Midland Railway Promenade station. Hill designed the hotel to complement the curve of the promenade, which also allowed guests to view spectacular panoramas of the Cumbrian coast and Lake District.
In September 1939 the hotel was requisitioned by the Royal Navy, who used it until September 1947. Upon nationalisation of the railways, ownership transferred in January 1948 to the British Transport Commission (BTC), coming under the control of the BTC's Railway Executive. However, in July 1948 - along with the other railway hotels - ownership was transferred to the BTC's Hotels Executive. It was sold on in 1952.
After a period of gradual decline, it re-opened after a major refurbishment in 2008. It is a Grade II* listed building. www.transporttrust.com
Zen Magnets - Neodymium Magnetic Balls (@Varies)
These builds were derived using a truncated 12-ball triangle (tips of triangle removed).
Soccer ball Truncated Icosahedron (@240) formed from 20x truncated 12-ball triangles.
Triangle-Ring Subunit
(@012) - pinch 3xball sides together to form a 6xball triangle on inside, 6xball ring on outside
Convex Regular Icosahedron - formed from 20xTriangle-Ring subunits (using Triangle side to form 20xfaces)
(@240) - 5xTriangle-Rings top)+(5xTriangle-Rings top middle)+(5xTriangle-Rings bottom middle)+(5xTriangle-Rings bottom)
Extended Convex Regular Icosahedron (480) formed by adding/stacking additional Triangle-Ring Subunits on each Triangle-Rings aligned on each face Ring side to Ring side and Triangle side facing out.
En jaune paille la Dinky Toys , en jaune vif la Dinky Atlas reçue aujourd'hui ...
Aucune chance de les confondre !!
La Dinky Toys est une 522 , pneus crantés blancs sur jantes concaves , l'Atlas est une 24CP , pneus ronds sur jantes convexes ...
Because of the great fire wall of Chinese policy, it's so hard to cross the limit to visit flickr, so I could not reply my dear friends, I'm so sorry about that and please forgive me,thank you so much and hope my friends can still hit on me！由于中国网络原因，访问flickr很困难，速度很慢，所有暂时没有办法一一回应各位好友，请朋友们见谅！还请各位好友继续关注我！
My pro account is out of time，thank you my friends here for supporting me what a long time！！May I have a pleasure to receive a pro gift from you？我的pro账号到期了，感谢朋友们长期以来的热心支持！！有好心人能赞助一个pro账号给我吗，在此先表感谢！！
If you want to use or buy this image，please contact me. 版权所有，转载请联系本人。
This photo was taken of a garden sphere from approximately 15 feet away. The image created by this convex reflector is reduced in size and upright. Comparing this photo to the similar one taken at half the distance, one observes that as the object moves closer to the reflector, the image size begins to increase but remain upright.
For more information about the physics of convex mirrors, visit The Physics Classroom Tutorial - www.physicsclassroom.com/Class/refln/index.cfm.
Metrawatt Leica-METER MC.
The extracted Selenium module.
1 = Selenium Cell
2 = Honeycomb Mask
3 = Window consisting of small convex lenses.
4 = Tabs (2x) for mounting a Booster Cell.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
This Santa Claus Christmas ornament was painted on a convex stone lending itself perfectly to his chubby facial features. A red ribbon was glued to the back of the painted rock so it could be hung from a Xmas tree.
with bystander security guard. I guess it's appropriate that instead of a face I have a camera lens.
"Glass Theatre", by René Roubicek : Museum Kampa, Praha - 20 October 2008.
450D + 18-55 IS : 1/100s, f/7.1, ISO200, 46mm.
Press 'L' to view this in Lightbox.
In an earlier visit to Prague, I visited the art museum on Kampa Island on the west flank of the Vltava river, tucked underneath famous and well-trodded Charles Bridge. Museum Kampa contains a collection of contemporary art with temporary installations frequently on display and a focus on work by artists from central Europe and the Czech Republic. With the large reflective silvered-sphere set outdoors in the outdoor atrium, this shot became obvious as soon as I held the camera up to my eyes.
The setting, the relative calm of Kampa Island, what I like about contemporary art - these are some of many reasons why Prague remains a "love story" to me.
Plano-convex flint knives found in a group of tools and waste flakes in an Early Bronze Age grave. They are made from the finest quality flint. You can still pick up raw flint like this today at nearby Pegwell Bay.
For more information visit www.wessexarch.co.uk/projects/kent/ramsgate/cliffs_end/
I have taken these photos in order to use them for 3D modeling. I like mapping images onto surfaces, and putting decals onto them. These photos are raw JPEGs which haven't undergone any treatment at all - no reduction, no re-sizing, no auto contrast or auto levels or anything. Please feel free to grab anything you like and use it for your projects. Some may require cropping and sharpening, colour calibration, etc., but you surely know all that. Best of luck with your projects.
Nº 24U.
Simca 9 Aronde (1951-1955).
Grey body and grey convex hubs with white tyres.
Escala 1/43.
Dinky Toys.
Made in France by Meccano.
"Issued between 1953-55."
More info:
fr.wikipedia.org/wiki/Liste_des_mod%C3%A8les_Dinky_Toys
www.qualitydiecasttoys.com/products/search?utf8=%E2%9C%93...
patrick.miniatures.free.fr/dinky/serie24.htm
-----------------------------------------------------------------------------------------
De la Simca Neuf à l’Aronde
"C'est le jeudi 31 mai 1951 qu'est dévoilée à la presse spécialisée la nouvelle berline Simca Neuf, plus connue sous le nom d'Aronde. Cette nouvelle, dans les deux sens du terme, fait littéralement I’ effet d’une bombe dont I’ aronde de choc se ressent jusqu'à Bobigny
Dès 1953, Meccano s'empresse ainsi d'en sortir une copie au 1/43. La miniature, mesurant 95 millimètres, est réalisée d'une seule pièce en zamak et possède, comme toutes ses consœurs, un plancher en tôle riveté. Les roues, convexes, sont toujours chaussées de pneumatiques blancs.
Sous la référence 24 U.
Meccano produit en fait deux modèles bien distincts.
Le premier type se reconnaît à sa calandre anguleuse ainsi qu'à sa carrosserie et ses roues peintes en gris clair, vert olive moyen ou vert olive foncé.
Le deuxième type possède une calandre allongée conforme à celle adoptée par Simca au salon d’octobre 1953.
Deux variantes de finition de peinture sont utilisées sur ce modèle équipé invariablement de roues chromées La première est uniformément gris clair, gris verdâtre ou bleu ciel tandis que la seconde est bleu ciel avec un toit ivoire, bleu moyen avec un toit ivoire et gris clair avec un toit vert foncé avec des nuances assez prononcées.
Cette dernière version est produite jusqu'en 1959 année où elle reçoit la référence 536."
Source: www.aquitaine33.com/dinky/simca/simca1.htm
-----------------------------------------------------------------------------------------------
Simca Aronde
From Wikipedia, the free encyclopedia
"The Simca Aronde is an automobile which was manufactured by the French automaker Simca from 1951 to 1963.
It was Simca's first original design (earlier models were all to a greater or lesser extent based on Fiats), as well as the company's first unibody car.
"/ Aronde -hirondelle" means "swallow" in Old French and it was chosen as the name for the model because Simca's logo at that time was a stylized swallow."
The three generations
"There were three generations of the model: the 9 Aronde, made from 1951 to 1955, the 90A Aronde, made from 1955 to 1958, and the Aronde P60 , which debuted in 1958 and continued until the model was dropped in 1964.
Some 1.4 million Arondes were made in total, and this model alone is largely responsible for Simca becoming the second-biggest French automaker at the end of the 1950s."
- Simca 9 Aronde (1951–1955)
"The first Aronde debuted in the spring of 1951 but initially only a few hundred pre-production cars were distributed to carefully selected "guinea-pig" buyers, and the full production version was finalised only in time for the Paris Motor Show, becoming available for sale in October 1951.
The full production version incorporated various detailed changed when compared to the pre-volume production cars, including a changed material for the seat covers and a moulded plastic dash-board which at the time appeared very modern when compared to the metal dashboard on the Aronde's most obvious competitor, the Peugeot 203.
A few months later, at the start of 1952, space was found to position the battery under the bonnet/hood: in the original cars the battery was stowed under the front seat.
The Aronde was fitted with a front-mounted 1221 cc 44.5 bhp (33.2 kW) engine from the previous Simca model, the Simca 8, fuel feed being provided by a Solex 32 carburetor. Power was delivered to the rear wheels via a traditional four-speed manual gear box incorporating synchromesh on the top three ratios. The car had independent suspension at the front using coil springs, with a live axle at the rear, suspended using semi-elliptic leaf springs. Hydraulically operated 9.85 in (250 mm) drum brakes were used all round.
The only body style offered at the October 1951 launch was a four-door saloon/sedan/berline, but other configurations very soon became available such as the three-door estate (branded initially as the "Aronde commerciale" and later as the "Châtelaine") with a horizontally split tailgate.
There was also a van, called the "Messagère", and a "commerciale semi-vitrée" - part panel van and part estate - became available in 1953.
Of more interest to collectors is the two-door coupé coachbuilt by Facel. The Facel-built coupé was replaced for 1953 by a coupé based on the saloon Aronde body, called Grand Large, featuring a large three piece wrap-around rear window and a "pillarless" side window effect when both side windows were wound down.
A two-door cabriolet conversion, prepared by the coachbuilder Figoni, was presented to the public for the 1953 model year in a display involving ballerinas, but it proved impossible to confer sufficient structural rigidity on this car without unacceptable cost and weight penalties, and Figoni's Aronde cabriolet was never produced for sale.
(...)
The 9 Aronde was well received, especially in France. It took only until 17 March 1953 before total production of this model at the Nanterre plant passed 100,000.
The company's flamboyant boss. Henri Pigozzi, was keenly aware of the publicity that could be gleaned from the craze for record breaking runs.
In May 1952 an Aronde broke five international records by covering a distance of 50,000 km (31,000 mi) at an average speed of 117 km/h (73 mph), and in August 1953 another Aronde, selected at random from the production line, returned to the Montlhéry circuit for a new record attempt whereby during the course of forty days and forty nights the car covered 39,242 laps which represented 100,000 km (62,000 mi) at an average speed of more than 104 km/h (65 mph).
This achievement, which involved breaking more than 30 international records, was undertaken under the supervision of the ACF."
- Simca 90A Aronde (1955–1958)
- Simca Aronde P60 (1958–1964)
Predecessor
Simca 8
Successor
Simca 1300/1500
Jeremías Günther (según Pieter Brueghel el Joven), atestiguado 1604-1629, trabajó en Praga y Viena
Fiesta patronal con teatro y procesión, primero cuarto del siglo 17
Jeremias Günther (nach Pieter Brueghel der Jüngere), bezeugt 1604-1629, tätig in Prag und Wien
Kirchweih mit Theater und Prozession, 1. Viertel 17. Jahrhundert
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Nº 24U.
Simca 9 Aronde (1951-1955).
Grey body and grey convex hubs with white tyres.
Escala 1/43.
Dinky Toys.
Made in France by Meccano.
"Issued between 1953-55."
More info:
fr.wikipedia.org/wiki/Liste_des_mod%C3%A8les_Dinky_Toys
www.qualitydiecasttoys.com/products/search?utf8=%E2%9C%93...
patrick.miniatures.free.fr/dinky/serie24.htm
-----------------------------------------------------------------------------------------
De la Simca Neuf à l’Aronde
"C'est le jeudi 31 mai 1951 qu'est dévoilée à la presse spécialisée la nouvelle berline Simca Neuf, plus connue sous le nom d'Aronde. Cette nouvelle, dans les deux sens du terme, fait littéralement I’ effet d’une bombe dont I’ aronde de choc se ressent jusqu'à Bobigny
Dès 1953, Meccano s'empresse ainsi d'en sortir une copie au 1/43. La miniature, mesurant 95 millimètres, est réalisée d'une seule pièce en zamak et possède, comme toutes ses consœurs, un plancher en tôle riveté. Les roues, convexes, sont toujours chaussées de pneumatiques blancs.
Sous la référence 24 U.
Meccano produit en fait deux modèles bien distincts.
Le premier type se reconnaît à sa calandre anguleuse ainsi qu'à sa carrosserie et ses roues peintes en gris clair, vert olive moyen ou vert olive foncé.
Le deuxième type possède une calandre allongée conforme à celle adoptée par Simca au salon d’octobre 1953.
Deux variantes de finition de peinture sont utilisées sur ce modèle équipé invariablement de roues chromées La première est uniformément gris clair, gris verdâtre ou bleu ciel tandis que la seconde est bleu ciel avec un toit ivoire, bleu moyen avec un toit ivoire et gris clair avec un toit vert foncé avec des nuances assez prononcées.
Cette dernière version est produite jusqu'en 1959 année où elle reçoit la référence 536."
Source: www.aquitaine33.com/dinky/simca/simca1.htm
-----------------------------------------------------------------------------------------------
Simca Aronde
From Wikipedia, the free encyclopedia
"The Simca Aronde is an automobile which was manufactured by the French automaker Simca from 1951 to 1963.
It was Simca's first original design (earlier models were all to a greater or lesser extent based on Fiats), as well as the company's first unibody car.
"/ Aronde -hirondelle" means "swallow" in Old French and it was chosen as the name for the model because Simca's logo at that time was a stylized swallow."
The three generations
"There were three generations of the model: the 9 Aronde, made from 1951 to 1955, the 90A Aronde, made from 1955 to 1958, and the Aronde P60 , which debuted in 1958 and continued until the model was dropped in 1964.
Some 1.4 million Arondes were made in total, and this model alone is largely responsible for Simca becoming the second-biggest French automaker at the end of the 1950s."
- Simca 9 Aronde (1951–1955)
"The first Aronde debuted in the spring of 1951 but initially only a few hundred pre-production cars were distributed to carefully selected "guinea-pig" buyers, and the full production version was finalised only in time for the Paris Motor Show, becoming available for sale in October 1951.
The full production version incorporated various detailed changed when compared to the pre-volume production cars, including a changed material for the seat covers and a moulded plastic dash-board which at the time appeared very modern when compared to the metal dashboard on the Aronde's most obvious competitor, the Peugeot 203.
A few months later, at the start of 1952, space was found to position the battery under the bonnet/hood: in the original cars the battery was stowed under the front seat.
The Aronde was fitted with a front-mounted 1221 cc 44.5 bhp (33.2 kW) engine from the previous Simca model, the Simca 8, fuel feed being provided by a Solex 32 carburetor. Power was delivered to the rear wheels via a traditional four-speed manual gear box incorporating synchromesh on the top three ratios. The car had independent suspension at the front using coil springs, with a live axle at the rear, suspended using semi-elliptic leaf springs. Hydraulically operated 9.85 in (250 mm) drum brakes were used all round.
The only body style offered at the October 1951 launch was a four-door saloon/sedan/berline, but other configurations very soon became available such as the three-door estate (branded initially as the "Aronde commerciale" and later as the "Châtelaine") with a horizontally split tailgate.
There was also a van, called the "Messagère", and a "commerciale semi-vitrée" - part panel van and part estate - became available in 1953.
Of more interest to collectors is the two-door coupé coachbuilt by Facel. The Facel-built coupé was replaced for 1953 by a coupé based on the saloon Aronde body, called Grand Large, featuring a large three piece wrap-around rear window and a "pillarless" side window effect when both side windows were wound down.
A two-door cabriolet conversion, prepared by the coachbuilder Figoni, was presented to the public for the 1953 model year in a display involving ballerinas, but it proved impossible to confer sufficient structural rigidity on this car without unacceptable cost and weight penalties, and Figoni's Aronde cabriolet was never produced for sale.
(...)
The 9 Aronde was well received, especially in France. It took only until 17 March 1953 before total production of this model at the Nanterre plant passed 100,000.
The company's flamboyant boss. Henri Pigozzi, was keenly aware of the publicity that could be gleaned from the craze for record breaking runs.
In May 1952 an Aronde broke five international records by covering a distance of 50,000 km (31,000 mi) at an average speed of 117 km/h (73 mph), and in August 1953 another Aronde, selected at random from the production line, returned to the Montlhéry circuit for a new record attempt whereby during the course of forty days and forty nights the car covered 39,242 laps which represented 100,000 km (62,000 mi) at an average speed of more than 104 km/h (65 mph).
This achievement, which involved breaking more than 30 international records, was undertaken under the supervision of the ACF."
- Simca 90A Aronde (1955–1958)
- Simca Aronde P60 (1958–1964)
Predecessor
Simca 8
Successor
Simca 1300/1500
So, I found a way to fold non-convex polygons.
But it requires some unorthodox steps...
can you figure out what I did?
The Saturday challenge for 6th August is ‘Reflections’. This subject having come up more than once over the time I’ve been in the SSC group, I wasn’t sure that I’d be able to find a new approach to it, but chance has come to my aid! I just happened to glance at where I’d left my sunglasses lying on top of the TV cabinet (the weather not looking like I’d be needing them right now), and I noticed that they were reflecting the light coming in from the front window. I cropped the image as a square, showing only one side of the sunglasses, because it seemed to me to be neater.
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😃 Thank you very much for any 💬s or ⭐️s you like to give; they’re really appreciated!
😢 By the way, I’ve fallen behind in commenting on your recent postings, so I do apologise for that and assure you that I’m trying to catch up! 😢
Espejos parabólicos convexos de interior para aumentar la seguridad en portales, tiendas, centros comerciales, centros de trabajo, y en general, espacios de reducida visibilidad. Se aumenta la seguridad, evitando robos o bien evitando posibles accidentes en los centros de trabajo. Aptos para control de accesos y vigilancia en centros comerciales.
Fácil y gran adaptabilidad en cuanto a su colocación.
Consulta ficha técnica: dimobi2000.com/wp-content/uploads/2015/11/Espejos-interio...
Todos nuestros espejos: dimobi2000.com/espejos-parabolicos-convexos/
La puerta de ingreso a la iglesia se encuentra dentro de un pórtico construido posteriormente a la iglesia. Abierta en arco apuntado, de las seis arquivoltas las cuatro primeras están decoradas con molduras cóncavo-convexas alternadas y de diferentes grosores. La última presenta un baquetón al que se superpone otra moldura-baquetón en zig-zag que en el lado derecho y en la zona de arranque, está casi embutido por el muro del pórtico. Tanto el arco como esta arquivolta apoyan en jambas mientras que las demás lo hacen sobre cuatro de columnas acodilladas a cada lado. Los cimacios carecen de decoración y en cuanto a las cestas introducen motivos vegetales formados por tres hojas largas y muy planas en su base que se despegan del cuerpo del capitel en la parte superior terminando en bolas o volutas. Las hojas centrales refuerzan los ángulos de las cestas. Sin embargo los dos capiteles interiores presentan una variante con respecto a los demás: dos filas superpuestas de hojas de acanto en el lado de la izquierda y tallos terminados en flores en el de la derecha. La línea de imposta, desde el arco hasta la última arquivolta, es de filete y caveto. Las basas de las columnas están compuestas por un toro aplanado y apoyan en pequeños plintos. Todo este conjunto descansa sobre un banco corrido diagonal que adaptándose al abocinamiento de la portada, continua por los muros del pórtico.
This was twenty-five cents at last Saturday's estate sale. Below you can see information stamped on the back of the photo. The colors are given for the hand tinting and it was to be put in a 12 x 20 convex glass frame. All for $3.96! I sure wish that I could have seen the finished product. There are cows lying down and several other animals too. I wondered why they didn't take the photo during spring or summer, but realized that the house wouldn't have shown very well with leaves on the trees.
A crinkle crankle wall, also known as a crinkum crankum, serpentine, ribbon or wavy wall, is an unusual type of garden wall.
The crinkle crankle wall economizes on bricks, despite its sinuous configuration, because it can be made just one brick thin. If a wall this thin were to be made in a straight line, without buttresses, it would easily topple over. The alternate convex and concave curves in the wall provide stability and help it to resist lateral forces.
Both crinkle and crankle are defined as something with bends and turns (Webster's), but the term is also thought to come from Old English meaning zig-zag. The earliest reference to this meaning has been cited in 1598, but it was not until the 18th century that the term began to be applied to wavy walls. At that time these garden walls were usually aligned east-west, so that one side faced south (Dictionary of Architecture and Landscape Architecture by James Stevens Curl) to catch the warming sun and were historically used for growing fruit.