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A few people mentioned socks on last weeks HFF - Glove2 Edition shot and I knew that in the archives I had a sock fence* (don't we all!). I had intended on taking a bike ride out one evening this week and getting an updated shot, but the weather and time have been against me. Instead, here is the aforementioned archived sock fence shot.
This is actually at a Pub/Restaurant in the middle of nowhere called The Missing Sock.
Hope you all have a good weekend (a long one here in the UK) and HFF!
Be amazed and see a sock closeup.
* As far as I'm concerned this is a fence.
A Sunday Like No Other.. There are much people at Gadgi beach (Paita, New Caledonia, South Pacific) this Sunday morning. A couple moved away from the crowd, just to have a little privacy. The wreck of the vessel Mélanésia should be a good shelter for a nap.
Click the image or press 'L' for a view in light box.
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Un Dimanche Pas Comme Les Autres. Les Robinsons d'un jour ! Il y a du monde sur la plage de Gadgi (Paita, Nouvelle Calédonie) ce dimanche matin. Un couple s'est installé loin de la foule, histoire d'avoir un peu d'intimité. L'épave du Mélanésia; fera certainement un bon abri pour la sieste.
Cliquer sur la photo ou appuyer sur 'L' pour une vue sur fond noir.
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Infos prises de vue
Canon 7D & EF 70-200mm f4L IS USM + EF 1.4X III ▪ 1/320 s à f/7.1 ▪ Iso 100 ▪ 280mm ▪ 0 EV | Handheld | Aperture priority | Raw |
We enjoyed exhilaration at #LagunaSeca with the Lexus RC F Track Edition (50-unit limit) for the 3rd annual #Lexus0to60 celebrity racing competition. The GT3-inspired super coupe is enhanced with a 472 hp 5-liter V8 (0-60 mph in 3.96s), red carbon ceramic brakes, titanium exhausts and carbon fiber everything including lower front spoiler, side splitter & rear diffuser.
#AutomotiveRhythms @LexusUSA #lexusperformance #Lexus0to60 #LexusRCFTrack #LexusLC #LexusGSF #LexusRCF #0to60 #RCFTrackEdition #LexusRCFTrackEdition #SuperCoupe #Lexus #LexusRacing #TrackEdition #CoupeLife #LagunaSecaRaceway #weathertechlagunasecaraceway
The Complete Works of William Makepeace Thackeray
Boston
Estes and Lauriat
Seen at the antique mall in Klipsan Beach, Washington
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William Makepeace Thackeray (18 July 1811 – 24 December 1863) was a British novelist, author and illustrator. He is known for his satirical works, particularly his 1848 novel Vanity Fair, a panoramic portrait of British society, and the 1844 novel The Luck of Barry Lyndon, which was adapted for a 1975 film by Stanley Kubrick.
Thackeray, an only child, was born in Calcutta,[1] British India, where his father, Richmond Thackeray (1 September 1781 – 13 September 1815), was secretary to the Board of Revenue in the East India Company. His mother, Anne Becher (1792–1864), was the second daughter of Harriet Becher and John Harman Becher, who was also a secretary (writer) for the East India Company.[2] His father was a grandson of Thomas Thackeray (1693–1760), headmaster of Harrow School.[3]
Richmond died in 1815, which caused Anne to send her son to England that same year, while she remained in India. The ship on which he travelled made a short stopover at Saint Helena, where the imprisoned Napoleon was pointed out to him.
Once in England he was educated at schools in Southampton and Chiswick, and then at Charterhouse School, where he became a close friend of John Leech. Thackeray disliked Charterhouse,[4] and parodied it in his fiction as "Slaughterhouse".
Nevertheless, Thackeray was honoured in the Charterhouse Chapel with a monument after his death. Illness in his last year there, during which he reportedly grew to his full height of six-foot three, postponed his matriculation at Trinity College, Cambridge, until February 1829.[citation needed]
Never too keen on academic studies, Thackeray left Cambridge in 1830, but some of his earliest published writing appeared in two university periodicals, The Snob and The Gownsman.[5]
Thackeray then travelled for some time on the continent, visiting Paris and Weimar, where he met Johann Wolfgang von Goethe. He returned to England and began to study law at the Middle Temple, but soon gave that up.
On reaching the age of 21 he came into his inheritance from his father, but he squandered much of it on gambling and on funding two unsuccessful newspapers, The National Standard and The Constitutional, for which he had hoped to write. He also lost a good part of his fortune in the collapse of two Indian banks. Forced to consider a profession to support himself, he turned first to art, which he studied in Paris, but did not pursue it, except in later years as the illustrator of some of his own novels and other writings.[citation needed]
Thackeray's years of semi-idleness ended after he married, on 20 August 1836, Isabella Gethin Shawe (1816–1894), second daughter of Isabella Creagh Shawe and Matthew Shawe, a colonel who had died after distinguished service, primarily in India. The Thackerays had three children, all girls: Anne Isabella (1837–1919), Jane (who died at eight months old) and Harriet Marian (1840–1875), who married Sir Leslie Stephen, editor, biographer and philosopher.
Thackeray now began "writing for his life", as he put it, turning to journalism in an effort to support his young family. He primarily worked for Fraser's Magazine, a sharp-witted and sharp-tongued conservative publication for which he produced art criticism, short fictional sketches, and two longer fictional works, Catherine and The Luck of Barry Lyndon.
Between 1837 and 1840 he also reviewed books for The Times.[6] He was also a regular contributor to The Morning Chronicle and The Foreign Quarterly Review. Later, through his connection to the illustrator John Leech, he began writing for the newly created magazine Punch, in which he published The Snob Papers, later collected as The Book of Snobs. This work popularised the modern meaning of the word "snob".[7] Thackeray was a regular contributor to Punch between 1843 and 1854.[8]
Tragedy struck in Thackeray's personal life as his wife, Isabella, succumbed to depression after the birth of their third child, in 1840. Finding that he could get no work done at home, he spent more and more time away until September 1840, when he realised how grave his wife's condition was.
Struck by guilt, he set out with his wife to Ireland. During the crossing she threw herself from a water-closet into the sea, but she was pulled from the waters. They fled back home after a four-week battle with her mother. From November 1840 to February 1842 Isabella was in and out of professional care, as her condition waxed and waned.[3]
She eventually deteriorated into a permanent state of detachment from reality. Thackeray desperately sought cures for her, but nothing worked, and she ended up in two different asylums in or near Paris until 1845, after which Thackeray took her back to England, where he installed her with a Mrs Bakewell at Camberwell.
Isabella outlived her husband by 30 years, in the end being cared for by a family named Thompson in Leigh-on-Sea at Southend until her death in 1894.[9] After his wife's illness Thackeray became a de facto widower, never establishing another permanent relationship. He did pursue other women, however, in particular Mrs Jane Brookfield and Sally Baxter. In 1851 Mr Brookfield barred Thackeray from further visits to or correspondence with Jane. Baxter, an American twenty years Thackeray's junior whom he met during a lecture tour in New York City in 1852, married another man in 1855.[citation needed]
In the early 1840s Thackeray had some success with two travel books, The Paris Sketch Book and The Irish Sketch Book, the latter marked by its hostility towards Irish Catholics. However, as the book appealed to anti-Irish sentiment in Britain at the time,
Thackeray was given the job of being Punch's Irish expert, often under the pseudonym Hibernis Hibernior ("more Irish than the Irish").[8] Thackeray became responsible for creating Punch's notoriously hostile and negative depictions of the Irish during the Great Irish Famine of 1845 to 1851.[8]
Thackeray achieved more recognition with his Snob Papers (serialised 1846/7, published in book form in 1848), but the work that really established his fame was the novel Vanity Fair, which first appeared in serialised instalments beginning in January 1847. Even before Vanity Fair completed its serial run Thackeray had become a celebrity, sought after by the very lords and ladies whom he satirised. They hailed him as the equal of Charles Dickens.[10]
Portrait of Thackeray in his study, c.1860
He remained "at the top of the tree", as he put it, for the rest of his life, during which he produced several large novels, notably Pendennis, The Newcomes and The History of Henry Esmond, despite various illnesses, including a near-fatal one that struck him in 1849 in the middle of writing Pendennis. He twice visited the United States on lecture tours during this period. Thackeray also gave lectures in London on the English humorists of the eighteenth century, and on the first four Hanoverian monarchs. The latter series was published in book form as The Four Georges.[3]
In July 1857 Thackeray stood unsuccessfully as a Liberal for the city of Oxford in Parliament.[3] Although not the most fiery agitator, Thackeray was always a decided liberal in his politics, and he promised to vote for the ballot in extension of the suffrage, and was ready to accept triennial parliaments.[3] He was narrowly beaten by Cardwell, who received 1,070 votes, as against 1,005 for Thackeray.[3]
In 1860 Thackeray became editor of the newly established Cornhill Magazine,[11] but he was never comfortable in the role, preferring to contribute to the magazine as the writer of a column called "Roundabout Papers".[citation needed]
Thackeray's health worsened during the 1850s and he was plagued by a recurring stricture of the urethra that laid him up for days at a time. He also felt that he had lost much of his creative impetus.
He worsened matters by excessive eating and drinking, and avoiding exercise, though he enjoyed riding (he kept a horse).
He has been described as "the greatest literary glutton who ever lived". His main activity apart from writing was "gutting and gorging".[12] He could not break his addiction to spicy peppers, further ruining his digestion.
A granite, horizontal gravestone fenced by metal railings, among other graves in a cemetery
Thackeray's grave at Kensal Green Cemetery, London, photographed in 2014
On 23 December 1863, after returning from dining out and before dressing for bed, he suffered a stroke. He was found dead in his bed the following morning.
His death at the age of fifty-two was entirely unexpected, and shocked his family, his friends and the reading public. An estimated 7,000 people attended his funeral at Kensington Gardens. He was buried on 29 December at Kensal Green Cemetery, and a memorial bust sculpted by Marochetti can be found in Westminster Abbey.[3]
en.wikipedia.org/wiki/William_Makepeace_Thackeray
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Klipsan Beach, Washington.
German postcard by Edition Panorama Berlin, no. 715. Photo: Filmmuseum Berlin / Stiftung Deutsche Kinemathek. Gustav Fröhlich in Metropolis (Fritz Lang, 1927).
Smart German actor Gustav Fröhlich (1902-1987) played Freder Fredersen in the classic Metropolis (1927) and became a popular star in light comedies. After the war, he tried to escape from the standard roles of a charming gentleman with the part of a doomed painter in Die Sünderin/The Sinner (1951), but the effort went down in a scandal.
Gustav Friedrich Fröhlich was born an illegitimate child in Hannover, Germany in 1902. His father, Gustav König, was a well-known engineer, and his mother Hedwig Therese Sophie Fröhlich, the daughter of a worker. Gustav was raised by foster parents. His foster family moved around western Germany a lot while he was growing up, living in cities like Wiesbaden and Wurzburg. He studied at the Homuth Realgymnasium Friedenau in Berlin. During World War I the young Gustav volunteered for duty in occupied Brussels as supervisor of the press. In 1919 he started his career as a trainee at a newspaper, but he spent his spare time as an emcee at local variety shows. He also wrote two issues of a dime novel, Heinz Brandt, der Fremdenlegionär/Heinz Brandt, the Foreign Legionnaire. After some entrances at a vaudeville theater under the stage name Gustav Geef, he took acting lessons in Heilbronn. In the next few years, he appeared on different minor German stages. In Berlin, he played from 1923 till 1925 at the Volksbühne am Bülowplatz under the direction of Erwin Piscator. Later he appeared as The Prince of Homburg at the Deutsche Theater under the direction of Max Reinhardt. His film debut was a small role in a Dutch-German film produced in Germany, De bruut/Ein neues Leben/The Brute (Theo Frenkel, 1922) with Erna Morena and Adolphe Engers. He then played a secondary role as composer Franz Liszt in Paganini (Heinz Goldberg, 1923) featuring Conrad Veidt. In the following years, he played in such films as Friesenblut (1925) opposite Jenny Jugo. Then Fröhlich landed his breakthrough role as Freder Fredersen in Metropolis (Fritz Lang, 1927) by chance. He was only scheduled to play one of the workmen but four weeks after the beginning he was discovered on the set by Thea von Harbou, Fritz Lang's wife. Lang immediately cast him in the lead because of his striking good looks. A new star was born.
After Metropolis, Gustav Fröhlich was typecast as the fresh-faced, naive 'boy next door' in such silent films as Die elf Teufel/The Eleven Devils (Zoltan Korda, Carl Boese, 1927) with Evelyn Holt, Heimkehr/Homecoming (Joe May, 1928) opposite Lars Hanson, and Asphalt (Joe May, 1929), in which he played an honest policeman who is seduced by a crook (Betty Amann). In 1930, Fröhlich was called to Hollywood by Warner Brothers to do German versions of American sound films, such as Die heilige Flamme/The Holy Flames (William Dieterle (as Wilhelm Dieterle), Berthold Viertel, 1931) and Kismet (William Dieterle, 1931), both with Dita Parlo. Back in Germany, he soon was subscribed for Max Ophüls’ musical comedy Die verliebte Firma/The Company's in Love (1931) next to Lien Deyers, and for Robert Siodmak's crime drama Voruntersuchung/Inquest (1931) with Albert Bassermann. He often worked with director Géza von Bolváry. Between 1931 and 1933 they made six films together. These include Ich will nicht wissen, wer du bist/I Do Not Want to Know Who You Are (Géza von Bolváry, 1932) with Liane Haid, and Was Frauen träumen/What Women Dream (Géza von Bolváry, 1933), which was co-written by Billy Wilder. Fröhlich often played smart gentlemen in lighthearted musicals and romances. Because of his carefree attendance, Fröhlich was seldom allowed to play other characters. One of his greatest successes was his part of the helpful and likable policeman in Oberwachtmeister Schwenke (Carl Froelich, 1935). He also directed films like Rakoczy-Marsch/Rakoczy march (Gustav Fröhlich, Steve Sekely, 1933), Abenteuer eines jungen Herrn in Polen/Love and Alarm (1934), and after the war Wege im Zwielicht/Paths in Twilight (1948), Der Bagnosträfling/The Prisoner (1949) with Paul Dahlke, and the crime drama Die Lüge/The Lie (1950) with Otto Gebühr.
Between 1931 and 1935 Gustav Fröhlich was married to Hungarian Opera star and actress Gitta Alpár. When she was pregnant form their daughter Julika, he left her. According to Alpár, because she was Jewish and he did not want to hurt his career in Nazi Germany. After the war, Fröhlich tried reconciliation with Gitta Alpár but she never forgave him. Reportedly this gave him a tough time at old-age. From 1936 till 1938 he lived together with actress Lída Baarová, his costar in Barcarole (Gerhard Lamprecht, 1935) and Leutnant Bobby, der Teufelskerl/A Devil of a Fellow (Georg Jacoby, 1935). After losing Lída to Joseph Goebbels, Froelich had a quarrel with him. There is an urban legend that the quarrel culminated in a slap in the face of the powerful and feared Propaganda-Minister. Allegedly, Froehlich was banned from playing his trade for two years (1941-1943). Lída Baarová later denied this in her memoirs. In 1937, he rented his house in Berchtesgaden to Adolph Hitler's architect, Albert Speer. In 1941 Fröhlich remarried Maria Hajek. Since 1941 he had to serve for the Wehrmacht, interrupted by film engagements like Der Grosse König/The Great King (Veit Harlan, 1942) starring Otto Gebühr as Prussian king Friedrich the Second.
Gustav Fröhlich was seldom involved in Nazi Propaganda films, a fact that helped him to establish a new film career after World War II. He tried to escape from the standard roles of the charming gentleman by playing a doomed painter in Die Sünderin/The Sinner (Willi Forst, 1951). The effort went down in the chaos of a scandal because of the film's open treatment of several taboos such as suicide and euthanasia, plus a brief nude performance by Hildegard Knef. He went on to play leads in light entertainment films including Haus des Lebens/House of Life (Karl Hartl, 1952) with Cornell Borchers, and Die kleine Stadt will schlafen gehen/The Little Town Will Go to Sleep (Hans H. König, 1954) with Jester Naefe. He remained a busy actor after the war but his roles changed from leading men to supporting parts as he got older. From the 1960s on, he had only a few TV film entrances including a part in the comedy Laubenkolonie/Allotment area (Heribert Wenk, Bertold Sakmann, 1968) with Paul Dahlke. He was more active in the theatre, a.o. for the Renaissance-Theater in Berlin and the Schauspielhaus in Zürich. In 1973 he was honoured with the Filmband in Gold, the German Film Award for Lifetime Achievements. Ten years later, he published his autobiography Waren das Zeiten - Mein Film-Heldenleben/Those Were Times - My Life as a Film Hero (1983). His last public appearance was in 1986 when Giorgio Moroder presented his revised version of Metropolis. From 1956 on, Gustav Fröhlich lived in Lugano, Switzerland. There he died in 1987 of a complication after surgery, at age 85. His wife Maria Hajek had passed away earlier that same year.
Sources: Lara Goeke (The Gustav Fröhlich Fan Page), Bruce Eder (AllMovie), Thomas Staedeli (Cyranos), Wikipedia (English and German), and IMDb.
And, please check out our blog European Film Star Postcards.
La Fiat 500 Anniversario est disponible en versions berline et cabriolet. C'est un hommage à l'icône italienne née en 1957 mais c'est aussi une version très contemporaine au style unique qui s'inspire des années Dolce Vita.
Day 119/365
Happy Fence Friday Woodpile edition. I'm a few days late posting as I was out of town but I did shoot this Friday. Visiting my brother for a few days. he has about 100 cords of wood to pile
Have a great week friends
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After arriving in Munich I spent the first couple days relaxing and enjoying some delicious German beer. This was taken in Westpark, a beautiful urban park designed by landscape architect Peter Kluska, just a few blocks away from my friend's flat.
HFF
lightbox this for sure!
Wow...thank you SO much, Kersten, for our darling bun! We love him! La Mer decided to take him out for a ride! How did you know that I have been wanting one of these sweeties? You are so sweet! Love ya!!!
And here I thought all the buns were for Kersten's sweet girls!!
Yay FreebieFriday is almost here and this week we are giving out a very special gift! POSES!!! (As pictured)
Hi, please give me a shout if there is any image in my portfolio that you would like to get your hands on (DM or e-mail at: lwierzbowski@gmail.com). It comes in one size: 20x30cm (8x12in). The price is: €125/ $145. Each one is signed and numbered (price includes worldwide shipping).
One of the most beautiful cars I've ever done a photoshoot with, this Aston Martin Vanquish Carbon White Edition!
The HG Wells special edition Leica to celebrate the 120th anniversary of the publication of The Invisible Man.
They are not officially imported but more and more large pickup trucks seem to be sold in Germany and the Netherlands. This is the second generation of the Toyota Tundra introduced in 2007. The 1794 Edition is a luxury model to compete the Laramie by Ram.