View allAll Photos Tagged Helbling
Cette maison, dont le coeur est de style gothique flamboyant (comme l'attestent la galerie voûtée et les oriels) fut décorée de stucs colorés de style rococo par Anton Gigl en 1730. C'est l'une des plus belles maisons bourgeoises d'Autriche.
Das Helblinghaus in der Innsbrucker Altstadt ist für seine barocke Stuckfassade bekannt.
Das ursprünglich gotische Bürgerhaus aus dem 15. Jahrhundert wurde 1725 von Johan Fischer, dem Kassier der Haller Münzstätte, erworben, und erhielt um diese Zeit vermutlich von dem um 1723 nach Innsbruck übersiedelten Stuckateur Anton Gigl aus Wessobrunn seine üppigen barocken Stuckaturen mit Blumenranken, Fruchtbündeln, Muscheln und Putten.
Die Erker waren ursprünglich mit spätgotischem Zierrat versehen. Reste davon sind bei einer Restaurierung 1932 am südlichen Erker zutage getreten.
Das Haus trägt seinen Namen nach Sebastian Hölbling (Helbling), der es 1800 bis 1827 besaß.
(Quelle: Wikipedia)
Strasbourg
Bassin d’Austerlitz
Presque’Île André Malraux
Quai Jeanne Helbling
Médiathèque André Malraux
Architecture: Gustave Umbdenstock, 1930-34 / Jean-Marc Ibos & Myrto Vitart, 2008
Project info: Médiathèque André Malraux
Tour Seegmuller / Maison universitaire internationale
Architecture: Gustave Umbdenstock, 1930-34 / Weber Keiling Architectes, 2015
project info: Tour Seegmuller
Les Docks – Entrepôts Seegmuller
Architecture: Gustave Umbdenstock, 1930-34 / Heintz-Kehr architects, 2014
project info: Entrepôts Seegmuller
Three Black Swans
Architecture: Anne Démians, 2019
Project info: Black Swans
30. 08. 2019
The original structure was built in the 15th century. Originally constructed as townhouses, the Helblinghaus was shaped by its early Gothic styles and Baroque façade. "Icing-like" Rococo stucco decorations were added in the early 18th century. The Helblinghaus was completed in 1732 by Anton Gigl and named after Sebastian Helbling, who owned the building from 1800 to 1827.
Mia madre Maria Lavinia Bovelli quando aveva 13 anni, con sua madre Maria Bianca De Maria e suo fratello Virgilio. Foto scattata nell'agosto del 1951 davanti la Casa Helbling sulla Herzog Friedrich Straße ad Innsbruck in Austria. it.wikipedia.org/wiki/Casa_Helbling Sullo sfondo l'antico Municipio (Historische Rathaus o Altes Rathaus) e la Torre Civica (Stadtturm).
Devo ringraziare lo zio Virgilio per aver trovato questa bellissima foto in bianco e nero. Sul retro è annotato il n.16 relativo al rullino, Innsbruck 8 / 51. Scansionata e ritoccata con photoshop.
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My mother Maria Lavinia Bovelli when she was 13 years old, with her mother Maria Bianca De Maria and her brother Virgilio.
Photo taken in august of 1951 in front of Helbling House on the Herzog Friedrich Straße at Innsbruck in Austria. en.wikipedia.org/wiki/Helbling_House In the background the Innsbruck Old Town Hall (Altes Rathaus) and the City Tower (Stadtturm). en.wikipedia.org/wiki/Innsbruck_Town_Hall
I have to thank uncle Virgilio for having found this beautiful black and white picture. Scanned and retouched with photoshop.
French postcard by P.C. Paris, no. 4262. Collection: Marlene Pilaete.
Jeanne Helbling was an actress in the French cinema of the 1920s and 1930s, who was extremely active in early French sound film. She was also a Resistance heroine.
Johanna Marie Helbling was born in 1903 in the village of Thann in the Alsace, annexed by Germany after the French defeat of the Franco-Prussian war. She came from a family of factory workers and vineyard keepers. In 1920, two years after Alsace had become French again, she became an extra in the film Le grillon du foyer/The cricket of the hearth (1920, Jean Manoussi), starring Charles Boyer, after which a small part followed in Julien Duvivier’s Les roquevillards/The roquevillards (1922). More substantial parts she had in Un bon petit diable/A Good Little Devil (1923, René Leprince) and Survivre/Survive (1923, Edouard Chimot). Then she played Madame de Pompadour in Mandrin (1923, Henri Fescourt), with Romuald Joubé in the title role as the notorious smuggler. In 1924 she acted opposite Pierre Blanchar in L’arriviste/The Thruster (1924, André Hugon). All in all she acted in some 30 silent films, among which also La chaussée des géants/The Giant's Causeway (1926, Robert Boudrioz, Jean Durand) with Armand Tallier, Le juif errant/The Wandering Jew (1926, Luitz-Morat) adapted from Eugène Sue, and Le capitaine Rascasse/Captain Rascasse (1926, Henri Desfontaines) with Gabriel Gabrio in the title role. She also appeared in the avant-garde film La glace à trois faces/The Three-Sided Mirror (1927, Jean Epstein) in which past and present are mingled in an unusual way. Helbling played a naïve working-class girl, one of the three women the protagonist meets… and is disappointed with. After this followed roles in the Molière adaptation La jalousie du Barbouillé/The Jealousy of le Barbouillé (1927, Alberto Cavalcanti), and Tire au flanc/The Sad Sack (1928, Jean Renoir) with Michel Simon and Catherine Hessling, Renoir’s then wife. In the late 1920's Helbling went to Berlin to act in Das Geheimnis des Abbé X/ (1927, Julius Brandt, Wilhelm Dieterle). Co-director Dieterle, later known as William Dieterle played the title role himself. Helbling starred in Germany also in Der Held aller Mädchenträume/The hero of all girls dreams (1928, Robert Land) with Harry Liedtke, and in Mascottchen/Mascots (1928, Felix Basch), with Käthe von Nagy.
Without much difficulty, Jeanne Helbling passed on to talking pictures. In the meantime, she did music hall as well, such as a 1932 show with Josephine Baker at the Casino de Paris. Paramount France hired her to act at the studios of Joinville-Le-Pont for the French versions of films like Une femme a menton/The Lady Lies (1929, Charles de Rochefort), a multilingual shot at the same time in German, Swedish, Italian and Spanish. In the early 1930's Jeanne Helbling also played in American features destined for French audiences, such as L’aviateur/The Aviator (1931, William A. Seiter, Jean Daumery) with Douglas Fairbanks Jr., and Buster se marie/ (1931, Claude Autant-Lara) the French-language version of Buster Keaton's 1931 comedy Parlor, Bedroom and Bath. Until the outbreak of the Second World War, Helbling would act in some 40 films, mostly supporting parts in comedies. She played for instance Empress Eugénie in Les trois valses/Three Waltzes (1938, Ludwig Berger), starring Yvonne Printemps. Another example is Paix sur le Rhin/Peace on the Rhine (1938, Jean Choux), shot in Helbling’s natal region and dealing with a wine owner family of which two sons fight each other in the First World War. Helbling’s co-actors were Françoise Rosay, Pauline Carton, Michèle Alfa, and John Loder. The pacifist film, though, soon became unfit for the times. For a long time it was considered destroyed but in the late 20th century it was found and restored again. During the German occupation in Paris, Helbling joined the resistance under the name of Chantal. She hosted people from the resistance as well as Allies in her apartment in Rue Casimir Pinel in Neuilly. Within the framework of the triple mission Arquebuse-Brumaire-Seahorse, Pierre Brossolette, colonel Passy and Forest Yeo-Thomas organised in 1943 an important meeting which led to the creation of the Committee for the Coordination of the resistance movements in Northern France. This effected in the constitutive meeting of the national Council for the Resistance in Paris. Even though she was concerned about the Gestapo, Jeanne Helbling managed to survive the Second World War. She was honoured for her work by the state of France, in particular by General de Gaulle, as well as by the United Kingdom, who gave her the Order of the Empire for hosting the British agent Forest Yeo-Thomas, known as Shelley or The White Rabbit. After the Liberation, Helbling only did two more films, Dernier métro/The Last Metro (1945, Maurice de Canonge) with Gaby Morlay, and Jeux de femmes/Women's Games (1946, Maurice Cloche). In 1946 she married an American of French origin, Henri Garin. She retired from the film business and moved with her husband to the United States. Forty years after, Jeanne Helbling died in New York in 1985. She had just turned 82.
Sources: Caroline Hanotte (CinéArtistes) (French), Wikipedia (French), and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Ross Verlag, no. 5711/1, 1930-1931. Photo: Ufa.
Hungarian actress Käthe von Nagy (1904-1973) started as the ‘Backfish’ of German films of the late 1920s. In the early 1930s, she became a fashionable and charming star of the German and French cinema.
Käthe von Nagy was born Ekaterina Nagy von Cziser (Kato Nagy) in Szabadka, Austria-Hungary (now: Subotica, Serbia) in 1904. At the age of 16, she planned to get married and therefore her parents put her in the Sancta Christiana Convent near Vienna. After that, she worked in her father's bank office in Budapest and secretly started to write short stories for a newspaper. She also attended the acting school of director Béla Gáal and in 1926, against the will of her parents, she went to Berlin to make films. While searching for an acting job she earned her money as a correspondent for the Hungarian newspaper Pester Hirlop. Hungarian director Alexander Korda helped her get her first film job. It was a supporting role in Männer von der Ehe/Men Before Marriage (Constantin J. David, 1927), which got her the reputation of a ‘backfisch’. The director, Constantin David, would also become her first husband. Soon followed roles in Gustav Mond... Du gehst so stille/You Walk So Softly (Reinhold Schünzel, 1927) and Die Königin seines Herzens/Vienna, City of My Dreams (Victor Janson, 1928) starring Liane Haid. With her first leading role in Die Durchgängerin/The Runaway Girl (Hanns Schwarz, 1928) she became the up-and-coming young actress of the European cinema of the 1920s. Next followed the Italian production Rotaie (Mario Camerini, 1929) and Mascottchen/Mascots (Felix Basch, 1929) with Jeanne Helbling.
In 1930, Käthe von Nagy smoothly moved into the talkies. She appeared as a resolute demimonde dame with psychotherapeutic powers in the Jekyll-and-Hyde-drama Der Andere/The Other (Robert Wiene, 1930), costarring Fritz Kortner and Heinrich George. She said goodbye to her ‘backfisch’ image and impersonated frequently on the screen. Her operettas and musical comedies were very popular and confirmed her promise of the late 1920s. To her successes of the 1930s belong Ihre Majestät die Liebe/Her Majesty Love (Joe May, 1930) with Franz Lederer, Meine Frau, die Hochstaplerin/My Wife, the Impostor (Kurt Gerron, 1931) opposite Heinz Rühmann, Ronny (Reinhold Schünzel, 1931), Ich bei Tag und Du bei Nacht/I by Day, You by Night (Ludwig Berger, 1932) opposite Willy Fritsch, Der Sieger/The Victor (Hans Hinrich, Paul Martin, 1932) with Hans Albers, Das Schöne Abenteuer/Beautiful Adventure (Reinhold Schünzel, 1932), the anti-Soviet propaganda film Flüchtlinge/Fugitives (Gustav Ucicky, 1933), Die Töchter ihrer Exzellenz/The daughters of Her Excellency (Reinhold Schünzel, 1934) and Salonwagen E 417/Luxury Train (Paul Verhoeven, 1939) with Paul Hörbiger.
Because of her multilingual education Käthe von Nagy was able to establish in the French cinema too. As Kate de Nagy she became a star in France. To her French productions belong La Capitaine Craddock/Captain Craddock (Hanns Schwarz, Max de Vaucorbeil, 1931) with Jean Murat, La route impériale/The Imperial Road (Marcel L’Herbier, 1935) with Pierre Richard-Willm, Cargaison blanche/Woman Racket (Robert Siodmak, 1937) opposite Jules Berry, and La bataille silencieuse/The silent battle (Pierre Billon, 1937) starring Pierre Fresnay. She withdrew from the film business with the beginning of World War II. After the war, she appeared only twice on the screen, in the French drama Cargaison clandestine/Alarm in San Juano (Alfred Rode, 1948-1950) with Luis Mariano, and the German remake of Die Försterchristl/The Forester's Daughter (Arthur Maria Rabenalt, 1952), alongside Johanna Matz. In the mid-1950s she went to California where she worked as a French teacher at Happy Valley School in Ojai, California. Käthe von Nagy died of cancer in Ojai, USA in 1973. After her marriage to Constantin J. David, she was married to the Frenchman Jacques Fattini.
Sources: Thomas Staedeli (Cyranos), Operator 99 (Allure), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
German collectors card in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, picture no. 82. Photo: Ufa / Ross Verlag. Lola Chlud and Käthe von Nagy in Der junge Baron Neuhaus/Night in May (Gustav Ucicky, 1934).
Hungarian actress Käthe von Nagy (1904-1973) started as the ‘Backfish’ of German films of the late 1920s. In the early 1930s she became a fashionable and charming star of the German and French cinema.
Käthe von Nagy was born Ekaterina Nagy von Cziser (Kato Nagy) in Szabadka, Austria-Hungary (now: Subotica, Serbia) in 1904. At the age of 16 she planned to get married and therefore her parents put her in the Sancta Christiana Convent near Vienna. After that, she worked in her father's bank office in Budapest and secretly started to write short stories for a newspaper. She also attended the acting school of director Béla Gáal and in 1926, against the will of her parents, she went to Berlin to make films. While searching for an acting job she earned her money as a correspondent for the Hungarian newspaper Pester Hirlop. Hungarian director Alexander Korda helped her get her first film job. It was a supporting role in Männer von der Ehe/Men Before Marriage (Constantin J. David, 1927), which got her the reputation of a ‘backfisch’. The director, Constantin David, would also become her first husband. Soon followed roles in Gustav Mond... Du gehst so stille/You Walk So Softly (Reinhold Schünzel, 1927) and Die Königin seines Herzens/Vienna, City of My Dreams (Victor Janson, 1928) starring Liane Haid. With her first leading role in Die Durchgängerin/The Runaway Girl (Hanns Schwarz, 1928) she became the up-and-coming young actress of the European cinema of the 1920s. Next followed the Italian production Rotaie (Mario Camerini, 1929) and Mascottchen/Mascots (Felix Basch, 1929) with Jeanne Helbling.
In 1930, Käthe von Nagy smoothly moved into the talkies. She appeared as a resolute demimonde dame with psychotherapeutic powers in the Jekyll-and-Hyde-drama Der Andere/The Other (Robert Wiene, 1930), costarring Fritz Kortner and Heinrich George. She said goodbye to her ‘backfisch’ image and impersonated frequently on the screen. Her operettas and musical comedies were very popular and confirmed her promise of the late 1920s. To her successes of the 1930s belong Ihre Majestät die Liebe/Her Majesty Love (Joe May, 1930) with Franz Lederer, Meine Frau, die Hochstaplerin/My Wife, the Impostor (Kurt Gerron, 1931) opposite Heinz Rühmann, Ronny (Reinhold Schünzel, 1931), Ich bei Tag und Du bei Nacht/I by Day, You by Night (Ludwig Berger, 1932) opposite Willy Fritsch, Der Sieger/The Victor (Hans Hinrich, Paul Martin, 1932) with Hans Albers, Das Schöne Abenteuer/Beautiful Adventure (Reinhold Schünzel, 1932), the anti-Soviet propaganda film Flüchtlinge/Fugitives (Gustav Ucicky, 1933), Die Töchter ihrer Exzellenz/The daughters of Her Excellency (Reinhold Schünzel, 1934) and Salonwagen E 417/Luxury Train (Paul Verhoeven, 1939) with Paul Hörbiger.
Because of her multilingual education Käthe von Nagy was able to establish in the French cinema too. As Kate de Nagy she became a star in France. To her French productions belong La Capitaine Craddock/Captain Craddock (Hanns Schwarz, Max de Vaucorbeil, 1931) with Jean Murat, La route impériale/The Imperial Road (Marcel L’Herbier, 1935) with Pierre Richard-Willm, Cargaison blanche/Woman Racket (Robert Siodmak, 1937) opposite Jules Berry, and La bataille silencieuse/The silent battle (Pierre Billon, 1937) starring Pierre Fresnay. She withdrew from the film business with the beginning of World War II. After the war she appeared only twice on the screen, in the French drama Cargaison clandestine/Alarm in San Juano (Alfred Rode, 1948-1950) with Luis Mariano, and the German remake of Die Försterchristl/The Forester's Daughter (Arthur Maria Rabenalt, 1952), alongside Johanna Matz. In the mid-1950s she went to California where she worked as a French teacher at Happy Valley School in Ojai, California. Käthe von Nagy died of cancer in Ojai, USA in 1973. After her marriage to Constantin J. David, she was married to the Frenchman Jacques Fattini.
Sources: Thomas Staedeli (Cyranos), Operator 99 (Allure), Filmportal.de, Wikipedia, and IMDb.
For more cards of this series, check out our album Vom Werden Deutscher Filmkunst.
German postcard by Ross Verlag, no. 8806/1, 1933-1934. Photo: Ufa / Frhr. von Gudenberg. Collection: Marlene Pilaete.
Hungarian actress Käthe von Nagy (1904-1973) started as the ‘Backfish’ of German films of the late 1920s. In the early 1930s, she became a fashionable and charming star of German and French cinema.
Käthe von Nagy was born Ekaterina Nagy von Cziser (Kato Nagy) in Szabadka, Austria-Hungary (now: Subotica, Serbia) in 1904. At the age of 16 she planned to get married and therefore her parents put her in the Sancta Christiana Convent near Vienna. After that, she worked in her father's bank office in Budapest and secretly started to write short stories for a newspaper. She also attended the acting school of director Béla Gáal and in 1926, against the will of her parents, she went to Berlin to make films. While searching for an acting job she earned her money as a correspondent for the Hungarian newspaper Pester Hirlop. Hungarian director Alexander Korda helped her get her first film job. It was a supporting role in Männer von der Ehe/Men Before Marriage (Constantin J. David, 1927), which got her the reputation of a ‘backfisch’. The director, Constantin David, would also become her first husband. Soon followed roles in Gustav Mond... Du gehst so stille/You Walk So Softly (Reinhold Schünzel, 1927) and Die Königin seines Herzens/Vienna, City of My Dreams (Victor Janson, 1928) starring Liane Haid. With her first leading role in Die Durchgängerin/The Runaway Girl (Hanns Schwarz, 1928) she became the up-and-coming young actress of the European cinema of the 1920s. Next followed the Italian production Rotaie (Mario Camerini, 1929) and Mascottchen/Mascots (Felix Basch, 1929) with Jeanne Helbling.
In 1930, Käthe von Nagy smoothly moved into the talkies. She appeared as a resolute demimonde dame with psychotherapeutic powers in the Jekyll-and-Hyde-drama Der Andere/The Other (Robert Wiene, 1930), costarring Fritz Kortner and Heinrich George. She said goodbye to her ‘backfisch’ image and impersonated frequently on the screen. Her operettas and musical comedies were very popular and confirmed her promise of the late 1920s. To her successes of the 1930s belong Ihre Majestät die Liebe/Her Majesty Love (Joe May, 1930) with Franz Lederer, Meine Frau, die Hochstaplerin/My Wife, the Impostor (Kurt Gerron, 1931) opposite Heinz Rühmann, Ronny (Reinhold Schünzel, 1931), Ich bei Tag und Du bei Nacht/I by Day, You by Night (Ludwig Berger, 1932) opposite Willy Fritsch, Der Sieger/The Victor (Hans Hinrich, Paul Martin, 1932) with Hans Albers, Das Schöne Abenteuer/Beautiful Adventure (Reinhold Schünzel, 1932), the anti-Soviet propaganda film Flüchtlinge/Fugitives (Gustav Ucicky, 1933), Die Töchter ihrer Exzellenz/The daughters of Her Excellency (Reinhold Schünzel, 1934) and Salonwagen E 417/Luxury Train (Paul Verhoeven, 1939) with Paul Hörbiger.
Because of her multilingual education Käthe von Nagy was able to establish in the French cinema too. As Kate de Nagy she became a star in France. To her French productions belong La Capitaine Craddock/Captain Craddock (Hanns Schwarz, Max de Vaucorbeil, 1931) with Jean Murat, La route impériale/The Imperial Road (Marcel L’Herbier, 1935) with Pierre Richard-Willm, Cargaison blanche/Woman Racket (Robert Siodmak, 1937) opposite Jules Berry, and La bataille silencieuse/The silent battle (Pierre Billon, 1937) starring Pierre Fresnay. She withdrew from the film business with the beginning of World War II. After the war she appeared only twice on the screen, in the French drama Cargaison clandestine/Alarm in San Juano (Alfred Rode, 1948-1950) with Luis Mariano, and the German remake of Die Försterchristl/The Forester's Daughter (Arthur Maria Rabenalt, 1952), alongside Johanna Matz. In the mid-1950s she went to California where she worked as a French teacher at Happy Valley School in Ojai, California. Käthe von Nagy died of cancer in Ojai, USA in 1973. After her marriage to Constantin J. David, she was married to the Frenchman Jacques Fattini.
Sources: Thomas Staedeli (Cyranos), Operator 99 (Allure), Filmportal.de,Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Jerry Wykoff, Mark Holley, William Mulligan, Steve Murphy, Bernard Helbling, Richard Albo, Michael Ossorio
Strasbourg
Bassin d’Austerlitz
Quai Jeanne Helbling
Place Jeanne Helbling
Presque’Île André Malraux
UGC Cine Cité Étoile
Architecture: Denis Valode et Jean Pistre, 2000
Project info: UGC Cine Cité Étoile
Rivétoile
Tour Seegmuller / Maison universitaire internationale
Architecture: Gustave Umbdenstock, 1930-34 / Weber Keiling Architectes, 2015
project info: Tour Seegmuller
30. 08. 2019
German cigarette card by Ross Verlag in the 'Künstler im Film' series for Zigarettenfabrik Monopol, Dresden, Serie 1, image 30 (of 200). Photo: Itala-Film.
Hungarian actress Käthe von Nagy (1904-1973) started as the ‘Backfish’ of German films of the late 1920s. In the early 1930s, she became a fashionable and charming star of the German and French cinema.
Käthe von Nagy was born Ekaterina Nagy von Cziser (Kato Nagy) in Szabadka, Austria-Hungary (now: Subotica, Serbia) in 1904. At the age of 16, she planned to get married and therefore her parents put her in the Sancta Christiana Convent near Vienna. After that, she worked in her father's bank office in Budapest and secretly started to write short stories for a newspaper. She also attended the acting school of director Béla Gáal and in 1926, against the will of her parents, she went to Berlin to make films. While searching for an acting job she earned her money as a correspondent for the Hungarian newspaper Pester Hirlop. Hungarian director Alexander Korda helped her get her first film job. It was a supporting role in Männer von der Ehe/Men Before Marriage (Constantin J. David, 1927), which got her the reputation of a ‘backfisch’. The director, Constantin David, would also become her first husband. Soon followed roles in Gustav Mond... Du gehst so stille/You Walk So Softly (Reinhold Schünzel, 1927) and Die Königin seines Herzens/Vienna, City of My Dreams (Victor Janson, 1928) starring Liane Haid. With her first leading role in Die Durchgängerin/The Runaway Girl (Hanns Schwarz, 1928) she became the up-and-coming young actress of the European cinema of the 1920s. Next followed the Italian production Rotaie (Mario Camerini, 1929) and Mascottchen/Mascots (Felix Basch, 1929) with Jeanne Helbling.
In 1930, Käthe von Nagy smoothly moved into the talkies. She appeared as a resolute demimonde dame with psychotherapeutic powers in the Jekyll-and-Hyde-drama Der Andere/The Other (Robert Wiene, 1930), costarring Fritz Kortner and Heinrich George. She said goodbye to her ‘backfisch’ image and impersonated frequently on the screen. Her operettas and musical comedies were very popular and confirmed her promise of the late 1920s. To her successes of the 1930s belong Ihre Majestät die Liebe/Her Majesty Love (Joe May, 1930) with Franz Lederer, Meine Frau, die Hochstaplerin/My Wife, the Impostor (Kurt Gerron, 1931) opposite Heinz Rühmann, Ronny (Reinhold Schünzel, 1931), Ich bei Tag und Du bei Nacht/I by Day, You by Night (Ludwig Berger, 1932) opposite Willy Fritsch, Der Sieger/The Victor (Hans Hinrich, Paul Martin, 1932) with Hans Albers, Das Schöne Abenteuer/Beautiful Adventure (Reinhold Schünzel, 1932), the anti-Soviet propaganda film Flüchtlinge/Fugitives (Gustav Ucicky, 1933), Die Töchter ihrer Exzellenz/The daughters of Her Excellency (Reinhold Schünzel, 1934) and Salonwagen E 417/Luxury Train (Paul Verhoeven, 1939) with Paul Hörbiger.
Because of her multilingual education Käthe von Nagy was able to establish in the French cinema too. As Kate de Nagy she became a star in France. To her French productions belong La Capitaine Craddock/Captain Craddock (Hanns Schwarz, Max de Vaucorbeil, 1931) with Jean Murat, La route impériale/The Imperial Road (Marcel L’Herbier, 1935) with Pierre Richard-Willm, Cargaison blanche/Woman Racket (Robert Siodmak, 1937) opposite Jules Berry, and La bataille silencieuse/The silent battle (Pierre Billon, 1937) starring Pierre Fresnay. She withdrew from the film business with the beginning of World War II. After the war, she appeared only twice on the screen, in the French drama Cargaison clandestine/Alarm in San Juano (Alfred Rode, 1948-1950) with Luis Mariano, and the German remake of Die Försterchristl/The Forester's Daughter (Arthur Maria Rabenalt, 1952), alongside Johanna Matz. In the mid-1950s she went to California where she worked as a French teacher at Happy Valley School in Ojai, California. Käthe von Nagy died of cancer in Ojai, USA in 1973. After her marriage to Constantin J. David, she was married to the Frenchman Jacques Fattini.
Sources: Thomas Staedeli (Cyranos), Operator 99 (Allure), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Divided reverse. Letter kindly translated by Nettenscheider, authored in München on 3.2.1915 and sent to relatives, the author asks them to check on his bees.
Bee keeper and now Infanterist, Oswald Mayer of Ersatz-Bataillon bayer. Reserve-Infanterie-Regiment Nr. 2 stands in the gateway of an unidentified München garrison.
His service records indicate he received a head wound in September 1915, which rendered him deaf in his left ear. In 1918, an intestinal condition saw him relegated to the rear echelon, guarding prisoners.
At least he was able to return to his bees.
_______________________________________________
Notes:
b. Reserve-Infanterie-Regiment Nr. 2 (+MG.-Kp.)
Aufgestellt in München (R.Stb., I.), Landshut (II.) und Passau (III.)
Unterstellung:1. b. Res.Div.
Kommandeur:Oberstleutnant Helbling (2. b. I.R.)
I.:Major Fischer (1. b. I.R.)
II.:Major Wölfl (16. b. I.R.)
III.:Major Staudacher (16. b. I.R.) gef.: 5.9.14
Verluste:61 Offz., 3211 Uffz. und Mannschaften.
French postcard.
Armand Tallier (1887-1958) was a stage and screen actor, who peaked in the silent era. Inspired by theatre director Jacques Copeau, who had opened the alternative Théâtre du Vieux Colombier, and who had directed Tallier on stage from 1913 for several years, Tallier created with Laurence Myrga the Studio des Ursulines, one of the first Parisian art houses, founded to ensure the diffusion of avant-garde cinema. The first session took place in January 1926. As an homage to him, since 1958 the best book on film is awarded the Prix Armand Tallier (since 1977 called Prix littéraire du syndicat français de la critique de cinéma).
Armand Tallier was born on August 6, 1887 in Marseille, Bouches-du-Rhône, France as Armand Urbain Édouard Espitallier. From 1911, he acted at Pathé Frères, Film d'Art (e.g. in films by Henri Pouctal), Gaumont (directed by e.g. Henri Fescourt and Léonce Perret), and Eclair (directed by e.g. Gérard Bourgeois). In 1916 he played e.g. opposite Huguette Duflos in Madeleine (Jean Kemm), opposite Yvette Andréyor in Un mariage de raison (Perret/Louis Feuillade), and opposite Henry Krauss in Le destin est maître (Jacques Feyder). One of his first features was Abel Gance's Mater Dolorosa/ The Torture of Silence (1917), starring Emmy Lynn as an unfaithful wife who refuses to confess to her husband (Firmin Gémier), and then suffers as a mother. Tallier is the man's brother, whom the wife secretly has loved and who accidentally has killed himself while trying to disarm the woman, who wanted to commit suicide. For the full film, see www.youtube.com/watch?v=mGfQxenyyTg.
In 1917 Tallier was paired with Léon Bernard (whom he knew from his career in shorts) in Les feuilles tombent (Georges Monca, 1917), followed by La comtesse de Somerive (Georges Denola, 1917), Les vieilles femmes de l'hospice (Feyder, 1917), and L'instinct est maître (Feyder, 1917). In 1918 Tallier was Ebenezer in the fishermen's drama Les travailleurs de la mer by André Antoine, and adapted from Victor Hugo's novel. The plot deals with a Guernseyman named Gilliatt (Romuald Joubé), a social outcast who falls in love with Deruchette (Andrée Brabant), the niece of a local shipowner, Mr. Lethierry (Charles Mosnier). When Lethierry's ship is wrecked on the Roches Douvres, a perilous reef, Deruchette promises to marry whoever can salvage the ship's steam engine. Gilliatt eagerly volunteers, and the story follows both his physical trials and tribulations, but in the end, he understands Deruchette loves another, Ebenezer (Tallier), so he sacrifices himself and crashes into a rock. In 1918-1919 Tallier could be seen in e.g. Marion de Lorme (Henry Krauss, 1918) starring Nelly Cormon, Le bercail (Marcel L'Herbier, 1919), and Âmes d'orient (Léon Poirier, 1919).
Between 1920 and 1926, Tallier only did 9 films but some memorable ones, such as Le penseur (Poirier, 1920) with André Nox, and Mathias Sandorf (Fescourt, 1921) starring Romuald Joubé. He played the title character in Jocelyn (Poirier, 1922), a period piece after Lamartine, about a young man who is chased from seminary during the French Revolution, and hides in a cave. He hosts a fugitive who proves to be a woman, Laurence (Laurence Myrga). Far from civilisation, their love grows, but Jocelyn still keeps his vows and leaves Laurence. She dies, he buries her in the cave. In Poirier's La Brière (1925), set in the region of La Brière where rough men and women live on peat cutting, a fierce argument breaks out about the draining of the marshes in service of the manufacture of bricks. The old stubborn Aoustin (José Davert) leads the resistance and refuses to give his daughter Théotiste (Laurence Myrga) to a young peasant, Jeanin (Armand Tallier), in favor of the draining. When a pregnant Théotiste is still refused marriage and Aoustin even wants to have Jeanin arrested for poaching, the latter shoots Aoustin his hand off. Théotiste has a miscarriage and is accused of killing her child, after which Jeanin and the whole community shun her. Aoustin gets a wooden hand. He wants to kill Jeanin, but first needs to bring Théotiste to a hospital through the marshes. He gets lost in the freezing cold while his daughter dies. In the end Aoustin lets Jeanin go. The film was typical for the peak in realist rural dramas around 1924.
In 1926 Tallier did his last two films. In La chaussée des géants (1926) he starred as François Gérard, who in childhood met Antiope, a little foreigner, in a Paris park. As an adult (Tallier), he sees her (Jeanne Helbling) again in her native country, Mingrelia, which is on the verge of revolution. He is then the host of Count of Antrim (André Volbert), who is also Antiope's father. However, once in the presence of François, the young woman does not seem particularly moved, which somewhat puzzles him. A revolution breaks out, but the conjurers are executed or imprisoned. Back in France, François learns about the true identity of Antiope. The film's title refers to the real Chaussée des Géants (Giant's Causeway), in the County of Antrim in Ireland. In his last film, Le soleil de minuit (Richard Garrick, Jean Legrand, 1926), Tallier again had the male lead. Plot: Irène Sorbier (Gina Manès) sacrifices her honor to save her father from ruin. A few months afterward, she meets a charming young man named André Varennes (Tallier) and they both take a fancy towards each other. On their wedding night, Irène confesses her past to André who leaves her. They meet again after a year and Irène gets to explain and plead her case. Although André forgives her, he leaves for a cruise on his yacht alone. She tries to follow him on a small boat but a storm capsizes it and in the nick of time André rescues the woman whom he has always loved. Both last films with Tallier were based on novels by Pierre Benoît, famous for his novels L'Atlantide and Koenigsmark, which were adapted to film several times. Armand Tallier died in Paris on 1 March 1958
Sources: Wikipedia (French) and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by Europe, no. 992. Photo: Produzione Pittaluga Cines, Roma.
Little is known about the personal life of Italian actress and singer Grazia Del Rio, but probably because of her singing voice and clear vocals she had a prolific career in the earliest years of sound cinema. Between 1930 and 1933 she had a short but intense film career in Italy and France, peaking with La stella del cinema (Mario Almirante, 1931) in which she starred herself. In the late 1930s she had second career in Argentina and Chile.
According to Elena Mosconi, Grazia Del Rio aka Gracia del Río came from Santiago, Chili, studied piano in Paris, and song and dance in Milan. She became a music-hall actress, she herself claimed to have performed with the music-hall Za-Bum in the shows Broadway and K.41. Grazia Del Rio acted in one late silent film shot in Africa, Tramonto dei blasoni (Attilio Gatti, 1928), even if it is unsure whether that film really was released. Anyway, her breakthrough came in 1930 with the earliest sounds films made at the Cines Pittaluga studio in Rome, equipped for sound cinema in that year. Already in 1929 she sang in a short recorded by director Baldassarre Negroni, Serenata Tzigana (released in 1930), made to test the new sound equipment of the ENAC company. Negroni would henceforth become a floor manager at the new Cines Pittaluga sound film studios. It was here that in 1930 Del Rio performed as singer and actress in a series of Cines shorts by Mario Almirante, including Donne alla fonte and Fantasia di bambole (the latter found at the EYE Filmmuseum years ago). Together with actor Elio Steiner, Del Rio played a host to the film spectators in the first of a series shorts by Cines, called Rivista Cines. It showed the new studios and its visit by Minister Bottai. The short was shown together with what goes as the first Italian sound film, La canzone dell'amore, at its premiere at the Roman Supercinema (now Teatro Nazionale) on 8 October 1930. One month after, the film Nerone (1930) by Alessandro Blasetti was released, an anachronistic comedy with Petrolini in the title role and Del Rio as his admirer.
After a supporting part in the Armando Falconi comedy Rubacuori (Guido Brignone 1931), Del Rio starred in the film La stella del cinema (Mario Almirante, 1931), about a debuting actress who is catapulted into stardom, while her fiancé (Elio Steiner) remains an extra. Twenty years before Stanley Donen's Singin' in the rain, the histrionic acting of the former silent film actress (Sandra Ravel) is discredited, and the 'au naturel' acting of the newcomer is favored as more apt to the new medium. The plot was an excuse to give a peek into the behind-the-screens of the modern Cines sound film studio, and shows both actors and directors from the silent days and the new sound film generation. A few years ago, the film was fully restored and released on DVD.
Del Rio also went to France to act in early sound films there: first La dernière berceuse (Gennaro Righelli, 1931), the French version of Righelli's own La canzone dell'amore, starring Dolly Davis and Jean Angelo instead of Dria Paola and Elio Steiner, and with Del Rio in the part of Isa Pola. This would be followed by Mon ami Tim/ Fifty Fathoms Deep (Jack Forrester, 1932) with Jeanne Helbling and Thomy Bourdelle, and La petite de Montparnasse (Hanns Schwarz, 1932), in which she starred herself, opposite Lucien Gallas. In 1933 she had a supporting part in the comedy Les aventures du roi Pausole (Alexis Granowsky, 1933) starring Les aventures du roi Pausole (1933), filmed at the Côte d'Azur. Del Rio also played in the German language version of the film, in which Emil Jannings played the title character. Del Rio remained in France for three more films: the comedy Le tendron d'Achille/Achilles' Heel (Christian-Jaque, 1933), Le relais d'amour (André Pellenc, 1933), and La nuit des dupes (Maurice Labro, Pierre Weill, 1933) with Roland Toutain. After that, Grazia Del Rio's European film career was over. It is not entirely clear but she have gone back to Chile, as her namesake Grazia Del Rio made various films in 1938-1940 in Argentina and Chile: in Argentina, Turbión (Antonio Momplet, 1938), El misterio de la dama gris (James Bauer, 1939), Ambición (Adelqui Migliar, 1939), and La luz de un fósforo (Leopoldo Torres Ríos, 1940), and in Chile, Entre gallos y medianoche (Eugenio de Liguoro, 1940).
Sources: IMDB, Elena Mosconi ('L 'altra Pittaluga', Immagine No. 16, 2017), www.taxidrivers.it/108769/film-da-vedere/per-la-prima-vol....
Links to films:
www.youtube.com/watch?v=uwbFUipPpsQ (British Pathe News)
www.youtube.com/watch?v=Zurm89QmUEg (Rivista Cines 1)
German cigarette card by Ross Verlag in the 'Künstler im Film' series for Zigarettenfabrik Monopol, Dresden, Serie 1, image 134 (of 200). Photo: Paramount.
Ketti Gallian (1912-1972) was a blonde French actress, who starred in films by Paramount and Fox during the 1930s. Her Hollywood career was not a success and she returned to France, where she acted in films till 1956.
Ketti Gallian was born Victorine, Catherine Galliano in Nice, France, in 1912. She went to Paris at the age of 15 and secured work as a mannequin and chorus girl. She later went back to Nice, where her film debut was a part in a short by the French studio of Paramount Pictures, L'indéfrisable/The Perm (Jean de Marguenat, 1931) with Marcel Carpentier. For 'Les Studios Paramount', she then appeared in the French films Côte d'Azur (Roger Capellani, 1932) with Robert Burnier, and the comedy Avec l'assurance/With Assurance (Roger Capellani, 1932), starring Saint-Grenier and Jeanne Helbling. In 1933, Ketti Gallian's performance on the London stage in the mystery 'The Ace' in which she played opposite Raymond Massey, resulted in a screen contract from Fox.
In Hollywood, Ketti Gallian starred opposite Spencer Tracy in Marie Galante (Henry King, 1934), She was the leading lady in the Western Under the Pampas Moon (James Tinling, 1935) opposite Warner Baxter. These leads were poorly received and failed to make her a star. Gallian then had supporting parts in the drama Espionage (Kurt Neumann, 1937) starring Edmund Lowe, and in Shall We Dance (Mark Sandrich, 1937), the seventh of the ten Fred Astaire-Ginger Rogers musical comedies. However, she never became a success while acting in America and returned to France. Till 1956, she appeared in six more French films, including the adventure film La piste du sud/The southern track (Pierre Billon, 1938) with Albert Préjean, and Du Guesclin (Bernard de Latour, 1948), starring Fernand Gravey. In 1972, Ketti Gallian died, aged 59, in Paris. She was married to director Pierre Billon.
Sources: Operator_99 (Allure), Wikipedia (French and English) and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Ross Verlag, no. 4014/1, 1929-1930. Photo: Atelier Sandau, Berlin.
Hungarian actress Käthe von Nagy (1904-1973) started as the ‘Backfish’ of German films of the late 1920s. In the early 1930s, she became a fashionable and charming star of the German and French cinema.
Käthe von Nagy was born Ekaterina Nagy von Cziser (Kato Nagy) in Szabadka, Austria-Hungary (now: Subotica, Serbia) in 1904. At the age of 16, she planned to get married and therefore her parents put her in the Sancta Christiana Convent near Vienna. After that, she worked in her father's bank office in Budapest and secretly started to write short stories for a newspaper. She also attended the acting school of director Béla Gáal and in 1926, against the will of her parents, she went to Berlin to make films. While searching for an acting job she earned her money as a correspondent for the Hungarian newspaper Pester Hirlop. Hungarian director Alexander Korda helped her get her first film job. It was a supporting role in Männer von der Ehe/Men Before Marriage (Constantin J. David, 1927), which got her the reputation of a ‘backfisch’. The director, Constantin David, would also become her first husband. Soon followed roles in Gustav Mond... Du gehst so stille/You Walk So Softly (Reinhold Schünzel, 1927) and Die Königin seines Herzens/Vienna, City of My Dreams (Victor Janson, 1928) starring Liane Haid. With her first leading role in Die Durchgängerin/The Runaway Girl (Hanns Schwarz, 1928) she became the up-and-coming young actress of the European cinema of the 1920s. Next followed the Italian production Rotaie (Mario Camerini, 1929) and Mascottchen/Mascots (Felix Basch, 1929) with Jeanne Helbling.
In 1930, Käthe von Nagy smoothly moved into the talkies. She appeared as a resolute demimonde dame with psychotherapeutic powers in the Jekyll-and-Hyde-drama Der Andere/The Other (Robert Wiene, 1930), costarring Fritz Kortner and Heinrich George. She said goodbye to her ‘backfisch’ image and impersonated frequently on the screen. Her operettas and musical comedies were very popular and confirmed her promise of the late 1920s. To her successes of the 1930s belong Ihre Majestät die Liebe/Her Majesty Love (Joe May, 1930) with Franz Lederer, Meine Frau, die Hochstaplerin/My Wife, the Impostor (Kurt Gerron, 1931) opposite Heinz Rühmann, Ronny (Reinhold Schünzel, 1931), Ich bei Tag und Du bei Nacht/I by Day, You by Night (Ludwig Berger, 1932) opposite Willy Fritsch, Der Sieger/The Victor (Hans Hinrich, Paul Martin, 1932) with Hans Albers, Das Schöne Abenteuer/Beautiful Adventure (Reinhold Schünzel, 1932), the anti-Soviet propaganda film Flüchtlinge/Fugitives (Gustav Ucicky, 1933), Die Töchter ihrer Exzellenz/The daughters of Her Excellency (Reinhold Schünzel, 1934) and Salonwagen E 417/Luxury Train (Paul Verhoeven, 1939) with Paul Hörbiger.
Because of her multilingual education Käthe von Nagy was able to establish in the French cinema too. As Kate de Nagy she became a star in France. To her French productions belong La Capitaine Craddock/Captain Craddock (Hanns Schwarz, Max de Vaucorbeil, 1931) with Jean Murat, La route impériale/The Imperial Road (Marcel L’Herbier, 1935) with Pierre Richard-Willm, Cargaison blanche/Woman Racket (Robert Siodmak, 1937) opposite Jules Berry, and La bataille silencieuse/The silent battle (Pierre Billon, 1937) starring Pierre Fresnay. She withdrew from the film business with the beginning of World War II. After the war, she appeared only twice on the screen, in the French drama Cargaison clandestine/Alarm in San Juano (Alfred Rode, 1948-1950) with Luis Mariano, and the German remake of Die Försterchristl/The Forester's Daughter (Arthur Maria Rabenalt, 1952), alongside Johanna Matz. In the mid-1950s she went to California where she worked as a French teacher at Happy Valley School in Ojai, California. Käthe von Nagy died of cancer in Ojai, USA in 1973. After her marriage to Constantin J. David, she was married to the Frenchman Jacques Fattini.
Sources: Thomas Staedeli (Cyranos), Operator 99 (Allure), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by Editions Cinémagazine, no. 399.
Armand Tallier (1887-1958) was a stage and screen actor, who peaked in the silent era. Inspired by theatre director Jacques Copeau, who had opened the alternative Théâtre du Vieux Colombier, and who had directed Tallier on stage from 1913 for several years, Tallier created with Laurence Myrga the Studio des Ursulines, one of the first Parisian art houses, founded to ensure the diffusion of avant-garde cinema. The first session took place in January 1926. As an homage to him, since 1958 the best book on film is awarded the Prix Armand Tallier (since 1977 called Prix littéraire du syndicat français de la critique de cinéma).
Armand Tallier was born on August 6, 1887 in Marseille, Bouches-du-Rhône, France as Armand Urbain Édouard Espitallier. From 1911, he acted at Pathé Frères, Film d'Art (e.g. in films by Henri Pouctal), Gaumont (directed by e.g. Henri Fescourt and Léonce Perret), and Eclair (directed by e.g. Gérard Bourgeois). In 1916 he played e.g. opposite Huguette Duflos in Madeleine (Jean Kemm), opposite Yvette Andréyor in Un mariage de raison (Perret/Louis Feuillade), and opposite Henry Krauss in Le destin est maître (Jacques Feyder). One of his first features was Abel Gance's Mater Dolorosa/ The Torture of Silence (1917), starring Emmy Lynn as an unfaithful wife who refuses to confess to her husband (Firmin Gémier), and then suffers as a mother. Tallier is the man's brother, whom the wife secretly has loved and who accidentally has killed himself while trying to disarm the woman, who wanted to commit suicide. For the full film, see www.youtube.com/watch?v=mGfQxenyyTg.
In 1917 Tallier was paired with Léon Bernard (whom he knew from his career in shorts) in Les feuilles tombent (Georges Monca, 1917), followed by La comtesse de Somerive (Georges Denola, 1917), Les vieilles femmes de l'hospice (Feyder, 1917), and L'instinct est maître (Feyder, 1917). In 1918 Tallier was Ebenezer in the fishermen's drama Les travailleurs de la mer by André Antoine, and adapted from Victor Hugo's novel. The plot deals with a Guernseyman named Gilliatt (Romuald Joubé), a social outcast who falls in love with Deruchette (Andrée Brabant), the niece of a local shipowner, Mr. Lethierry (Charles Mosnier). When Lethierry's ship is wrecked on the Roches Douvres, a perilous reef, Deruchette promises to marry whoever can salvage the ship's steam engine. Gilliatt eagerly volunteers, and the story follows both his physical trials and tribulations, but in the end, he understands Deruchette loves another, Ebenezer (Tallier), so he sacrifices himself and crashes into a rock. In 1918-1919 Tallier could be seen in e.g. Marion de Lorme (Henry Krauss, 1918) starring Nelly Cormon, Le bercail (Marcel L'Herbier, 1919), and Âmes d'orient (Léon Poirier, 1919).
Between 1920 and 1926, Tallier only did 9 films but some memorable ones, such as Le penseur (Poirier, 1920) with André Nox, and Mathias Sandorf (Fescourt, 1921) starring Romuald Joubé. He played the title character in Jocelyn (Poirier, 1922), a period piece after Lamartine, about a young man who is chased from seminary during the French Revolution, and hides in a cave. He hosts a fugitive who proves to be a woman, Laurence (Laurence Myrga). Far from civilisation, their love grows, but Jocelyn still keeps his vows and leaves Laurence. She dies, he buries her in the cave. In Poirier's La Brière (1925), set in the region of La Brière where rough men and women live on peat cutting, a fierce argument breaks out about the draining of the marshes in service of the manufacture of bricks. The old stubborn Aoustin (José Davert) leads the resistance and refuses to give his daughter Théotiste (Laurence Myrga) to a young peasant, Jeanin (Armand Tallier), in favor of the draining. When a pregnant Théotiste is still refused marriage and Aoustin even wants to have Jeanin arrested for poaching, the latter shoots Aoustin his hand off. Théotiste has a miscarriage and is accused of killing her child, after which Jeanin and the whole community shun her. Aoustin gets a wooden hand. He wants to kill Jeanin, but first needs to bring Théotiste to a hospital through the marshes. He gets lost in the freezing cold while his daughter dies. In the end Aoustin lets Jeanin go. The film was typical for the peak in realist rural dramas around 1924.
In 1926 Tallier did his last two films. In La chaussée des géants (1926) he starred as François Gérard, who in childhood met Antiope, a little foreigner, in a Paris park. As an adult (Tallier), he sees her (Jeanne Helbling) again in her native country, Mingrelia, which is on the verge of revolution. He is then the host of Count of Antrim (André Volbert), who is also Antiope's father. However, once in the presence of François, the young woman does not seem particularly moved, which somewhat puzzles him. A revolution breaks out, but the conjurers are executed or imprisoned. Back in France, François learns about the true identity of Antiope. The film's title refers to the real Chaussée des Géants (Giant's Causeway), in the County of Antrim in Ireland. In his last film, Le soleil de minuit (Richard Garrick, Jean Legrand, 1926), Tallier again had the male lead. Plot: Irène Sorbier (Gina Manès) sacrifices her honor to save her father from ruin. A few months afterward, she meets a charming young man named André Varennes (Tallier) and they both take a fancy towards each other. On their wedding night, Irène confesses her past to André who leaves her. They meet again after a year and Irène gets to explain and plead her case. Although André forgives her, he leaves for a cruise on his yacht alone. She tries to follow him on a small boat but a storm capsizes it and in the nick of time André rescues the woman whom he has always loved. Both last films with Tallier were based on novels by Pierre Benoît, famous for his novels L'Atlantide and Koenigsmark, which were adapted to film several times.
Armand Tallier died in Paris on 1 March 1958
Sources: IMDB, French Wikipedia.
Divided reverse. No correspondence.
Another infantryman from bayer. Reserve-Infanterie-Regiment Nr. 2 tempting fate by having his photograph taken at the spot where so many before him stood and later fell in combat (see other images underneath this one).
__________________________________________________________________
Notes:
b. Reserve-Infanterie-Regiment Nr. 2 (+MG.-Kp.)
Aufgestellt in München (R.Stb., I.), Landshut (II.) und Passau (III.)
Unterstellung:1. b. Res.Div.
Kommandeur:Oberstleutnant Helbling (2. b. I.R.)
I.:Major Fischer (1. b. I.R.)
II.:Major Wölfl (16. b. I.R.)
III.:Major Staudacher (16. b. I.R.) gef.: 5.9.14
Verluste:61 Offz., 3211 Uffz. und Mannschaften.
French postcard by Editions Cinémagazine, no. 72. Photo: Jean Desboutin.
Little is known about Monique Chrysès. Her life dates are lacking. She debuted in French silent film in Le père Goriot (Jacques de Baroncelli, 1921), where she played Madame de Restaud opposite Gabriel Signoret as the title character. In the same year, she acted in L'inconnue (Charles Maudru, 1921) starring Lois Meredith. In 1922 she acted in the Oscar Wilde adaptation Le crime de Lord Arthur Savile (René Hervil, 1922) with the British actor Cecil Mannering as the title character. In 1923 she acted in Germaine Dulac's serial Gossette (1923) starring Régine Bouet and costarring Maurice Schutz. In the next year, she was Mme Belmont in L'enfant des halles (René Leprince, 1924) and she played Marthe Guéroy in L'aventurier (Maurice Mariaud, Louis Osmont, 1924) with Jean Angelo and Jeanne Helbling in the leads.
In Gossette, Chrysès is Lucienne Dornay, the wife of a murdered man and the lover of the leading man of the film, Philippe, played by Georges Charlia. The lover is suspected of the murder, but it proves to be his cousin Robert (Jean-David Evremond), anxious to get his inheritance. In the first part of the episode film, L'enfant des halles, Chrysès is a mother who loses a baby during a car accident and by consequence loses her mind. A vagabond has taken the baby but leaves it at Les Halles in Paris, where little Berlingot, picks it up and takes it to the family Marcadiou. The mother searches for her child, finds Berlingot and is charmed by him.
After years of absence from the screen, Chrysès had a last, supporting part in the French sound film La voix qui meurt (Gennaro DIni, 1934) starring André Burdino and with Nicholas Rimsky and Camille Bardou in supporting parts.
Sources: IMDB, filmographie.fondation-jeromeseydoux-pathe.com/.
Italian postcard, no. 701. Photo: Augustus Films.
Little is known about the personal life of Italian actress and singer Grazia Del Rio, but probably because of her singing voice and clear vocals she had a prolific career in the earliest years of sound cinema. Between 1930 and 1933 she had a short but intense film career in Italy and France, peaking with La stella del cinema (Mario Almirante, 1931) in which she starred as herself. In the late 1930s, she had a second career in Argentina and Chile.
According to Elena Mosconi, Grazia Del Rio aka Gracia del Río came from Santiago, Chile, studied piano in Paris, and song and dance in Milan. She became a music-hall actress, she herself claimed to have performed with the music-hall Za-Bum in the shows Broadway and K.41. Grazia Del Rio acted in one late silent film shot in Africa, Tramonto dei blasoni (Attilio Gatti, 1928), even if it is unsure whether that film really was released. Anyway, her breakthrough came in 1930 with the earliest sound films made at the Cines Pittaluga studio in Rome, equipped for sound cinema in that year. Already in 1929 she sang in a short recorded by director Baldassarre Negroni, Serenata Tzigana (released in 1930), made to test the new sound equipment of the ENAC company. Negroni would henceforth become a floor manager at the new Cines Pittaluga sound film studios. It was here that in 1930 Del Rio performed as singer and actress in a series of Cines shorts by Mario Almirante, including Donne alla fonte and Fantasia di bambole (the latter found at the EYE Filmmuseum years ago). Together with actor Elio Steiner, Del Rio played a host to the film spectators in the first of a series of shorts by Cines, called Rivista Cines. It showed the new studios and its visit by Minister Bottai. The short was shown together with what goes as the first Italian sound film, La canzone dell'amore, at its premiere at the Roman Supercinema (now Teatro Nazionale) on 8 October 1930. One month after, the film Nerone (1930) by Alessandro Blasetti was released, an anachronistic comedy with Petrolini in the title role and Del Rio as his admirer.
After a supporting part in the Armando Falconi comedy Rubacuori (Guido Brignone 1931), Del Rio starred in the film La stella del cinema (Mario Almirante, 1931), about a debuting actress who is catapulted into stardom, while her fiancé (Elio Steiner) remains an extra. Twenty years before Stanley Donen's Singin' in the rain, the histrionic acting of the former silent film actress (Sandra Ravel) is discredited, and the 'au naturel' acting of the newcomer is favored as more apt to the new medium. The plot was an excuse to give a peek into the behind-the-screens of the modern Cines sound film studio and shows both actors and directors from the silent days and the new sound film generation. A few years ago, the film was fully restored and released on DVD.
Del Rio also went to France to act in early sound films there: first La dernière berceuse (Gennaro Righelli, 1931), the French version of Righelli's own La canzone dell'amore, starring Dolly Davis and Jean Angelo instead of Dria Paola and Elio Steiner, and with Del Rio in the part of Isa Pola. This would be followed by Mon ami Tim/ Fifty Fathoms Deep (Jack Forrester, 1932) with Jeanne Helbling and Thomy Bourdelle, and La petite de Montparnasse (Hanns Schwarz, 1932), in which she starred herself, opposite Lucien Gallas. In 1933 she had a supporting part in the comedy Les aventures du roi Pausole (Alexis Granowsky, 1933) starring Les aventures du roi Pausole (1933), filmed at the Côte d'Azur. Del Rio also played in the German language version of the film, in which Emil Jannings played the title character. Del Rio remained in France for three more films: the comedy Le tendron d'Achille/Achilles' Heel (Christian-Jaque, 1933), Le relais d'amour (André Pellenc, 1933), and La nuit des dupes (Maurice Labro, Pierre Weill, 1933) with Roland Toutain. After that, Grazia Del Rio's European film career was over. It is not entirely clear but she have gone back to Chile, as her namesake Grazia Del Rio made various films in 1938-1940 in Argentina and Chile: in Argentina, Turbión (Antonio Momplet, 1938), El misterio de la dama gris (James Bauer, 1939), Ambición (Adelqui Migliar, 1939), and La luz de un fósforo (Leopoldo Torres Ríos, 1940), and in Chile, Entre gallos y medianoche (Eugenio de Liguoro, 1940).
Sources: IMDB, Elena Mosconi ('L 'altra Pittaluga', Immagine No. 16, 2017), www.taxidrivers.it/108769/film-da-vedere/per-la-prima-vol....
Links to films:
www.youtube.com/watch?v=uwbFUipPpsQ (British Pathe News)
www.youtube.com/watch?v=Zurm89QmUEg (Rivista Cines 1)
Italian postcard by Cinema-Illustrazione, Milano, Series 1, no. 40. Photo: Paramount. Cinema Illustrazione was an Italian popular film journal that existed between 1926 and 1939.
Jeanne Helbling was an actress of the French cinema of the 1920s and 1930s, who was extremely active in early French sound film. She was also a Resistance heroine.
Divided reverse. Letter generously translated by xiphophilos, authored in München on the 26 March 1915 and addressed to the sender's godmother, Frau Fischbacher in Günzelham. Postage cancelled in Sauerlach on 29.3.1915.
Infanterist Joseph Lechner, Ersatz-Bataillon bayer. Reserve-Infanterie-Regiment Nr. 2. Unfortunately there were a number of Josef / Joseph Lechners serving with Reserve-Infanterie-Regiment Nr. 2 at this time so it is difficult to determine which one we're looking at.
_______________________________________________
Notes:
b. Reserve-Infanterie-Regiment Nr. 2 (+MG.-Kp.)
Aufgestellt in München (R.Stb., I.), Landshut (II.) und Passau (III.)
Unterstellung:1. b. Res.Div.
Kommandeur:Oberstleutnant Helbling (2. b. I.R.)
I.:Major Fischer (1. b. I.R.)
II.:Major Wölfl (16. b. I.R.)
III.:Major Staudacher (16. b. I.R.) gef.: 5.9.14
Verluste:61 Offz., 3211 Uffz. und Mannschaften.
French postcard. in the Les Vedettes du Cinéma series by Editions Filma, no. 90. Photo: Pathé Consortium Cinéma.
Andrew Brunelle (1894-1943) was a French screen actor of the silent and sound era.
Andrew Brunelle was born on July 13, 1894 in Cambrai, Nord, France as André François Achille Eugène Brunelle. Brunelle's first serious role as a film actor - he had already played small parts in short comedies with Prince - was when playing Dr. Howey in Louis Feuillade's Gaumont serial sequel La nouvelle mission de Judex (1917), starring René Cresté as Judex. Brunelle played an evil doctor, a member of the dangerous gang La rafle aux secrets (the raiders of the secrets), who avid to steal and resell important technological inventions. Together with his accomplice, the dangerous Baronne d'Apremont (Juana Borguèse), he has the capacity to hypnotise the innocent female leading characters and make them do things against their will. Dr. Hewey and the Baronne die when their boat explodes.
After that, Brunelle switched to Pathé, where he played for years, in films such as La Maison d'argile (Gaston Ravel, 1918), Chignole (René Plaissetty, 1919), La Force de la vie (René Leprince, 1920), L'aiglonne ( Émile Keppens, René Navarre, 1922), and L'Empereur des pauvres (René Leprince, 1922) starring Léon Mathot. For Film d'Art he acted in Louis Delluc's films Le Silence (1920) and Fièvre (1921). Subsequently, he played opposite Édouard de Max in Le Carillonneur (René Coiffard, 1922), opposite Manuel Caméré, Claude Mérelle and Gaston Rieffler in Stella Lucente (Raoul d'Auchy, 1922), and opposite Pierre Alcover in La Faute des autres (Jacques Oliver, 1923). He repeated his role of Jimmy Bartnett in the prequel to Chignole, La Grande envolée (René Plaissetty, 1927), and his last role was in the period piece Tarakanova (Raymond Bernard, 1930), opposite Edith Jéhanne in the female lead, and Olaf Fjord as her lover. Brunelle also was a film director, of mostly short films, starting with the silent comedy Théodore cherche des allumettes (1923), but most of his directions were in the sound era (1931-1936) after he stopped acting. Examples are Bouton d'or (1933) with Jeanne Helbling and Vaccin 48 (1934) with Alice Tissot. All in all, Brunelle directed 9 films and acted in 13 ones. He ended his career as scriptwriter of the 1938 farce, Deux de la réserve (René Pujol), and editor of the comedy, Bach en correctionnelle (Henry Wulschleger, 1940). Brunelle died young, at the age of 49, on August 17, 1943, in Paris, France.
For La nouvelle mission de Judex, see our blogpost: filmstarpostcards.blogspot.com/2014/01/la-nouvelle-missio...
Sources: IMDB, Ciné-ressources.
Mehrzweckhalle (Giswil), 14.05.23, U15-Trophy, 1/4-Final, Thurgau - Graubünden, Joa Helbling (Nr. 29, U15 Thurgau)
Severin Binkert
Wien - Stephansdom
St. Stephen's Cathedral (German: Stephansdom [ˈʃ͡tɛfansˌdoːm]) is a Roman Catholic church in Vienna, Austria, and the mother church of the Archdiocese of Vienna. It is the seat of the Archbishop of Vienna, Christoph Schönborn.
The current Romanesque and Gothic form of the cathedral, seen today in the Stephansplatz, was largely initiated by Duke Rudolf IV (1339–1365) and stands on the ruins of two earlier churches, the first a parish church consecrated in 1147. The most important religious building in Vienna, St. Stephen's Cathedral has borne witness to many important events in Habsburg and Austrian history and has, with its multi-coloured tile roof, become one of the city's most recognizable symbols. It has 256 stairs from the top to the bottom
History
By the middle of the 12th century, Vienna had become an important centre of German civilization, and the four existing churches, including only one parish church, no longer met the town's religious needs. In 1137, Bishop of Passau Reginmar and Margrave Leopold IV signed the Treaty of Mautern, which referred to Vienna as a civitas for the first time and transferred St. Peter's Church to the Diocese of Passau. Under the treaty, Margrave Leopold IV also received from the bishop extended stretches of land beyond the city walls, with the notable exception of the territory allocated for the new parish church, which would eventually become St. Stephen's Cathedral. Although previously believed built in an open field outside the city walls, the new parish church was in actuality likely built on an ancient cemetery dating to Ancient Roman times; excavations for a heating system in 2000 revealed graves 2.5 metres (8.2 ft) below the surface, which were carbon-dated to the 4th century. This discovery suggests that an even older religious building on this site predated the St. Rupert's Church, which is considered the oldest church in Vienna.
Founded in 1137 following the Treaty of Mautern, the partially constructed Romanesque church was solemnly dedicated in 1147 to Saint Stephen in the presence of Conrad III of Germany, Bishop Otto of Freising, and other German nobles who were about to embark on the Second Crusade. Although the first structure was completed in 1160, major reconstruction and expansion lasted until 1511, and repair and restoration projects continue to the present day. From 1230 to 1245, the initial Romanesque structure was extended westward; the present-day west wall and Romanesque towers date from this period. In 1258, however, a great fire destroyed much of the original building, and a larger replacement structure, also Romanesque in style and reusing the two towers, was constructed over the ruins of the old church and consecrated 23 April 1263. The anniversary of this second consecration is commemorated each year by a rare ringing of the Pummerin bell for three minutes in the evening.
In 1304, King Albert I ordered a Gothic three-nave choir to be constructed east of the church, wide enough to meet the tips of the old transepts. Under his son Duke Albert II, work continued on the Albertine choir, which was consecrated in 1340 on the 77th anniversary of the previous consecration. The middle nave is largely dedicated to St. Stephen and All Saints, while the north and south nave, are dedicated to St. Mary and the Apostles respectively. Duke Rudolf IV, the Founder, Albert II's son, expanded the choir again to increase the religious clout of Vienna. On 7 April 1359, Rudolf IV laid the cornerstone for a westward Gothic extension of the Albertine choir in the vicinity of the present south tower. This expansion would eventually encapsulate the entirety of the old church, and in 1430, the edifice of the old church was removed from within as work progressed on the new cathedral. The south tower was completed in 1433, and vaulting of the nave took place from 1446 to 1474. The foundation for a north tower was laid in 1450, and construction began under master Lorenz Spenning, but its construction was abandoned when major work on the cathedral ceased in 1511.
In 1365, just six years after beginning the Gothic extension of the Albertine choir, Rudolf IV disregarded St. Stephen's status as a mere parish church and presumptuously established a chapter of canons befitting a large cathedral. This move was only the first step in fulfilling Vienna's long-held desire to obtain its own diocese; in 1469, Emperor Frederick III prevailed upon Pope Paul II to grant Vienna its own bishop, to be appointed by the emperor. Despite long-standing resistance by the Bishops of Passau, who did not wish to lose control of the area, the Diocese of Vienna was canonically established on 18 January 1469, with St. Stephen's Cathedral as its mother church. In 1722 during the reign of Emperor Charles VI, Pope Innocent XIII elevated the see to an archbishopric.
During World War II, the cathedral was saved from intentional destruction at the hands of retreating German forces when Wehrmacht Captain Gerhard Klinkicht disregarded orders from the city commandant, "Sepp" Dietrich, to "fire a hundred shells and reduce it to rubble". On 12 April 1945, civilian looters lit fires in nearby shops as Soviet Army troops entered the city. The winds carried the fire to the cathedral, where it severely damaged the roof, causing it to collapse. Fortunately, protective brick shells built around the pulpit, Frederick III's tomb, and other treasures, minimized damage to the most valuable artworks. However, the Rollinger choir stalls, carved in 1487, could not be saved. Reconstruction began immediately after the war, with a limited reopening 12 December 1948 and a full reopening 23 April 1952.
Conservation and restoration
Preservation and repair of the fabric of the medieval cathedral has been a continuous process at St. Stephen's Cathedral since its original construction in 1147.
The porous limestone is subject to weathering, but coating it with a sealer like silicone would simply trap moisture inside the stone and cause it to crack faster when the water freezes. The permanent Dombauhütte (Construction Department) uses the latest scientific techniques (including laser cleaning of delicate features on stonework), and is investigating a process that would impregnate the cavities within the stone with something that would keep water from having a place to infiltrate.
The most visible current repair project is a multi-year renovation of the tall south tower, for which scaffolding has been installed. Fees from advertising on the netting around the scaffolding were defraying some of the costs of the work, but the concept of such advertising was controversial and has been discontinued. As of December 2008, the majority of the restoration on the south tower has been finished, and most scaffolding removed.
Systematic cleaning of the interior is gradually proceeding around the walls, and an outdoor relief of Christ in Gethsemane is being restored.
A major project has been recently completed for which visitors and worshippers in St. Stephen's Cathedral had been waiting since 1147: better heating of the church during the winter. Previous systems, including fireplaces, just deposited soot and grease on the artwork, but the new system uses apparatus in many different locations so that there is little moving airflow to carry damaging particles. The church is now heated to around 10 °C (50 °F).
Some of the architectural drawings date from the Middle Ages and are on paper 15 ft long and too fragile to handle. Laser measurements of the ancient cathedral have now been made so that a digital 3-dimensional virtual model of the cathedral now exists in its computers, and detailed modern plans can be output at will. When weathered stonework needs to be repaired or replaced, the computerized system can create life-sized models to guide the nine full-time stonemasons on staff in the on-site workshops against the north wall of the cathedral.
On 29 March 2014, a 37-year-old man vandalized the interior of the cathedral by pushing the statue of St. Jude Thaddeus from its marble base.
In November 2019, art historians discovered a mural under layers of dirt on the wall of what is now the cathedral's gift shop. It is believed to be the work of the Renaissance artist Albrecht Dürer.
Stephansdom in popular culture
As Vienna's landmark, the St. Stephen's Cathedral is featured in media including films, video games, and television shows. These include The Third Man and Burnout 3. The cathedral is also depicted on the Austrian 10 cent euro coins and on the packaging of the Manner-Schnitten wafer treat. The Archdiocese of Vienna allowed the Manner company to use the cathedral as its logo in return for funding the wages of one stonemason doing repair work on the cathedral. In 2008, Sarah Brightman performed a concert promoting her latest album, Symphony, which was recorded for a TV broadcast and a further DVD release in late September.
Balassi Mass
Since 2008, the two sabres of the Balint Balassi Memorial Sword Award, founded by Pal Molnar, have been blessed during a Balassi Mass held a few days before the award ceremony. On 25 January 2013, in the presence of some three hundred Hungarians, Bishop Laszlo Kiss-Rigo blessed the two swords during a Mass celebrated in the cathedral.
(Wikipedia)
Der Stephansdom (eigentlich Dom- und Metropolitankirche zu St. Stephan und allen Heiligen) am Wiener Stephansplatz (Bezirk Innere Stadt) ist seit 1365 Domkirche (Sitz eines Domkapitels), seit 1469/1479 Kathedrale (Bischofssitz) und seit 1723 Metropolitankirche des Erzbischofs von Wien. Er ist auch die Pfarrkirche der Dompfarre St. Stephan in der Wiener Innenstadt. Der von den Wienern kurz Steffl genannte römisch-katholische Dom gilt als Wahrzeichen Wiens und wird mitunter auch als österreichisches Nationalheiligtum bezeichnet. Namensgeber ist der heilige Stephanus, der als erster christlicher Märtyrer gilt. Das zweite Patrozinium ist Allerheiligen.
Das Bauwerk ist 109 Meter lang und 72 Meter breit. Der Dom ist eines der wichtigsten gotischen Bauwerke in Österreich. Teile des spätromanischen Vorgängerbaues von 1230/40 bis 1263 sind noch erhalten und bilden die Westfassade, flankiert von den beiden Heidentürmen, die etwa 65 Meter hoch sind. Insgesamt besitzt der Stephansdom vier Türme: Mit 136,4 Metern ist der Südturm der höchste, der Nordturm wurde nicht fertiggestellt und ist nur 68 Meter hoch. Im ehemaligen Österreich-Ungarn durfte keine Kirche höher als der Südturm des Stephansdoms erbaut werden. So wurde beispielsweise der Mariä-Empfängnis-Dom in Linz um zwei Meter niedriger gebaut.
Der Südturm ist ein architektonisches Meisterwerk der damaligen Zeit; trotz seiner bemerkenswerten Höhe ist das Fundament weniger als vier Meter tief. Bei seiner Fertigstellung war der Turm für über 50 Jahre das höchste freistehende Bauwerk Europas. Im Südturm befinden sich insgesamt 13 Glocken, wovon elf das Hauptgeläut des Stephansdoms bilden. Die Pummerin, die drittgrößte freischwingend geläutete Kirchenglocke Europas, befindet sich seit 1957 im Nordturm unter einer Turmhaube aus der Renaissance.
Geschichte
12. und 13. Jahrhundert
Das Areal, welches später vom Stephansdom eingenommen wurde, lag östlich des römischen Legionslagers Vindobona im Bereich der canabae legiones, der Lagervorstadt. Das Lager war vom ersten bis zum dritten Jahrhundert von Gebäuden und Straßen umschlossen, die jedoch im dritten und vierten Jahrhundert von Gräbern und Grabbauten abgelöst wurden. Im Bereich des Stock-im-Eisen-Platzes wurden seit 1690 immer wieder Grabfunde gemacht.
Die Anfänge des Doms gehen auf das Jahr 1137 zurück, aus dem der Tauschvertrag von Mautern zwischen Markgraf Leopold IV. von Österreich und dem Bischof Reginmar von Passau überliefert ist. Dabei wurden Güter, aber auch Pfarrrechte ausgetauscht, um es dem Bischof zu ermöglichen, außerhalb der damaligen Stadt eine Kirche zu bauen, die dem Patrozinium des heiligen Stephanus unterstellt werden sollte, dem Patron der Bischofskirche von Passau. Die Pfarrrechte der bereits bestehenden Kirche St. Peter sollten in die Zuständigkeit des neuen Wiener Pfarrers fallen. Die anderen Kirchen im damaligen Wien (neben der Kirche Maria am Gestade), die Ruprechtskirche und die Peterskirche, waren nach Salzburger Heiligen benannt; das Patrozinium der Kirche war also ein politisches Signal. Die erste Kirche wurde 1147 fertiggestellt und im selben Jahr um oder knapp vor Pfingsten (8. Juni 1147) vom Passauer Bischof Reginbert von Hagenau geweiht (Patronat nach der Mutterkirche Passau), als erster Pfarrer ist der Passauer Kleriker Eberger aus dem Gefolge des Bischofs genannt. Die Kirche war für die damalige Stadt völlig überdimensioniert – es könnte also damals schon Bestrebungen gegeben haben, sie in eine Bischofskirche zu verwandeln. Geostet ist die Kirche auf den Sonnenaufgang des 26. Dezember 1137.
Ein Blitz traf bereits 1149 den Südturm und ließ ihn ausbrennen.
Von 1230 bis 1245 entstand unter Herzog Friedrich II. dem Streitbaren von Österreich ein weiterer spätromanischer Bau, von dem an der Westfassade noch einiges erhalten ist. Sie besteht aus den beiden Heidentürmen und dem Riesentor. Der Ursprung beider Namen ist nicht völlig geklärt. Der Name: Heidentürme kommt eventuell von den Steinen, die von altrömischen Ruinen stammten, möglicherweise aber auch von den beiden Darstellungen der nichtchristlichen Fruchtbarkeitssymbole Phallus und Vulva (Bilder unten), welche die beiden Blendsäulen in der Westwand unterhalb der Türme krönen. Die Assoziation mit Minaretten stammt aus späterer Zeit. Allerdings könnte die Bezeichnung „heidnisch“ auch einfach ein Synonym für „uralt“ sein. Der Name Riesentor geht der Legende nach auf einen riesigen, über dem Tor aufgehängten Mammutknochen oder einen beim Bau helfenden Riesen zurück; tatsächlich dürfte die Bezeichnung aber auf das mittelhochdeutsche Wort risen (sinken, fallen) zurückgehen und sich auf die Trichterform des Portals beziehen. Oberhalb des Tores befand sich eine Herzogsempore, ähnlich dem Kaiserstuhl Karls des Großen in Aachen und den Westemporen der Kaiserdome.
Nach einem Brand im Jahr 1258 wurde der Bau unter dem neuen Landesherrn Ottokar II. Přemysl abgeschlossen und 1263 unter dem Pfarrer Gerhard von Siebenbürgen neu geweiht. Vom 10. bis 12. Mai 1267 war der Dom Schauplatz des sog. „Wiener Provinzialkonzils“, einer Synode der gesamten Kirchenprovinz Salzburg (Wien wurde erst 1722 eine eigene Kirchenprovinz). Diese Synode behandelte neben organisatorischen Fragen auch das Verhältnis zwischen Christen und Juden, das bereits damals nicht unbelastet war und für das eine fast vollständige Trennung beider Lebensbereiche angestrebt wurde.
Die Obergeschoße der Heidentürme wurden erst danach gebaut. Die beiden Türme sind durch einen spätgotischen Schwibbogen verbunden, der die Aufgabe hat, die beiden Türme gegeneinander abzustützen. Setzungen und Verschiebungen im Bereich des Westwerkes werden durch diese mittelalterliche Sanierungsmaßnahme verhindert. Der Schwibbogen wird in der Regel durch die Orgel verdeckt, war aber 2018 im Rahmen der Orgelrenovierung sichtbar. 1276 brach erneut ein Brand aus, der zwar den Chor beschädigte, jedoch die westliche Fassade und die Westempore wie die anschließenden Räume in den Heidentürmen nicht betraf.
14. und 15. Jahrhundert
Unter den Habsburgern, seit 1282 Herzöge von Österreich, begann die gotische Bauperiode. Dabei wurden unter den Herzögen Albrecht I. und Albrecht II. von Österreich nicht nur die Brandschäden beseitigt, sondern es wurde zwischen 1304 und 1340 ein vergrößerter Chor im gotischen Stil gebaut, der nach ihnen als Albertinischer Chor bezeichnet wird. Am 23. April 1340 fand die Chorweihe statt, und der Hallenchor war weitgehend vollendet. Nach 1340 war der Chor, wie die Urkunden zur Liturgie, zum Lettner und zu den Altären zeigen, schon für liturgische Handlungen nutzbar.
Die Regierungszeit von Herzog Rudolf IV., genannt „der Stifter“, war bedeutsam für die Kirche: Am 7. April 1359 legte er den Grundstein für den Südturm und den gotischen Erweiterungsbau der Kirche, – eine Quelle spricht konkret vom Chor, für den entsprechend im Jahr 1365 eine Neuweihe belegt ist. In der Absicht, die Hauptkirche seiner Residenzstadt aufzuwerten, verlegte Rudolf – der seit 1358/59 den Titel „Pfalzerzherzog“ beanspruchte – im Jahre 1365 das von ihm 1358 in der Allerheiligenkapelle in der Hofburg errichtete Kollegiatstift als „Domkapitel“ in die Stephanskirche, verlieh dessen Propst den Titel „Erzkanzler von Österreich“ und ernannte ihn zum Kanzler (Rektor) der neuen Universität in Wien. Seitdem ist das für den Chor geltende Allerheiligenpatrozinium das zweite Patrozinium des Doms. Auch die bedeutende Sammlung von Reliquien und die Gründung der Herzogsgruft gehen auf Rudolf IV. zurück. Als Rudolf 1365 unerwartet verstarb, wurde er entsprechend im Chor bestattet. Auf Rudolf geht auch der Bau der beiden westlichen Langhauskapellen wie auch der beiden offensichtlich mit ihnen in Verbindung stehenden Fürstenportale zurück.
Die wichtigste Baumaßnahme Rudolfs am Stephansdom stellt der Baubeginn des südlichen Hochturms dar, auch wenn in den sieben Jahren seiner Herrschaft wenig mehr als Teile der erst 1391 geweihten Katharinenkapelle zur Ausführung kam. Die Frage, auf wen die Konzeption und Planung des gotischen Baus zurückgeht, ist offen. Erst 1368 wird erstmals ein Magister operum ad St. Stephanum (Baumeister zu St. Stephan) namens Seyfried genannt. Ein wesentlicher Einfluss auf die Planung wurde in der älteren Forschung der Herzogen Baumeister Michael Knab zugeschrieben, doch lässt sich seine Tätigkeit als Wiener Dombaumeister konkret ausschließen.
Bis 1407 war der Turmunterbau bis zur Höhe des Kirchendachs fortgeschritten, als entscheidende Korrekturen vorgenommen wurden, da, wie Thomas Ebendorfer überliefert, „in der Kunst erfahrene und in unseren Tagen berühmte Baumeister im Aufbau des genannten Turms derart vom Originalplan abgewichen waren, dass alles, was in mehreren Jahren kostspielig an ihm gebaut worden war, umgekehrt wieder bis dahin, wo der erste Baumeister ihn hinterlassen habe, abgetragen worden ist“. Damit ist offensichtlich der frühere Prager Dombaumeister Wenzel Parler gemeint, der von 1403 bis 1404 Dombaumeister in Wien war. Vollendet wurde der Turm anschließend mit Abänderungen 1433 von Peter und Hans von Prachatitz, wobei dieser Turm mit 136 Metern bis zur Vollendung des Straßburger Münsterturms im Jahre 1439 der höchste Turm Europas war.
Im unmittelbaren Anschluss an den Turmunterbau wurde der mit reichen Maßwerkformen dekorierte Bau des gotischen Langhauses auf seiner Südseite begonnen und bis 1430 so weit vorangetrieben, dass die dem Ausbau im Weg stehenden letzten Reste des frühgotischen Langhauses abgebrochen werden konnten. Unter Dombaumeister Mathes Helbling wurde dann bis 1440 (Inschrift am Kranzgesims) der westliche Teil der Nordmauer vollendet, anschließend wurde mit der Errichtung der Freipfeiler der Hallenkirche begonnen. Unter Hans Puchsbaum wurde das Domlanghaus zur Staffelhalle ausgebaut und auch die Einwölbung vorbereitet, die in ihrer reichen Ausformung mit Bogenrippen aber erst unter seinem Nachfolger Laurenz Spenning vollendet wurde. Als einziger der Maßwerkgiebel des Außenbaus wurde im Mittelalter der auf Kaiser Friedrich III. verweisende Friedrichsgiebel über dem Südwestjoch errichtet. Eine (heute verlorene) Inschrifttafel von 1474 bezeichnete das Vollendungsdatum des Kirchenbaus, wenngleich noch ohne den gerade erst begonnenen Nordturm. Kurz zuvor, im Jahre 1469, war Wien zudem zum Bistum und damit der Stephansdom zur Kathedrale erhoben worden, so dass auch das von Rudolf IV. begründete Kollegiatstift zum Domkapitel wurde. Der Stephansdom wurde in dieser Zeit auch für öffentliche Reden vor der Wiener Gemeinde genutzt, wie das Beispiel Erzherzog Albrechts VI. zeigt.
1450 legte Friedrich III. den Grundstein für den Nordturm (früher fälschlicherweise auch Albertinischer Turm genannt) und wurde unter dem Dombaumeister Hans Puchsbaum das Fundament des Nordturms ausgemauert, wobei auf kaiserliche Anordnung hin der als ungenießbar eingestufte Wein dieses Jahrgangs als Bindemittel verwendet wurde. Nach langer, durch die politischen Spannungen zwischen Stadt und Kaiser bedingter Unterbrechung erfolgte jedoch erst 1467 unter Dombaumeister Laurenz Spenning der eigentliche Baubeginn des Nordturms nach neuen Plänen. Von den beiden von ihm vorgelegten alternativen Turmplanungen stellte die erste eine Überarbeitung des bestehenden Hochturms dar, die zweite eine um etwa 20 Meter höhere Neuplanung, die zugleich die Turmbauprojekte des Straßburger und Ulmer Münsters übertreffen sollte. Unter ihm wurde bis 1477 das Portalgeschoß vollendet, unter seinem Nachfolger Simon Achleitner das Doppelfenstergeschoß, unter Jörg Kling und Jörg Öchsl das nachfolgende Freigeschoß.
16. bis 19. Jahrhundert
1513 wurde nach knapp einem halben Jahrhundert Bautätigkeit der Weiterbau des Nordturms eingestellt. Noch 1523 wurde der Entschluss zur Turmvollendung gefasst, aber nicht mehr umgesetzt. In derselben Geschwindigkeit weitergebaut, hätte der Nordturm um 1560 vollendet sein können, doch verhinderten die kriegerischen Umstände der Zeit, welche die Erneuerung der Festungswerke notwendig machten (Erste Wiener Türkenbelagerung 1529), den Weiterbau. 1578 wurde auf den Turmstumpf ein einfaches Glockengeschoß mit einer Renaissance-Haube gesetzt, die nach dem Baumeister Hans Saphoy Saphoy’sche Haube heißt.
Von 1511 bis 1515 übernahm der Bildhauer und Baumeister Anton Pilgram die Leitung der Bauhütte, er vollendete den Orgelfuß und war unter anderem an der Ausführung der Domkanzel beteiligt, der dortige Fenstergucker wurde traditionell für sein Selbstbildnis gehalten. Unter Hans Herstorffer, der von 1637 bis 1650 als Dombaumeister wirkte, wurde 1647 die Innenausstattung barockisiert, vor allem der Hochaltar des Bildhauers Johann Jacob Pock und seines Bruders, des Malers Tobias Pock, stammt aus dieser Zeit. Während der Türkenbelagerung 1683 wurde der Dom durch türkische Kanonenkugeln beschädigt. Aus den Kanonen der Belagerer wurde danach die große Glocke (die Pummerin) gegossen. 1713, gleich zu Beginn der Amtszeit von Dombaumeister Johann Carl Trumler, leistete Kaiser Karl VI. im Dom das Gelöbnis, eine Kirche zu stiften, wenn die Pest ausklinge. Rund drei Jahre später wurde mit dem Bau der Karlskirche begonnen.
Seit den Renovierungen im 19. Jahrhundert wird auf dem südlichen Dach des Stephansdoms der Reichsadler des Kaisertums Österreich in bunten Ziegeln ausgelegt. Im Brustschild dieses Adlers steht das Monogramm Kaiser Franz’ I. Mit dem Wiederaufbau des Dachstuhls nach dem Brand am Ende des Zweiten Weltkriegs wurden auf der Nordseite des Daches in gleicher Weise der österreichische Bundesadler, der allerdings heraldisch in die falsche Richtung blickt, und das Wiener Wappen angebracht.
Zerstörungen im Zweiten Weltkrieg und Wiederaufbau
Die Bombenangriffe während des Zweiten Weltkriegs sowie die Kämpfe im Stadtgebiet überstand der Stephansdom ohne größere Schäden. Am 6. April durchschlug jedoch eine Bombe das Gewölbe des südlichen Seitenschiffes. Als am 10. April 1945 vom Turm eine weiße Fahne gehisst wurde, verweigerte der Wehrmachtshauptmann Gerhard Klinkicht (1915–2000) den Befehl des Stadtkommandanten Sepp Dietrich, den „… Dom zunächst mit 100 Granaten in Schutt und Asche zu legen.“ Eine Gedenktafel am Dom erinnert an Klinkichts Befehlsverweigerung.
In der Nacht zum 12. April 1945 brannten der Lärchenholz-Dachstuhl und der Glockenturm des Stephansdomes vollständig ab bzw. aus. Während danach über Jahrzehnte die Erzählung verbreitet war, „die Russen“ hätten den Dom in Brand geschossen, daneben auch, es wäre deutscher Beschuss gewesen, ist aus Augenzeugenberichten bekannt, dass das Feuer von umliegenden Gebäuden, in denen Plünderer Feuer gelegt hatten, auf den Dom übergriff. Durch die vorangegangenen Gefechte waren Löcher im Domdach entstanden; der Funkenflug konnte durch diese in den Dachstuhl gelangen und ihn entzünden. Die Kampfhandlungen während der Schlacht um Wien verhinderten effektive Löscharbeiten. Zudem waren die beiden großen Wasserleitungen des Doms bei einem amerikanischen Bombenangriff am 12. März 1945 zerstört worden. In der Nacht auf den 12. April 1945 stürzte die im Nordturm hängende Halbpummerin ins Querhaus. Das dort befindliche Wimpassinger Kreuz verbrannte. Der brennende Glockenstuhl mit der Pummerin brach am 12. April nachmittags zusammen. Die Glocke zerschellte auf der Gewölbeöffnung im Boden der Glockenstube, der Großteil ihrer Bruchstücke fiel durch die Öffnung in die Turmhalle und zerschlug dort das Türkenbefreiungsdenkmal. Auch die Zwölferin oder Fürstenglocke und die Viertelpummerin, die beiden Glocken im südlichen Heidenturm, stürzten ab.[23] Die wertvolle Walcker-Orgel von 1886 verbrannte, nachdem Glut aus dem Dachstuhl durch eine Öffnung im Gewölbe in sie hineinfiel. In den Morgenstunden des 13. April stürzte eine 16 m hohe Stützwand im Dachstuhl ein und zerschlug dabei mehrere Gewölbe des Mittel- und Südchores. Die Empore mit der Chororgel, die Kaiserloge und das wertvolle gotische Chorgestühl wurden dabei von den Schuttmassen zertrümmert und von den brennenden Dachbalken entzündet. Das Grabmal Friedrichs III. blieb dank einer Einmauerung fast unbeschädigt. Im November 1947 stürzten die bis dahin erhalten gebliebenen Gewölbe des südlichen Chorraums ein.
Der Wiederaufbau des Stephansdoms, der unter anderem durch zahlreiche Spenden aus der Bevölkerung finanziert wurde, begann sofort nach dem Kriegsende. Der Stahl-Dachstuhl wurde 1950 fertiggestellt. Die feierliche Wiedereröffnung erfolgte 1952 mit dem Einzug der neu gegossenen Pummerin. Eine Gedenktafel erinnert an das Spendenaufkommen aller österreichischen Bundesländer:
„Die dich in dieses Gotteshaus ruft, DIE GLOCKE, spendete das Land Oberösterreich, Das dir den Dom erschließt, DAS TOR, das Land Steiermark, Der deinen Schritt trägt, DEN STEINBODEN, das Land Niederösterreich, In der du betend kniest, DIE BANK, das Land Vorarlberg, Durch die das Himmelslicht quillt, DIE FENSTER, das Land Tirol, Die in friedlicher Helle erstrahlen, DIE KRONLEUCHTER, das Land Kärnten, An der du den Leib des Herrn empfängst, DIE KOMMUNIONBANK, das Burgenland, Vor dem die Seele sich in Andacht neigt, DAS TABERNAKEL, das Land Salzburg, Das die heiligste Stätte des Landes behüte, DAS DACH, spendete im Verein mit vielen hilfreichen Händen die Stadt Wien.“
21. Jahrhundert
Unter Dompfarrer Anton Faber wurde der Stephansdom wiederholt mit künstlerischen Installationen in Szene gesetzt. 2020 erregten ein überdimensionaler violetter Pullover, das Fastentuch von Erwin Wurm, sowie die beleuchtete Himmelsleiter von Billi Thanner mediale Aufmerksamkeit. Im August 2021, während der COVID-19-Pandemie in Österreich, weihten Kardinal Schönborn und der Wiener Bürgermeister Michael Ludwig in der Barbara-Kapelle des Doms eine Impfstraße ein, die innerkirchlich umstritten als Verletzung der Sakralität des Gotteshauses empfunden wurde.
Am 16. März 2022, 02.11 Uhr startete laut Dompfarrer Toni Faber ein Hackerangriff das computergesteuerte Festgeläut. Nach etwa 20 Minuten nächtlichen Läutens stoppte er die Glocken.
Inneres
Der Kirchenraum des Doms ist dreischiffig, mit zwei verschiedenen Querschnitten: Das Langhaus ist eine Pseudobasilika, das Mittelschiffsgewölbe liegt hier fast vollständig oberhalb der Seitenschiffsgewölbe, so dass sich über den Arkaden fensterlose Hochschiffswände erheben. Der Chor hat hingegen den Querschnitt einer Hallenkirche, Mittelschiff und Seitenschiffe sind hier annähernd gleich hoch. Das Hauptschiff ist wie üblich auf den Hauptaltar ausgerichtet, das linke Seitenschiff hat ein Marienprogramm, das rechte Seitenschiff ist den Aposteln gewidmet.
Obwohl das Innere sein Aussehen im Mittelalter erhielt, ist das ursprüngliche künstlerische und liturgische Ensemble aus der Zeit nur noch lückenhaft vorhanden, da der Bau während des Barocks nochmal umfassend verändert wurde. Die Gnadenfigur der sogenannten Dienstbotenmuttergottes aus der Zeit zwischen 1280 und 1320 ist ein Original aus der Zeit, dessen Gestaltung auf französische Vorbilder zurückgeführt wird. Sie wurde 2020 umfassend restauriert und die ursprüngliche Fassung wieder besser erkennbar.
An den Pfeilern des Langhauses sind in ca. 8 m Höhe fast 90 Skulpturen, meist in Dreiergruppen angebracht. Sie wurden durch private Stifter in Auftrag gegeben und bilden ein Charakteristikum des Domes. Die Skulpturen der Westseite wurden in den Jahren um 2020 restauriert, 2021 war das wichtigste Objekt in diesem Zusammenhang die Statue des Hl. Sebastian neben dem Orgelfuß an der Nordwand des Langhauses. Sie stammt aus der Schule von Niklas Gerhaert, des Bildhauers der Grabplatte Friedrich III. und gilt als eine der wertvollsten Skulpturen des Doms.
Weitere Statuen zeigen die Hl. Helena (mit Kreuz, am Bogen der Westempore im südlichen Seitenschiff) und den Apostel Andreas (mit Buch Bogen der Westempore im nördlichen Seitenschiff). Im Herbst 2024 begannen Restaurierungsarbeiten an den Statuen des Hl. Antonius (des Einsiedlers, mit seinem Attribut, einem Ferkel mit Glöckchen, dem „Antoniusschwein“, an der Nordwand des Langhauses) und des Propheten Jesaias (neben dem Bischofstor, mit einem gemalten Bibelzitat an der Wand).
Zahlensymbolik
Den Maßen des Doms liegen die Zahlen Drei (für die Dreifaltigkeit) und Vier (die Zahl des Irdischen – Temperamente, Himmelsrichtungen, Jahreszeiten usw.) zugrunde. Drei plus Vier ist Sieben, die Zahl der Schöpfungstage, Sakramente, Haupttugenden, Hauptlaster, Seligpreisungen, Worte am Kreuz, Gaben des Heiligen Geistes und anderes.[
Sieben hinter der Drei ergibt Siebenunddreißig. Drei mal Siebenunddreißig ist Hundertelf. Nach häufiger Angabe soll der Dom (innen) 111 Fuß breit, außen (inkl. Türme) 222 Fuß breit und 333 Fuß lang sein, der Südturm 444 Fuß hoch.[170] In der Realität weicht jedoch die Länge von 109 m[169] deutlich davon ab (ca. 350 Fuß, je nachdem, welches exakte Fußmaß man heranzieht), noch ganz abgesehen davon, dass der Dom nicht überall gleich breit ist (siehe den Abschnitt zum Langhaus).
Das Treppengeländer zur Kanzel setzt sich aus stilisierten Rädern zusammen, einem Dreipass (dreimal unterteilt) und einem Vierpass.
Die Anzahl der Stufen auf der Treppe zur Türmerstube des Glockenturms (und damit der heutigen Aussichtsterrasse) beträgt 343, das ist (3+4)^{3}}, also 7 × 7 × 7.
Zwölf (= 3 × 4) Fialentürmchen schließen den Unterbau des Südturms ab. Aus deren Mitte erhebt sich die Turmspitze (Christus und die 12 Apostel).
Die Fenster im Langhaus (Aufenthaltsort der Laien) bestehen aus je vier, die Fenster im Priesterbereich aus je drei Teilen.
Eigentumsverhältnisse
Der Stephansdom als solcher (das Kirchengebäude) hat Rechtspersönlichkeit nach dem Kirchenrecht. Er ist als juristische Person unter dem Namen „Römisch-katholische Metropolitan- und Pfarrkirche zu St. Stefan in Wien“ im staatlichen Bereich nach dem Konkordat und damit auch im Grundbuch als Rechtsperson anerkannt, er ist als Eigentümer seines Grundstücks (5740 m²) im Grundbuch eingetragen. Grundstücksgrenzen sind im Wesentlichen die Mauern des Kirchengebäudes (Außenkanten der Strebepfeiler, wobei sich bei einer neuen Vermessung Abweichungen von bis zu 0,5 Metern zeigten), das Grundstück des Doms ist vom Stephansplatz umgeben. Dieser Platz ist Eigentum der Stadt Wien (Öffentliches Gut).
Die Verwaltung des Domvermögens war früher ein Ehrenamt vermögender Mitglieder des Rates der Stadt Wien, der Kirchmeister. Von ihnen waren die Baugeschäfte abzuschließen, die Handwerker zu überwachen und die Vermögensverwaltung des Doms zu führen. Erst 1834 wurde mit dem Cur- und Chormeister von St. Stephan auch ein Priester an der Vermögensverwaltung beteiligt. Das Konkordat von 1855 übertrug die Vermögensverwaltung endgültig kirchlichen Institutionen, 1858 wurde dafür ein dem Erzbischof von Wien unterstehendes Amt eingerichtet.
Der Stephansdom besitzt weiteres Liegenschaftsvermögen: einen Drittelanteil am Cur- und Chorhaus zu St. Stefan (das ist das Haus südlich des Stephansdoms). Die zwei anderen Drittel dieses Hauses gehören der „Erzbischöflichen Cur in Wien“ und der Erzdiözese Wien.
Organisation
Der Stephansdom ist Pfarrkirche der Dompfarre (für welche die allgemeinen Regeln der Erzdiözese Wien gelten), beim Dom bestehen gesondert die folgenden drei Rechtspersonen, die nach dem Konkordat auch im staatlichen Bereich anerkannt sind. Die Statuten dieser Rechtspersonen wurden mit 1. November 2024 erneuert, wobei unterschiedliche Schreibweisen oder ähnliche Begriffe keine inhaltlichen Unterschiede bedeuten.
1. die Rechtsperson Domkirche selbst unter der Bezeichnung „Dom- und Metropolitankirche zu St. Stephan in Wien“,
2. die Rechtsperson „Dom- und Metropolitankapitel“ an der Dom- und Metropolitankirche zu St. Stephan in Wien, dem die Verwaltung der Domkirche obliegt; diese Aufgabe nimmt das Domkapitel vertreten durch den Domkustos wahr, ihm zugeordnet sind Kirchenmeister, Dombaumeister, Domkapellmeister, Sakristeidirektor, Domarchivar und die entsprechenden Organisationseinheiten (Ämter),
3. die Rechtsperson „Erzbischöfliche Cur“. Das ist ein hauptsächlich aus Priestern bestehendes Kollegium, das die Seelsorge (z. B. Beichtzeiten) und die Gottesdienste in der Domkirche allgemein besorgt. Mitglieder der Cur sind jene Kleriker, die vom Erzbischof von Wien per Dekret dazu ernannt werden. Sie führen den Titel „Domkurat“.
Dom als Feuerwache
Als jahrhundertelang höchstes Gebäude Wiens beherbergte der Dom einst auch die Feuerwache der Stadt. So wurde im Jahre 1534, also fünf Jahre nach der Ersten Türkenbelagerung, die Funktion eines Türmers eingerichtet, der in einer Türmerstube in einer Höhe von 72 Metern seinen Dienst versah. Bei Wahrnehmung eines Brandes innerhalb der Stadt musste dieser am Tag eine rote Fahne und bei Nacht eine rote Laterne in Richtung des Feuers schwenken und mit einem blechernen Sprachrohr die Bevölkerung warnen. Zugleich wurde durch ein Fallrohr eine schriftliche Meldung zum Turmmeister hinuntergeschickt, der die militärische Feuerwache am nahen Petersplatz mittels eines Glockenzuges alarmierte.
Die Türmerstube war einige Jahrhunderte lang zur Früherkennung besetzt. Im Jahr 1835 entwickelte der Direktor der Wiener Sternwarte Karl Ludwig von Littrow ein sogenanntes Toposkop, mit dem auch in der gewachsenen Stadt noch Brände erkennbar waren. An dem auf Gelenken befestigten Fernrohr konnte man die Winkel ablesen und so Koordinaten weitergeben. Bis 1855 erfolgten diese Meldungen in schriftlicher Form. Später wurde ein Zeigertelegraph eingerichtet, der die Meldung direkt zur Zentralfeuerwache Am Hof weitergab. Letzte Reste dieser Anlage fand man bei Ausgrabungen im Jahr 1955.
Obwohl bereits in der Zwischenkriegszeit Zweifel an der Notwendigkeit aufkamen, waren Türmer bis nach dem Zweiten Weltkrieg im Einsatz. Der letzte Türmer versah bis zum 31. Dezember 1955, also 421 Jahre nach der Einrichtung dieser Funktion, seinen Dienst.
Der Brand von Notre Dame in Paris war einer der Anlässe für eine Erneuerung der Brandschutzanlage im Dom selbst. Da der Dachstuhl bereits 1945 abbrannte und danach durch eine Stahlkonstruktion ersetzt wurde, wird die Gefahr eines vergleichbaren Großbrandes als gering eingeschätzt. Die Brandmeldeanlage prüft die Raumluft des Doms und ist direkt mit der Zentrale der Wiener Feuerwehr verbunden.
Sportveranstaltung
Seit 2012 findet jährlich im Mai (2014 jedoch am 6. Juni; 2020 Ausfall wegen der CoV-Pandemie) während des Steffl-Kirtags ein Treppenlauf im Südturm zur Türmerstube statt. Der vom Österreichischen Leichtathletik-Verband veranstaltete Lauf zählt seit der erstmaligen Austragung auch zum Treppenlauf-Weltcup. Die Streckenrekorde für die 343 Stufen bzw. 67 Höhenmeter werden von Matjaž Mikloša (SLO, m, 2014) mit 1:17,75 min und Sandrina Illes (AUT, w, 2014) mit 1:59,02 min gehalten (Stand 2015).
Kunstinstallation „Himmelsleiter“
Zwischen 4. April 2021 (Ostern) und August 2022 befand sich im und am Dom eine Kunstinstallation der Wiener Künstlerin Billi Thanner. Eine Leiter aus goldgelb leuchtenden Gasentladungsröhren (mit Leuchtstoff) begann indoors in der Taufkapelle mit 21 Sprossen bis zu dessen Gewölbe und führte außen mit 33 Sprossen an der Westseite des spitzen Dachs des Südturms, sich verjüngend in Richtung seiner Spitze. Die Installation sollte ursprünglich bis Ende Mai 2021 verbleiben, wurde aber verlängert. Im August 2022 wurde die Installation wieder abgebaut und auf der St.-Lamberti-Kirche in Münster neu installiert.
(Wikipedia)
German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 6567. Photo: Atelier Willinger, Berlin.
Hungarian actress Käthe von Nagy (1904-1973) started as the ‘Backfish’ of German films of the late 1920s. In the early 1930s, she became a fashionable and charming star of the German and French cinema.
Käthe von Nagy was born Ekaterina Nagy von Cziser (Kato Nagy) in Szabadka, Austria-Hungary (now: Subotica, Serbia) in 1904. At the age of 16, she planned to get married and therefore her parents put her in the Sancta Christiana Convent near Vienna. After that, she worked in her father's bank office in Budapest and secretly started to write short stories for a newspaper. She also attended the acting school of director Béla Gáal and in 1926, against the will of her parents, she went to Berlin to make films. While searching for an acting job she earned her money as a correspondent for the Hungarian newspaper Pester Hirlop. Hungarian director Alexander Korda helped her get her first film job. It was a supporting role in Männer von der Ehe/Men Before Marriage (Constantin J. David, 1927), which got her the reputation of a ‘backfisch’. The director, Constantin David, would also become her first husband. Soon followed roles in Gustav Mond... Du gehst so stille/You Walk So Softly (Reinhold Schünzel, 1927) and Die Königin seines Herzens/Vienna, City of My Dreams (Victor Janson, 1928) starring Liane Haid. With her first leading role in Die Durchgängerin/The Runaway Girl (Hanns Schwarz, 1928) she became the up-and-coming young actress of the European cinema of the 1920s. Next followed the Italian production Rotaie (Mario Camerini, 1929) and Mascottchen/Mascots (Felix Basch, 1929) with Jeanne Helbling.
In 1930, Käthe von Nagy smoothly moved into the talkies. She appeared as a resolute demimonde dame with psychotherapeutic powers in the Jekyll-and-Hyde-drama Der Andere/The Other (Robert Wiene, 1930), costarring Fritz Kortner and Heinrich George. She said goodbye to her ‘backfisch’ image and impersonated frequently on the screen. Her operettas and musical comedies were very popular and confirmed her promise of the late 1920s. To her successes of the 1930s belong Ihre Majestät die Liebe/Her Majesty Love (Joe May, 1930) with Franz Lederer, Meine Frau, die Hochstaplerin/My Wife, the Impostor (Kurt Gerron, 1931) opposite Heinz Rühmann, Ronny (Reinhold Schünzel, 1931), Ich bei Tag und Du bei Nacht/I by Day, You by Night (Ludwig Berger, 1932) opposite Willy Fritsch, Der Sieger/The Victor (Hans Hinrich, Paul Martin, 1932) with Hans Albers, Das Schöne Abenteuer/Beautiful Adventure (Reinhold Schünzel, 1932), the anti-Soviet propaganda film Flüchtlinge/Fugitives (Gustav Ucicky, 1933), Die Töchter ihrer Exzellenz/The daughters of Her Excellency (Reinhold Schünzel, 1934) and Salonwagen E 417/Luxury Train (Paul Verhoeven, 1939) with Paul Hörbiger.
Because of her multilingual education Käthe von Nagy was able to establish in the French cinema too. As Kate de Nagy she became a star in France. To her French productions belong La Capitaine Craddock/Captain Craddock (Hanns Schwarz, Max de Vaucorbeil, 1931) with Jean Murat, La route impériale/The Imperial Road (Marcel L’Herbier, 1935) with Pierre Richard-Willm, Cargaison blanche/Woman Racket (Robert Siodmak, 1937) opposite Jules Berry, and La bataille silencieuse/The silent battle (Pierre Billon, 1937) starring Pierre Fresnay. She withdrew from the film business with the beginning of World War II. After the war, she appeared only twice on the screen, in the French drama Cargaison clandestine/Alarm in San Juano (Alfred Rode, 1948-1950) with Luis Mariano, and the German remake of Die Försterchristl/The Forester's Daughter (Arthur Maria Rabenalt, 1952), alongside Johanna Matz. In the mid-1950s she went to California where she worked as a French teacher at Happy Valley School in Ojai, California. Käthe von Nagy died of cancer in Ojai, USA in 1973. After her marriage to Constantin J. David, she was married to the Frenchman Jacques Fattini.
Sources: Thomas Staedeli (Cyranos), Operator 99 (Allure), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by A.N., Paris, no. 649. Photo: Metro-Goldwyn-Mayer. Jeanne Helbling acted a.o. in the MGM film Buster se marie (Claude Autant-Lara, Edward Brophy, 1931).
Jeanne Helbling was an actress of the French cinema of the 1920s and 1930s, who was extremely active in early French sound film. She was also a Resistance heroine.
French postcard by Editions Filma, no. 144. Photo: Gaumont. Armand Tallier in Jocelyn (Léon Poirier, 1922)
Armand Tallier (1887-1958) was a stage and screen actor, who peaked in the silent era. Inspired by theatre director Jacques Copeau, who had opened the alternative Théâtre du Vieux Colombier, and who had directed Tallier on stage from 1913 for several years, Tallier created with Laurence Myrga the Studio des Ursulines, one of the first Parisian art houses, founded to ensure the diffusion of avant-garde cinema. The first session took place in January 1926. As an homage to him, since 1958 the best book on film is awarded the Prix Armand Tallier (since 1977 called Prix littéraire du syndicat français de la critique de cinéma).
Armand Tallier was born in 1887 in Marseille, Bouches-du-Rhône, France as Armand Urbain Édouard Espitallier. From 1911, he acted at Pathé Frères, Film d'Art (e.g. in films by Henri Pouctal), Gaumont (directed by e.g. Henri Fescourt and Léonce Perret), and Eclair (directed by e.g. Gérard Bourgeois). In 1916 he played e.g. opposite Huguette Duflos in Madeleine (Jean Kemm), opposite Yvette Andréyor in Un mariage de raison (Léonce Perret, Louis Feuillade, 1916), and opposite Henry Krauss in Le destin est maître (Jacques Feyder, 1916). One of his first features was Abel Gance's Mater Dolorosa/ The Torture of Silence (Abel Gance, 1917), starring Emmy Lynn as an unfaithful wife who refuses to confess to her husband (Firmin Gémier), and then suffers as a mother. Tallier is the man's brother, whom the wife secretly has loved and who accidentally has killed himself while trying to disarm the woman, who wanted to commit suicide. For the full film, see www.youtube.com/watch?v=mGfQxenyyTg.
In 1917, Armand Tallier was paired with Léon Bernard (whom he knew from his career in shorts) in Les feuilles tombent (Georges Monca, 1917), followed by La comtesse de Somerive (Georges Denola, 1917), Les vieilles femmes de l'hospice (Jacques Feyder, 1917), and L'instinct est maître (Jacques Feyder, 1917). In 1918 Tallier was Ebenezer in the fishermen's drama Les travailleurs de la mer (André Antoine, 1918), adapted from Victor Hugo's novel. The plot deals with a Guernseyman named Gilliatt (Romuald Joubé), a social outcast who falls in love with Deruchette (Andrée Brabant), the niece of a local shipowner, Mr. Lethierry (Charles Mosnier). When Lethierry's ship is wrecked on the Roches Douvres, a perilous reef, Deruchette promises to marry whoever can salvage the ship's steam engine. Gilliatt eagerly volunteers, and the story follows both his physical trials and tribulations, but in the end, he understands Deruchette loves another, Ebenezer (Tallier), so he sacrifices himself and crashes into a rock. In 1918-1919, Tallier could be seen in e.g. Marion de Lorme (Henry Krauss, 1918) starring Nelly Cormon, Le bercail (Marcel L'Herbier, 1919), and Âmes d'orient (Léon Poirier, 1919).
Between 1920 and 1926, Armand Tallier only did 9 films but some memorable ones, such as Le penseur (Léon Poirier, 1920) with André Nox, and Mathias Sandorf (Henri Fescourt, 1921) starring Romuald Joubé. He played the title character in Jocelyn (Léon Poirier, 1922), a period piece after Lamartine, about a young man who is chased from seminary during the French Revolution, and hides in a cave. He hosts a fugitive who proves to be a woman, Laurence (Laurence Myrga). Far from civilisation, their love grows, but Jocelyn still keeps his vows and leaves Laurence. She dies, he buries her in the cave. In Poirier's La Brière (Léon Poirier, 1925), set in the region of La Brière where rough men and women live on peat cutting, a fierce argument breaks out about the draining of the marshes in service of the manufacture of bricks. The old stubborn Aoustin (José Davert) leads the resistance and refuses to give his daughter Théotiste (Laurence Myrga) to a young peasant, Jeanin (Armand Tallier), in favor of the draining. When a pregnant Théotiste is still refused marriage and Aoustin even wants to have Jeanin arrested for poaching, the latter shoots Aoustin his hand off. Théotiste has a miscarriage and is accused of killing her child, after which Jeanin and the whole community shun her. Aoustin gets a wooden hand. He wants to kill Jeanin, but first needs to bring Théotiste to a hospital through the marshes. He gets lost in the freezing cold while his daughter dies. In the end Aoustin lets Jeanin go. The film was typical for the peak in realist rural dramas around 1924.
In 1926, Armand Tallier did his last two films. In La chaussée des géants (1926) he starred as François Gérard, who in childhood met Antiope, a little foreigner, in a Paris park. As an adult (Tallier), he sees her (Jeanne Helbling) again in her native country, Mingrelia, which is on the verge of revolution. He is then the host of Count of Antrim (André Volbert), who is also Antiope's father. However, once in the presence of François, the young woman does not seem particularly moved, which somewhat puzzles him. A revolution breaks out, but the conjurers are executed or imprisoned. Back in France, François learns about the true identity of Antiope. The film's title refers to the real Chaussée des Géants (Giant's Causeway), in the County of Antrim in Ireland. In his last film, Le soleil de minuit (Richard Garrick, Jean Legrand, 1926), Tallier again had the male lead. Plot: Irène Sorbier (Gina Manès) sacrifices her honor to save her father from ruin. A few months afterward, she meets a charming young man named André Varennes (Tallier) and they both take a fancy towards each other. On their wedding night, Irène confesses her past to André who leaves her. They meet again after a year and Irène gets to explain and plead her case. Although André forgives her, he leaves for a cruise on his yacht alone. She tries to follow him on a small boat but a storm capsizes it and in the nick of time André rescues the woman whom he has always loved. Both last films with Tallier were based on novels by Pierre Benoît, famous for his novels L'Atlantide and Koenigsmark, which were adapted to film several times. Armand Tallier died in Paris in 1958
Sources: Wikipedia (French) and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard in the series Les Vedettes de Cinéma by A.N., Paris, no. 69.
Jeanne Helbling was an actress of the French cinema of the 1920s and 1930s, who was extremely active in early French sound film. She was also a Resistance heroine.
Number:
171620
Date created:
1926
Extent:
1 photographic print : gelatin silver ; 7 x 9.5 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Slessinger, Julia Alexander
Bast, Evelyn Alling
Swackhamer, Elizabeth Bass
Munroe, Ethel Berger
Stowers, Jennie Bishop
Willard, Caroline Bliss
Helbling-Bolger, Anna
Brierly, Charlotte M.
Jinks, Ruth Brister
Brown, Barbara
Cruickshank, Josephine Brown
Carn, Irene
Mentzer, Gladys Cox
Davies, M. Isabel
Barton, Dorothy Diggs
Lewis, Emily A. Engle
Wilkinson, Elizabeth Franzoni
Mabrey, Grace Furniss
Glenn, Sarah
Hains, M. Lois
Hanes, M. Inez
Hartwell, Sara M.
Willliams, Helen Hess
Hoff, Dorothy E.
Coffman, Mary Holloway
Jones, Alberta I.
Tyner, Grace Replogle Kagarise
Keener, Anne
Laxton, Augusta A.
Lahmann, Florence Lesser
Long, Mary Thelma
Noon, Marie MacDonald
Elmer, Edyth Marshall
Mason, Mrs. Mollie Couldourn
Stewart, Mildred Miller
Moser, Elizabeth
Nordin, Gunda R.
Ober, Hazel
Schmalbach, Hilda Ostrom
Parkhouse, Mary Ruby
Anders, Winifred Patrick
Robinson, Roda Mabel
Segelke, Hilda A.
Ewert, Louise M. Sheddan
Weiler, E. Ruth Smith
McLain, Edith Sparklin
Stoutner, Clare Elaine
Stayer, Lois Naomi
Struve, Mildred
Fuller, Dorothy Sutton
Switzer, Sarah A.
Thomason, Florine N.
Thuma, Marion E.
Tittsworth, Munsey A.
Legenbauer, Dorothy Van Patten
Warfield, Hester Ann
Watson, Mary Louise
Lawler, Elsie M.
Seckinger, June Smith Worley
Ault, Margaret G.
Wirt, Verna
Nursing students--Maryland--Baltimore--1920-1930
Nurses--Maryland--Baltimore--1920-1930
Graduation ceremonies--Maryland--Baltimore--1920-1930
Portrait photographs
Group portraits
Notes: Photographer unknown.
Divided reverse. Letter generously translated by uwing50, authored in München on 15.02.1915 and addressed the author's sister, Fräulein Anna Gschirr in Mühlham. Postage cancelled in München a day later.
Photographed in a popular München garrison gateway, Infanterist der Ersatz-Reserve Max Gschirr poses for a memento picture before departing for the Western Front, sometime around February 1915. Seven months later he would be dead, stuck by shrapnel near Roclincourt (near Arras) and dying in a field dressing station.
_______________________________________________
Notes:
b. Reserve-Infanterie-Regiment Nr. 2 (+MG.-Kp.)
Aufgestellt in München (R.Stb., I.), Landshut (II.) und Passau (III.)
Unterstellung:1. b. Res.Div.
Kommandeur:Oberstleutnant Helbling (2. b. I.R.)
I.:Major Fischer (1. b. I.R.)
II.:Major Wölfl (16. b. I.R.)
III.:Major Staudacher (16. b. I.R.) gef.: 5.9.14
Verluste:61 Offz., 3211 Uffz. und Mannschaften.
French postcard by Coquemer Gravures, Paris. Photo: Gerschel / Gaumont. Andrew Brunelle as the evil Dr. Howey in La nouvelle mission de Judex (Louis Feuillade, 1917-1918).
Andrew Brunelle (1894-1943) was a French film actor and director.
Andrew Brunelle was born in Cambrai, in the North of France. In 1917 he debuted as film actor in the part of the evil Dr. Howey in the French crime serial La nouvelle mission de Judex, directed by Louis Feuillade. Until the mid-1920s he had a regular career in French silent cinema, acting in La maison d’argile (1918) with Léon Mathot, and Chignole (René Plaisetty 1919, rereased in 1927 as La grande envolée). In La force de la vie (René Leprince 1920) Brunelle had the lead, of a Parisian who gets involved in a Corsican feud. Afterwards, he played in two films by Louis Delluc: Le silence (1920) with Ève Francis and Gabriel Signoret , and Fièvre (1921) with again Francis and Edmond Van Daële. These were followed by Le Carilloneur (René Coiffard 1922)starring Eouard de Max , Stella lucente (Raul d’Auchy 1922) in which Brunelle had the lead, L’aiglonne (Emile Keppens, René Navarre 1922), L’empereur des pauvres (René Leprince 1922) starring Léon Mathot, and La faute des autres (Jacques Oliver 1923) starring Charles de Rochefort. In 1923 Brunelle he directed his first film, the comedy Théodore cherche des allumettes (1923). After a gap of several years he retuned to the screen in 1929, directing La robe (1929) with Paul Capellani and acting in the early sound film Tarakanova (Raymond Bernard 1930), starring Édith Jéhanne and Olaf Fjord . It was his last film part. Under the name of André Brunelle he still directed various sound films in the 1930s, e.g. Bouton d’or (1933) with Jeanne Helbling, Vaccin 48 (1934) with Alice Tissot, and Ernest a le filon (1935). He wrote the script for one film, Deux de la reserve (René Pujol 1938), and edited the comedy Bach en correctionelle (Henry Wulschleger 1940) with the popular comedian Bach. Andrew Brunelle died in Paris in 1943.
Source: IMDB, cineressources.bifi.fr
French postcard by David Campari, Paris. Photo: Studio Lorelle. Caption: Un Campari, c'est un peu de Paris. (A Campari is like a bit of Paris).
Jeanne Helbling was an actress of the French cinema of the 1920s and 1930s, who was extremely active in early French sound film. She was also a Resistance heroine.
Letter on reverse (below) authored in Munich around 1.3.1915 with postage cancelled the same date and location.
Infanterist Anton Auerhammer, bedecked in flowers poses for a memento photograph at the gates of his Munich barracks (Rekruten-Depot). There were several barracks in Munich at the time so it is difficult to pinpoint which one it might be.
Unit: bayer. Reserve Infanterie Regiment Nr. 2
Rank: Musketier
Headwear: --- / M.92 helmet cover
Tunic: Bavarian M.1910 Vereinfachte (Simplified) Feldrock
Awards: None
Buckle: Bavarian “IN TREUE FEST”
Accoutrements: Backpack, Beilpicke (pick-axe), troddel
Ammunition pouches: M.09 type
Armament: Gew 98 fitted with a long, S98 bayonet
NB: The Beilpicke was issued to around 1 in 10 soldiers per company in place of the entrenching tool.
________________________________________________________________________
Notes:
b. Reserve-Infanterie-Regiment Nr. 2 (+MG.-Kp.)
Aufgestellt in München (R.Stb., I.), Landshut (II.) und Passau (III.)
Unterstellung:1. b. Res.Div.
Kommandeur:Oberstleutnant Helbling (2. b. I.R.)
I.:Major Fischer (1. b. I.R.)
II.:Major Wölfl (16. b. I.R.)
III.:Major Staudacher (16. b. I.R.) gef.: 5.9.14
Verluste:61 Offz., 3211 Uffz. und Mannschaften.