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Het Loo: de.wikipedia.org/wiki/Het_Loo
Palais Het Loo: www.paleishetloo.nl
hilfreich: www.holland.com/de/tourist/holland-storys/schlosser-und-l...
Paleis 't Loo was een zomerpaleis, gebouwd naast het middeleeuwse kasteel Het Oude Loo. In de winter verbleef de Oranjefamilie in Den Haag, de regeringsstad.
Op 3 september 1939 is de dreiging van een Duitse inval zo groot dat Koningin Wilhelmina besluit om met haar staf van Het Loo naar Den Haag te gaan.
Op 9 april 1941 neemt de Wehrmacht zijn intrek in de beide zijvleugels van Paleis 't Loo. In 1942 wordt Het Loo een herstellingsoord voor de Wehrmacht.
Na de Slag om Arnhem in september 1944 tot april 1945 werd ook een groot aantal Engelse krijgsgevangen voor medische zorg naar Het Loo overgebracht.
Het Loo werd een plaats van verzet toen het paleispersoneel enkele Engelsen hielp te ontsnappen en op Het Loo plaats bood aan een veertigtal onderduikers.
Op 17 april 1945 werd Apeldoorn bevrijd en op 19 april 1945 vestigde prins Bernhard zich met zijn militaire staf op Het Loo, waardoor het paleis het hoofdkwartier werd van de Nederlandse Strijdkrachten. Bernhard woonde toen niet in 't Loo maar in Huis Spelderholt in Beekbergen.
Op 2 augustus haalde prins Bernhard zijn vrouw en hun dochters op van vliegveld Teuge. Op weg naar Paleis Soestdijk maakte het prinselijk gezin een tussenstop op Het Loo. Pas in de herfst van 1945 kon een begin worden gemaakt met de herinrichting van paleis 't Loo.
The royal palace 'Het Loo' was a summer palace, built next to the medieval castle 'Het Oude Loo'. In the winter the roya; family stayed in The Hague, the government city.
On September 3, 1939, the threat of a German invasion was so great that Queen Wilhelmina decided to move from Het Loo to The Hague with her staff.
On April 9, 1941, the Wehrmacht moved into both side wings of Palace 't Loo. In 1942, Het Loo became a convalescent home for the Wehrmacht.
After the Battle of Arnhem in September 1944 to April 1945, a large number of English prisoners of war were also transferred to Het Loo for medical care.
Het Loo became a place of resistance when the palace staff helped some Englishmen to escape and provided room for about forty people in hiding at Het Loo.
On April 17, 1945, Apeldoorn was liberated and on April 19, 1945, Prince Bernhard and his military staff settled at Het Loo, making the palace the headquarters of the Dutch Armed Forces. Bernhard did not live in 't Loo at the time, but in Huis Spelderholt in Beekbergen.
On August 2, Prince Bernhard picked up his wife and their daughters from Teuge airport. On the way to Soestdijk Palace, the royal family made a stopover at Het Loo. Only in the autumn of 1945 could a start be made on redeveloping 't Loo Palace.
"Paleis Het Loo" is a former royal palace located in Apeldoorn, Netherlands. It was built in the 17th century by stadtholder William III and his wife Mary II of England as a hunting lodge and summer residence. The palace was expanded and renovated over the centuries by various members of the House of Orange-Nassau, who used it until 1975. Today, "Paleis Het Loo" is a museum that showcases the history and culture of the Dutch monarchy, as well as the art and architecture of the palace itself. Visitors can explore the stables, gardens, palace rooms and multiple exhibitions that display royal collections and objects. "Paleis Het Loo" is one of the most popular tourist attractions in the Netherlands and a national heritage site.
Source: AI Text Generator
German postcard by Verlag Herm. Leiser, Berlin-Wilm, no. 9175. Photo: Käthe Hirschfeld.
Theodor Loos (1883-1954) was a German stage and screen actor between the 1910s and the 1950s. He became famous for his parts in Fritz Lang’s German films.
Theodor August Konrad Loos was born in 1883 in Zwingenberg, Germany, as the son of a watchmaker and instrument manufacturer. After leaving school prematurely, he worked at an export firm for musical instruments in Leipzig and afterward for his uncle, an art dealer in Berlin, before deciding to become an actor. From 1913 on Loos played in theaters in Leipzig, Danzig and Frankfurt am Main, before performing in Berlin. In 1913 he also played his first film part and in 1915 his first leading role in the mystery drama Der geheimnisvolle Wanderer by William Wauer. Loos played in films by renowned directors such as Richard Oswald, Stellan Rye, Robert Wiene, Otto Rippert, and Robert Reinert. Memorable silent cinema titles are Die Rache des Homunculus (Otto Rippert, 1916) with Olaf Fönss, Christa Hartungen (Rudolf Biebrach, 1917) with Henny Porten, Es werde Licht! II (Richard Oswald, 1917-18) with Eva Speyer, Die singende Hand (Arthur Wellin, 1918) again with Speyer, Getrennte Welten (Arthur Wellin, 1918), Die Buße des Richard Solm (Arthur Wellin, 1918) with Else Kühne and Lia Borré, Nach dem Gesetz (Willy Grunwald, 1919) with Asta Nielsen, Der Reigen (Tichard Oswald, 1919) again with Nielsen, Othello (Dimitri Buchowetzki, 1921-22) with Emil Jannings, Hanneles Himmelfahrt (Urban Gad, 1922). Loos played the title role in the humoristic period piece Friedrich Schiller (Curt Goetz, 1922-23) on the adolescent years of the German playwright, shot on location in Stuttgart. The film, the debut of the film director Goetz, was previously considered lost but rediscovered in recent years and fully restored.
Loos’ finest hour, however, came when Fritz Lang had him perform the cowardly king Gunther in his two-part sequel Die Nibelungen (Fritz Lang, 1924). In the first part, Siegfrieds Tod, Gunther convinces Siegfried (Paul Richter) to conquer Brunhild (Hanna Ralph) for him, but when Brunhild discovers the fraud she urges Gunther to kill Siegfried, which he does with the help of Hagen von Tronje (Hans Adalbert Schlettow). In part two, Kriemhilds Rache, Siegfried’s wife Kriemhild (Margarethe Schön), brother of Gunther, takes revenge on the murderers of Siegfried, including her own brother. A few years after, Lang asked Loos back for the part of the secretary Joseph/Josaphat in his science-fiction film Metropolis (Fritz Lang, 1925-1926). Other late silent films with Loos were a.o. Das Lebenslied (Arthur Bergen, 1927) with Erna Morena, Luther (Hans Kyser, 1927) starring Eugen Klöpfer, Bigamie (Jaap Speyer, 1927) with Maria Jacobini, Anastasia, die falsche Zarentochter (Arthur Bergen, 1928) with Elizza La Porta and Camilla von Hollay, Ludwig der Zweite, König von Bayern (William Dieterle, 1929-30; Loos played Dr. Von Gudden), and Die stärkere Macht (Gennaro Righelli 1929) with Renée Heribel, Fritz Kortner and Alma Taylor.
Theodor Loos’ first sound film was Die grosse Sehnsucht (Stefan Szekely 1930), in which he played the lead as a film director who turns an extra (Camilla Horn) into a star. Other early sound films with Loos were Ariane (Paul Czinner 1931) with Elisabeth Bergner, Die andere Seite (Heinz Paul 1931) with Conrad Veidt, Trenck (Ernst Neubach, Heinz Paul 1932) with Hans Stüwe and Dorothea Wieck, and Acht Mädels im Boot (Erich Waschneck 1932) with Karin Hardt. Returning to Fritz Lang, Loos was police commissioner Groeber in Lang’s masterpiece M (1931) and Dr. Kramm in Das Testament des Dr. Mabuse (1933). The last-mentioned film was forbidden by the nazi’s because of its hidden criticism of Hitler and the Nazi regime, so it premiered in Budapest. In the 1930s Loos played not only countless film parts but also classic theater: Shakespeare, Schiller, Hauptmann, Ibsen, Strindberg, among which over 400 times in Peer Gynt. Under the Nazi regime, he was appointed "Staatsschauspieler" [state actor], performing in a.o. Thea von Harbou’s directorial debut Elisabeth und der Narr (1934) with Hertha Thiele and Rudolf Klein-Rogge, Der Student von Prag (Artur Robison 1935; Loos was the devilish Dr. Carpis), Schlussakkord (Douglas Sirk 1936) with Maria von Tasnady and Peter Bosse, Schatten über St. Pauli (Fritz Kirchhoff 1938) with Harald Paulsen, Veit Harlan’s films Der Herrscher (1936-37) with Emil Jannings, and Jud Süß (1940) with Ferdinand Marian, and Hans Steinhoff’s films Der alte und der junge König (1934-35) with Jannings, Robert Koch (1939) with again Jannings, Rembrandt (1942; Loos played Jan Six) and Gabriel Dambrone (1943). Other titles from the war era were Herbert Maisch’s Andreas Schlüter (1941-42), in which Loos played prince-elector Frederick III, opposite Heinrich George in the title role, and Titanic (Werner Klingler, Herbert Selpin 1943) which starred Sybille Schmitz and Hans Nielsen, and in which Loos played a German scientist. During the war, Loos was head of Künstlerischen Wortsendungen [artistic verbal emissions] at the German Radio. He was also in high places in artistic and cultural boards. Loos didn’t have to serve in the war because of his parts in (propaganda-) films but his two sons did and they both died in the war. At the end of the war, Loos fled via Prague to Salzburg but was rehabilitated by the French military government in 1947. He then performed again on stage in Tübingen and Stuttgart, and also became a radio announcer. In 1954 Loos played his last film part as a minister in Rosen aus dem Süden (Franz Antel), starring Maria Holst, and in the same year, he was awarded the Grossverdienstkreuz of the Bundesrepublik. Theodor Loos died 27.06.1954 in Stuttgart. All in all, Loos played in over 170 films.
Sources: www.filmportal.de, German and English Wikipedia.
And, please check out our blog European Film Star Postcards.
Not my usual stuff but at times need to explore different things to refresh the creative mind .
Have wanted to go to this place since i saw the 1st images on WFC FLICKR over a year ago, Met up with Sally for my 1st real URBEX , this place does get into your head as you walk around the place - i so smelll of stale urine , sorry if i made you jump at one point sally :-)
inspired my MR7 of WFC if ever your going back count me in before its all demolished
A house he designed in Montmatre, Paris, (not a his and hers loo). "Ornament is crime" he said. What about the flower boxes then? Loonie.
Truth be told, I understand that he was reacting to some excesses of his time. But fundamentalism is not good. A bit like Djikstra claiming gotos are harmful. Well they are useful sometimes.
The argument that technology creates bias is valid, the medium is the message, but one has to balance that with minimal paternalism and maximal freedom. Always a problem.
We can only hope that the middle of the bell curve, where excess on either side cancels out, is in the right place to allow our society to thrive peacefully. Not really working too well these days.
Today I've been on a cold and damp, then cold & wet, dawn chorus walk followed by a rustic alfresco cooked breakfast. The loo was also very rustic, basically a hole in a plank, after which you had to chuck a couple of handfuls of sawdust in. Not been in one like that since the wilds of Canada. Photo 28/30 for April picture a day.
The Loo Collection - A series of unusual loos from here, there and yonder!
Japanese Loos are a technological wonder!
Would you like a heated seat? .......a vibrating seat? Your remote control allows you to choose listening to Mozart, Tchaikovsky or Beethoven.
Start your business with a mellow "Rites of Spring" and finish with the final movement of the "1812 overture".
You can flush and brush with oscillating sprays and air dryers. I'm sure over time they could be habit-forming!
German postcard in the Film Sterne series by Rotophot, no. 155/2. Photo: Becker & Maass, Berlin.
Theodor Loos (1883-1954) was a German stage and screen actor between the 1910s and the 1950s. He became famous for his parts in Fritz Lang’s German films.
Theodor August Konrad Loos was born in 1883 in Zwingenberg, Germany, as the son of a watchmaker and instrument manufacturer. After leaving school prematurely, he worked at an export firm for musical instruments in Leipzig and afterward for his uncle, an art dealer in Berlin, before deciding to become an actor. From 1913 on Loos played in theaters in Leipzig, Danzig and Frankfurt am Main, before performing in Berlin. In 1913 he also played his first film part and in 1915 his first leading role in the mystery drama Der geheimnisvolle Wanderer by William Wauer. Loos played in films by renowned directors such as Richard Oswald, Stellan Rye, Robert Wiene, Otto Rippert, and Robert Reinert. Memorable silent cinema titles are Die Rache des Homunculus (Otto Rippert, 1916) with Olaf Fönss, Christa Hartungen (Rudolf Biebrach, 1917) with Henny Porten, Es werde Licht! II (Richard Oswald, 1917-18) with Eva Speyer, Die singende Hand (Arthur Wellin, 1918) again with Speyer, Getrennte Welten (Arthur Wellin, 1918), Die Buße des Richard Solm (Arthur Wellin, 1918) with Else Kühne and Lia Borré, Nach dem Gesetz (Willy Grunwald, 1919) with Asta Nielsen, Der Reigen (Tichard Oswald, 1919) again with Nielsen, Othello (Dimitri Buchowetzki, 1921-22) with Emil Jannings, Hanneles Himmelfahrt (Urban Gad, 1922). Loos played the title role in the humoristic period piece Friedrich Schiller (Curt Goetz, 1922-23) on the adolescent years of the German playwright, shot on location in Stuttgart. The film, the debut of the film director Goetz, was previously considered lost but rediscovered in recent years and fully restored.
Loos’ finest hour, however, came when Fritz Lang had him perform the cowardly king Gunther in his two-part sequel Die Nibelungen (Fritz Lang, 1924). In the first part, Siegfrieds Tod, Gunther convinces Siegfried (Paul Richter) to conquer Brunhild (Hanna Ralph) for him, but when Brunhild discovers the fraud she urges Gunther to kill Siegfried, which he does with the help of Hagen von Tronje (Hans Adalbert Schlettow). In part two, Kriemhilds Rache, Siegfried’s wife Kriemhild (Margarethe Schön), brother of Gunther, takes revenge on the murderers of Siegfried, including her own brother. A few years after, Lang asked Loos back for the part of the secretary Joseph/Josaphat in his science-fiction film Metropolis (Fritz Lang, 1925-1926). Other late silent films with Loos were a.o. Das Lebenslied (Arthur Bergen, 1927) with Erna Morena, Luther (Hans Kyser, 1927) starring Eugen Klöpfer, Bigamie (Jaap Speyer, 1927) with Maria Jacobini, Anastasia, die falsche Zarentochter (Arthur Bergen, 1928) with Elizza La Porta and Camilla von Hollay, Ludwig der Zweite, König von Bayern (William Dieterle, 1929-30; Loos played Dr. Von Gudden), and Die stärkere Macht (Gennaro Righelli 1929) with Renée Heribel, Fritz Kortner and Alma Taylor.
Theodor Loos’ first sound film was Die grosse Sehnsucht (Stefan Szekely 1930), in which he played the lead as a film director who turns an extra (Camilla Horn) into a star. Other early sound films with Loos were Ariane (Paul Czinner 1931) with Elisabeth Bergner, Die andere Seite (Heinz Paul 1931) with Conrad Veidt, Trenck (Ernst Neubach, Heinz Paul 1932) with Hans Stüwe and Dorothea Wieck, and Acht Mädels im Boot (Erich Waschneck 1932) with Karin Hardt. Returning to Fritz Lang, Loos was police commissioner Groeber in Lang’s masterpiece M (1931) and Dr. Kramm in Das Testament des Dr. Mabuse (1933). The last-mentioned film was forbidden by the nazi’s because of its hidden criticism of Hitler and the Nazi regime, so it premiered in Budapest. In the 1930s Loos played not only countless film parts but also classic theater: Shakespeare, Schiller, Hauptmann, Ibsen, Strindberg, among which over 400 times in Peer Gynt. Under the Nazi regime, he was appointed "Staatsschauspieler" [state actor], performing in a.o. Thea von Harbou’s directorial debut Elisabeth und der Narr (1934) with Hertha Thiele and Rudolf Klein-Rogge, Der Student von Prag (Artur Robison 1935; Loos was the devilish Dr. Carpis), Schlussakkord (Douglas Sirk 1936) with Maria von Tasnady and Peter Bosse, Schatten über St. Pauli (Fritz Kirchhoff 1938) with Harald Paulsen, Veit Harlan’s films Der Herrscher (1936-37) with Emil Jannings, and Jud Süß (1940) with Ferdinand Marian, and Hans Steinhoff’s films Der alte und der junge König (1934-35) with Jannings, Robert Koch (1939) with again Jannings, Rembrandt (1942; Loos played Jan Six) and Gabriel Dambrone (1943). Other titles from the war era were Herbert Maisch’s Andreas Schlüter (1941-42), in which Loos played prince-elector Frederick III, opposite Heinrich George in the title role, and Titanic (Werner Klingler, Herbert Selpin 1943) which starred Sybille Schmitz and Hans Nielsen, and in which Loos played a German scientist. During the war, Loos was head of Künstlerischen Wortsendungen [artistic verbal emissions] at the German Radio. He was also in high places in artistic and cultural boards. Loos didn’t have to serve in the war because of his parts in (propaganda-) films but his two sons did and they both died in the war. At the end of the war, Loos fled via Prague to Salzburg but was rehabilitated by the French military government in 1947. He then performed again on stage in Tübingen and Stuttgart, and also became a radio announcer. In 1954 Loos played his last film part as a minister in Rosen aus dem Süden (Franz Antel), starring Maria Holst, and in the same year, he was awarded the Grossverdienstkreuz of the Bundesrepublik. Theodor Loos died 27.06.1954 in Stuttgart. All in all, Loos played in over 170 films.
Sources: www.filmportal.de, German and English Wikipedia.
And, please check out our blog European Film Star Postcards.
German postcard by Margarinewerk Eidelstedt, Gebr. Fauser G.m.b.H., Holstein, Serie 1 (80 bilder), no. Bild 27. Photo: Mahrenholz.
Theodor Loos (1883-1954) was a German stage and screen actor between the 1910s and the 1950s. He became famous for his parts in Fritz Lang’s German films.
Theodor August Konrad Loos was born 18.05.1883 in Zwingenberg, Germany, as the son of a watchmaker and instrument manufacturer. After leaving school prematurely, he worked at an export firm for musical instruments in Leipzig and afterward for his uncle, an art dealer in Berlin, before deciding to become an actor. From 1913 on Loos played in theaters in Leipzig, Danzig and Frankfurt am Main, before performing in Berlin. In 1913 he also played his first film part and in 1915 his first leading role in the mystery drama Der geheimnisvolle Wanderer by William Wauer. Loos played in films by renowned directors such as Richard Oswald, Stellan Rye, Robert Wiene, Otto Rippert, and Robert Reinert. Memorable silent cinema titles are Die Rache des Homunculus (Otto Rippert, 1916) with Olaf Fönss, Christa Hartungen (Rudolf Biebrach, 1917) with Henny Porten, Es werde Licht! II (Richard Oswald, 1917-18) with Eva Speyer, Die singende Hand (Arthur Wellin, 1918) again with Speyer, Getrennte Welten (Arthur Wellin, 1918), Die Buße des Richard Solm (Arthur Wellin, 1918) with Else Kühne and Lia Borré, Nach dem Gesetz (Willy Grunwald, 1919) with Asta Nielsen, Der Reigen (Tichard Oswald, 1919) again with Nielsen, Othello (Dimitri Buchowetzki, 1921-22) with Emil Jannings, Hanneles Himmelfahrt (Urban Gad, 1922). Loos played the title role in the humoristic period piece Friedrich Schiller (Curt Goetz, 1922-23) on the adolescent years of the German playwright, shot on location in Stuttgart. The film, the debut of the film director Goetz, was previously considered lost but rediscovered in recent years and fully restored.
Loos’ finest hour, however, came when Fritz Lang had him perform the cowardly king Gunther in his two-part sequel Die Nibelungen (Fritz Lang, 1924). In the first part, Siegfrieds Tod, Gunther convinces Siegfried (Paul Richter) to conquer Brunhild (Hanna Ralph) for him, but when Brunhild discovers the fraud she urges Gunther to kill Siegfried, which he does with the help of Hagen von Tronje (Hans Adalbert Schlettow). In part two, Kriemhilds Rache, Siegfried’s wife Kriemhild (Margarethe Schön), brother of Gunther, takes revenge on the murderers of Siegfried, including her own brother. A few years after, Lang asked Loos back for the part of the secretary Joseph/Josaphat in his science-fiction film Metropolis (Fritz Lang, 1925-1926). Other late silent films with Loos were a.o. Das Lebenslied (Arthur Bergen, 1927) with Erna Morena, Luther (Hans Kyser, 1927) starring Eugen Klöpfer, Bigamie (Jaap Speyer, 1927) with Maria Jacobini, Anastasia, die falsche Zarentochter (Arthur Bergen, 1928) with Elizza La Porta and Camilla von Hollay, Ludwig der Zweite, König von Bayern (William Dieterle, 1929-30; Loos played Dr. Von Gudden), and Die stärkere Macht (Gennaro Righelli 1929) with Renée Heribel, Fritz Kortner and Alma Taylor.
Theodor Loos’ first sound film was Die grosse Sehnsucht (Stefan Szekely 1930), in which he played the lead as a film director who turns an extra (Camilla Horn) into a star. Other early sound films with Loos were Ariane (Paul Czinner 1931) with Elisabeth Bergner, Die andere Seite (Heinz Paul 1931) with Conrad Veidt, Trenck (Ernst Neubach, Heinz Paul 1932) with Hans Stüwe and Dorothea Wieck, and Acht Mädels im Boot (Erich Waschneck 1932) with Karin Hardt. Returning to Fritz Lang, Loos was police commissioner Groeber in Lang’s masterpiece M (1931) and Dr. Kramm in Das Testament des Dr. Mabuse (1933). The last-mentioned film was forbidden by the nazi’s because of its hidden criticism of Hitler and the Nazi regime, so it premiered in Budapest. In the 1930s Loos played not only countless film parts but also classic theater: Shakespeare, Schiller, Hauptmann, Ibsen, Strindberg, among which over 400 times in Peer Gynt. Under the Nazi regime, he was appointed "Staatsschauspieler" [state actor], performing in a.o. Thea von Harbou’s directorial debut Elisabeth und der Narr (1934) with Hertha Thiele and Rudolf Klein-Rogge, Der Student von Prag (Artur Robison 1935; Loos was the devilish Dr. Carpis), Schlussakkord (Douglas Sirk 1936) with Maria von Tasnady and Peter Bosse, Schatten über St. Pauli (Fritz Kirchhoff 1938) with Harald Paulsen, Veit Harlan’s films Der Herrscher (1936-37) with Emil Jannings, and Jud Süß (1940) with Ferdinand Marian, and Hans Steinhoff’s films Der alte und der junge König (1934-35) with Jannings, Robert Koch (1939) with again Jannings, Rembrandt (1942; Loos played Jan Six) and Gabriel Dambrone (1943). Other titles from the war era were Herbert Maisch’s Andreas Schlüter (1941-42), in which Loos played prince-elector Frederick III, opposite Heinrich George in the title role, and Titanic (Werner Klingler, Herbert Selpin 1943) which starred Sybille Schmitz and Hans Nielsen, and in which Loos played a German scientist. During the war, Loos was head of Künstlerischen Wortsendungen [artistic verbal emissions] at the German Radio. He was also in high places in artistic and cultural boards. Loos didn’t have to serve in the war because of his parts in (propaganda-) films but his two sons did and they both died in the war. At the end of the war, Loos fled via Prague to Salzburg, but was rehabilitated by the French military government in 1947. He then performed again on stage in Tübingen and Stuttgart, and also became a radio announcer. In 1954 Loos played his last film part as a minister in Rosen aus dem Süden (Franz Antel), starring Maria Holst, and in the same year, he was awarded the Grossverdienstkreuz of the Bundesrepublik. Theodor Loos died 27.06.1954 in Stuttgart. All in all, Loos played in over 170 films.
Sources: www.filmportal.de, German and English Wikipedia.
And, please check out our blog European Film Star Postcards.
Right&Left lenses flip flap
5 frame colours
shine on/off
10 different lens colours
4 transparency levels
4 glow levels
On nose or on head position switch with edited position auto save.
A Jodhpur woman from the Blue City throws some water out of a window. Above her is a Swastika, a common symbol in Asia symbolising surya (sun), prosperity, and good luck. The symbol is slightly different to the swastika used by the Nazis as it was turned 45 degrees and symbolised facism.
The phrase "Garde Loo" was used in Britain to mean watch out below as a chamber pot was emptied out of a window from tenement buildings, and is believed to have come from the French garde a l'eau meaning watch out for the water. It is also believed that this is where the term Loo meaning toilet came from.