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Max Bruch was a German composer and conductor.
Part of the Cemeteries & Tombs set.
X-CYCLONE Luftreiniger @ Max-Planck-Institut für Sonnensystemforschung ### X-CYCLONE Air Cleaner @ Max Planck Institute for Solar System Research
Zach Speaks at Adobe MAX About the Tesla Model S console he's been working on doing graphic and UX design.
German postcard for 'Die trustfreie Eidelsan' by Margarinewerk Eidelstedt Gebr. Fauser G.m.b.H., Holstein, Serie 1, no. 22. Photo: Marcus.
German stage and film actor Max Adalbert (1874-1933) was one of the great names of the German theatre at the beginning of the twentieth century. He was famous for his roles in comedies. His greatest success was the title role in the comedy Der Hauptmann von Köpenick/The Captain from Köpenick (1931) which he played on stage and in the cinema.
Max Adalbert was born Maximilian Adalbert Krampf in 1874 in Danzig in Imperial Germany, now Gdansk in Poland. He was the son of a Prussian Officer. Using his first two names as his stage name, he debuted at the age of 19 at the theatre of Lübeck and in 1894 at the municipal theatre of Barmen. Adalbert also appeared in St. Gallen (Switzerland), Nuremberg and Vienna (Austria). He moved to Berlin in 1899 to work at the Residenztheater. In 1915, Adalbert joined the film business. In the following years, he took part in productions like Wie werde ich Amanda los? (1915), Die Buchhalterin (1918), König Nicolo (1919) and Die Verführten (1919). When Max Adalbert came in contact with Curt Bois, he turned into a comedian. During the 1920s, Max Adalbert appeared in several silent films, including Der Dummkopf/The Blockhead (Lupu Pick, 1921), Lady Hamilton (Richard Oswald, 1921) starring Liane Haid, and Die Flamme/The Flame (Ernst Lubitsch, 1923) starring Pola Negri. The highlights are two masterpieces by Fritz Lang, Der müde Tod/Destiny (Fritz Lang, 1921) and Dr. Mabuse der Spieler/Mabuse the Gambler, 1922), the first film in the Dr. Mabuse series about the master criminal who featured in the novels of Norbert Jacques. In 1923, Adalbert retired temporarily from the cinema because he missed the possibility of using words. Together with the actors Paul Morgan and Kurt Robitschek, he founded the 'Kabarett der Komiker' in 1924 which soon became established in Berlin and enjoyed great popularity.
After a few years solely devoted to the stage, Max Adalbert successfully returned to the cinema when sound film was introduced in Germany. Both on stage and in films, he experienced an enormous increase in his popularity. He was very good in the film comedy Mein Leopold/My Leopold (Hans Steinhoff, 1931) opposite Harald Paulsen as Leopold. In 1931 he also made his debut at the Deutsches Theater in Berlin as the lead character of Carl Zuckmayer's 'Der Hauptmann von Köpenick'. He took the role over from Werner Krauss and it became his greatest triumph on stage. Because of this huge success, he was also engaged in the film adaptation, Der Hauptmann von Köpenick/The Captain from Köpenick (Richard Oswald, 1931). The story centres on the Hauptmann von Köpenick affair in 1906. With this role, he set a cinematic monument for himself. He also appeared in the comedy Das Ekel/The Scoundrel (Eugen Schüfftan. Franz Wenzler, 1931) with Evelyn Holt, musical romance Mein Herz sehnt sich nach Liebe/My Heart Longs for Love (Eugen Thiele, 1931) starring Trude Berliner, and the comedy Lachende Erben/Laughing Heirs (Max Ophüls, 1933) starring Heinz Rühmann. In 1933, Max Adalbert suddenly died - of pneumonia or a heart attack (the sources differ) - while in Munich for a guest performance. He was 58. The actor was buried at the Stahnsdorf South-Western Cemetery near Berlin.
Sources: Guy Bellinger (IMDb), Wikipedia (English and German) and IMDb.
And please check out our blog European Film Star Postcards.
Max is my Dad's new best friend. He's a very bright, very friendly, very curious collie who we went to bring home today from the Border Collie Trust rescue center.
In the Spring of 2008, I studied abroad in Ballyvaughan, County Clare, Ireland.
Max and Trevor lived with me in a house of 12, called Orchard House.
Bain News Service,, publisher.
Max Thelen
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.30447
Call Number: LC-B2- 5187-12
en.wikipedia.org/wiki/Max_Ernst
check out some of his paintings here:
Max Hamburger, a place of special importance to me, since we've arrived to Sweden. For the first five days it's been my umbilical chord to the Internet, and as such, to the whole outer world, for that matter. And right as we came, we've got pretty much snowed in, so one could feel really remote, cut-off, or isolated from said rest. Hence my affective bond to this venue, still somewhat in place even now, several weeks later, although we haven't been there at all lately. But everytime I drive by, the place feels kind of homey and familiar now. :)
At any rate, their fishburgers were quite decent, the crew was nice, and coffee was free on the house whenever you've ordered something. They also have that coffee + kanelbulle menu for 9 Kronor (cca. 1 Euro), consisting of hot coffee and a nice piece of spirally rolled, spicy cupcake. And of course (what's more important) free Wi-Fi access, gotta love MAX! ^o^