View allAll Photos Tagged Moderne
Fast forward to 2005. Dan had received a call from a guy who really felt that he had found a Gibson Moderne prototype, on Ebay of all places.
The seller had a great story and this guy was buying it hook line and sinker. He was convinced that he had actually found the million dollar guitar that no one else had ever seen in the flesh. He wanted to help the seller broker the deal for a percentage of the selling price and the rights to a book deal on the instrument.
This is where Dan came into the picture. This guy needed a confirmation that this guitar was legitimate and since Dan was the only person that had ever really seen a Moderne in hands, he figured that Dan was his man.
So he calls Dan and sets up this huge event that included bringing Gibson historian/restoration specialist Tom Murphy and former Gibson Custom Shop/George Gruhn repairman Phil Jones to town.
This poor guy had done hundreds of hours of research on the Moderne and had spent a huge amount of money organizing this thing, much to the chagrin of his family.
Unfortunately, the guitar was debunked seconds after the case was opened. It appeared the seller knew the whole time. He just wanted to see if he could fool the big boys.
These photos show the guitar and what the book cover would have looked like if the guitar was real.
23.06.2017 - WAZ/NRZ Duisburg Nord - Gregor Herberhold
Kunst-Aktion
Marten Dalimot sorgt für Farbtupfer in Duisburg-Laar
Der Graffiti-Künstler hat elf Stromkästen bemalt. Die Anregung kam vom Runden Tisch. Der konnte die Stadtwerke schnell von der Idee überzeugen.
Da sich in Sachen Wohnumfeldbesserung in Laar bislang nicht allzu viel getan hat – wir berichteten – hat der Runde Tisch Laar selbst die Initiative ergriffen. „Wir wollen ein bisschen Farbe nach Laar bringen“, sagen Sigrid Goetting-Schlitt und Martina Löcker, beide Sprecherinnen der vor zwölf Jahren gegründeten Bürgerinitiative.
Das ging schneller, als die beiden Damen geglaubt hatten. Man müsste die unattraktiven Stromkästen mit Kunstwerken versehen, dachten sich die Beiden – und sprachen im Februar dieses Jahres die Stadtwerke (Netze Duisburg) an.
Bürger wollten ein Zeichen setzen
Die ließen sich sofort überzeugen, waren bereit, ihre „Kästen“ für Graffiti-Aktionen zur Verfügung zu stellen und dem Runden Tisch zu helfen, „ein sichtbares Zeichen zu setzen“.
So machte sich Sigrid Goetting-Schlitt auf den Weg, suchte die unattraktivsten, schmuddeligsten Stromkästen. Und fand neun kleine Schränke und zwei große Stationen im Ortsteil.
Motive passen sich in die Umgenung ein
Schnell war man sich mit Netze Duisburg einig, freut sich die Laarerin: Der Graffiti-Künstler Marten Dalimot sollte den Auftrag bekommen, die Bauwerke zu verschönern.
Die Motive stellten die Mitglieder des Runden Tisches in Absprache mit Netze Duisburg und dem Künstler zusammen. „Wir haben uns immer an der Umgebung orientiert“, sagt Sigrid Goetting-Schlitt. Sprich: In Rheinnähe sind Schafe am Deich zu sehen, neben einem Wohnhaus ist die Mauer optisch „verlängert“ worden. Man entdeckt auch das Laarer Wappen, Blumen und die Industrielandschaft in der Nachbarschaft mit dem Kraftwerk Hermann Wenzel, an dem ein Papierschiffchen vorbeizieht.
Fotoschau Anfang Juli im Ewaldihaus an der Apostelstraße
Kaum waren die Motive ausgewählt und die Entwürfe gezeichnet, da legte Marten Dalimot auch schon los. Inzwischen sind alle Bilder fertig.
Dalimot reinigte die Flächen zunächst per Sandstrahl, grundierte sie und rückte dann mit rund 80 Farbdosen an. Kleinere Werke, wie sie auf den Schränken zu finden sind, entstehen in ein paar Stunden. Um die große Station an der Ecke Emscherhütten-/Florastraße rundum zu verzieren, brauchte es zwei ganze „Maltage“.
Komplettpaket: Fläche vorbereiten, Malen und Schutzanstrich
Hinzu kommen bei allen Werken Nachbereitungen, sprich: Die Kunst wird mit einem Schutzanstrich versehen, damit sie im Falle von Verunreinigungen durch Schmierfinken leicht zu reinigen ist. Schmierereien und Kritzeleien sind laut Marten Dalimot aber kein Problem: 90 Prozent seiner Werke – und davon gibt es viele in Duisburg – sind auch nach Jahren noch in tadellosem Zustand.
Am 5. Juli werden alle Werke in einer Fotoschau beim Runden Tisch im Ewaldi-haus, Apostelstraße, vorgestellt (18.30 Uhr). Gäste sind bei dem offenen Treffen willkommen.
Carillon Towers. Built in 1964 by architect Donald Powers Smith in the "Miami moderne" style.
The prosperity of post-World War II America is reflected in the inventive designs of the Miami Modern style. The Miami Modern style evolved from Art Deco and Streamline Moderne designs, reflecting greater modern functional simplicity. Although the style was used on various types of buildings, it is typified by futuristic-looking hotel and motels. Characteristics include the use of geometric patterns, kidney and oval shapes, curves, stylized sculpture, cast concrete decorative panels and stonework depicting marine and nautical themes, particularly at the entrances. Overhanging roof plates and projecting floor slabs with paired or clustered supporting pipe columns, as well as open-air verandas and symmetrical staircases are also typical design features.
-from historicpreservationmiami.com
It's not Butte, but it is Butte n' Anaconda. The Club Moderne is great exemplar of the art deco period.
Der Endpunkt der S-Bahn in Aglasterhausen ist, typisch für in den 2000en gebaute Bahnhöfe, schlicht gehalten.Und das muss nichts schlechtes sein.
Mutual Sunset Lamp Company (M. S. L. C.)
Table Lamp with Nightlight
1930s Art Moderne, Modernist, Machine Aesthetic Design. Could be attributed to designer Gilbert Rohde who designed lamps for this company in the 1930s.
He designed over 35 lamps for this company and many were not documented.
Chrome (or Nickle) Plated with a Cream-colored Milk Glass Center.
Original Cloth Cord. Original Bakelight? plastic On/Off switch for the nightlight.
Adjustable shade holder with original finial.
Dimensions: 20 inches to 21 1/2 inches high; 4 1/2 diameter at the base. 9 inches high to the top of the glass/chrome base.
Weight: About 3 pounds, 14 ounces on a Postal Scale.
Condition: Mint to Very Good. All original parts (except for the shape) appear intact and in working order, including the pull chains and switch. All lamp sockets are in working order. I have not tried to clean the chrome---appears to have some minor surface issues (see photographs). Heavy base has a dull, matte finish as opposed to the chrome, banded rings at the top and the bottom of the glass center section. Original cords and interior fittings. One interior area seems to have been covered in electrical tape for safety.
Signed: M.S.L.C. D1600 on the bottom of the base.
A view of the rear of the former Moderne Cinema in Winton as taken from the car park in Brassey Road.
As sadly with so many cinemas, this became a bingo hall. This too closed down in February 08 and is now boarded up.
Let's hope it isn't pulled down!!
Découvrez ici la photo d'une cuisine Oskab grise brillante de style moderne (modèle STECIA Gris).
Retrouvez plus d'infos et de photos d’inspiration sur www.oskab.com
Creator: Grand Hôtel Moderne
Title: Grand Hôtel Moderne
Location: Liège, Belgium
Extent: 1 label; printed
Notes: From a collection of luggage labels, of Hotels, and Transport companies.
Format: Label
Rights Info: No known restrictions on access
Repository: Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario Canada, M5S 1A5, fisher.library.utoronto.ca
Le foto del nuovo centro cucine Gicinque a Roma.
Arredamenti Fanfarillo
Via Riace 1
00118 Localita' Morena Roma
06 /79841697.
In esposizione ci sono i modelli di cucine moderne di Gicinque Asia, Elite, Laguna e Joy
Aufnahme-Datum: 04.12.2021
Aufnahme-Ort: Am Amtsteich / Brandenburgisches Landesmuseum für moderne Kunst - BLMK (www.blmk.de)
Ortsteil: Mitte
Adresse: Am Amtsteich 15, 03046 Cottbus
#cottbus #chósebuz #cottbus_dezember_2021 #cottbus_2021 #cottbus_mitte #cottbus_am_amtsteich #cottbus_dieselkraftwerk #cottbus_turm #cottbus_museum #cottbus_denkmal #cottbus_blmk #cottbus_spiegelung #cottbus_winter #cottbus_schnee #cottbus_bilder #cottbus_pictures #cottbusundumgebung #cottbus_meinestadt #cottbusmeinestadt #meinestadtcottbus #meincottbus #mein_cottbus #visitcottbus #ilovecottbus
Leistenbrüche sind häufig die Folge einer Bindegewebsschwäche. Mit innovativen Herniennetzen lassen sie sich dauerhaft und sicher verschließen.
Bildnachweis: BVMed-Bilderpool
Vintage French postcard. Photo by Couture. Imprimerie Moderne, Béziers. Roch wears her outfit of the 'nourrice' (childminder) in the play Médée by Catulle Mendès, first performed at the Comédie française in Paris on 20 June 1903. Madeleine Roch played Soemias in the musical tragedy Héliogabale by Déodat de Séverac and Émile Sicard, performed at the Arènes de Béziers, on 21 and 23 August 1910.
Madeleine Roch (1883–1930) was a reputed French 'tragédienne' from the Comédie Française, who between 1909 and 1911 acted in a series of 11 film d'art-like historical films at Pathé Frères, such as the Tolstoy adaptation Résurrection (1909), Messaline (Ferdinand Zecca and Henri Andréani, 1910), Cléopâtre (Zecca and Andréani, 1910), Moïse sauvé des eaux (Henri Andréani, 1911), Radgrune (Camille de Morlhon, 1911), and Une intrigue à la cour d’Henry VIII (De Morlhon, 1911).
Madeleine Roch entered the Comédie-Française in 1903 and was Sociétaire there between 1912 and 1930. Her quitting of film acting in 1912 may have had to do with becoming sociétaire. She was in particular a performer of the plays of Jean Racine, such as Andromache, Britannicus, and Phèdre, and of Greek tragedy. At the open air Théâtre des Arènes in Béziers, she starred in e.g. Le premier glaive (1908), La fille du soleil (1909), Héliogabale (1910), and Les esclaves (1910). In 1930 Roch gave her last stage performance. She died in the same year.
moscow / december 2012 / tverkaya street 18. the art nouveau house. architect: erikhson, engineer:c shukhov. the facades of the building are decorated by the artist's drawings - Bilibin.
This is one of the dozen or so projects I have on the needles right now, the Log Cabin Moderne blanket from Mason-Dixon Knitting, made from my all-time favorite yarn, the Cestari 75/25 cotton/wool I bought at Maryland Sheep and Wool (with a few skeins I bought on our cherry blossom weekend in D.C.). I had some small regrets about bringing this particular project with me on the bus from NYC to Hartford, when the guy in front of me pushed his seat waaaaay back, but now that I'm here at UConn, reading old poultry farm documents six hours a day and feeling absolutely knackered at the end of it, I'm glad to have this waiting for me in the hotel, ready-made for mindless teevee knitting.
Incidentally, this is nowhere near to being done. Miles to go and all that. :)
For the knitterinae: Pattern is the Log Cabin Moderne from Mason-Dixon Knitting by Kay Gardiner and Ann Shayne. Yarn is Cestari DK 3-ply, 75/25 cotton/wool, knit on size 6 bamboo circular. Colorways are White, Burgundy Heather, Blackberry Heather and Lilac Heather. These colorways are supposed to repeat for 5 more blocks, but I might throw some Blue Denim Heather in there anyway, just for the hell of it. :)