View allAll Photos Tagged Premises
The Lincolnshire Road Transport Museum, Whisby Road, North Hykeham, Lincolnshire.
The museum is run by the Lincolnshire Vintage Vehicle Society and the museum houses a collection of over 65 vintage cars, buses and commercial vehicles spanning over 80 years of road transport history. There are also many interesting displays of transport history including a traditional workshop.
The Society was founded in 1959 by a group of local businessmen, with the aim of preserving local vehicles of historic interest. Former Lincoln Corporation bus No 5 (VL 1263) was the Society’s first vehicle and the collection has grown steadily over the years.
Vehicles were initially kept at the Sobaron Barracks on Burton Road and in 1962/3 the land upon which the present premises are situated was acquired. The first building to be erected on the site in 1966 was a wooden former ‘NAAFI’ building. This was quickly followed in 1968/9 by the buildings at the rear of the premises, which are now the workshop and spares store.
In 1993 the Society was extremely fortunate to receive a substantial grant from the North Kesteven District Council, and with the Society's own funds and further financial help from Beckside Construction, the new museum was erected.
Information Source:
Some time ago shipyard in Gdansk was a pride of the whole country. Now in its abandoned premises , artists create their own studios and exibition spaces. However,to be allowed to enter shipyard ground you must have a valid pass or permission.
Bedford VAM5 - Plaxton Derwent B48F
New to Armstrong , Ebchester Co.Durham during June-1967 . Coming into this fleet in February-1976
TUP30E is parked up in the Operator's premises at Curry Rivel , Somerset .
Saturday morning 07th-August-1976
Stopped over at Great Mall a few days ago and spotted these giant LED teddy bears sitting on the parking lot. It turned out there was a light show going on the premises. I took a couple shots of these teddy bears before I left.
Empty shops are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business may survive for only a limited period of time.
This collection portrays retail outlets that have been empty long-term, some for many years. In the past, all these shops have housed thriving businesses. Yet now, for some reason, they are empty and some are falling into a state of disrepair and dilapidation.
Each shop has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
Located in Bergenfield, Bergen County, New Jersey, the Cooper Mill Lot encompasses 5.17 acres of ground extending across the outlet of Cooper’s Pond including (a) the Mill Lot, 1.7 acres, (b) the Dwelling-House Lot, 2.02 acres and (c) part of the Barn Lot, 1.45 acres. The Mill Pond (commonly called Cooper’s Pond), having a surface area of 3.80 acres, is formed by impoundment of Long Swamp Brook where it descends Teaneck Ridge onto a river plain (8-foot fall) on its northerly descent towards the Hackensack River. The premises and improvements comprise four associated, two–story, frame buildings on sandstone foundations situated northeast of the outlet of the pond: (1) a Dwelling–House (c1802) of Late Federal style with Greek Revival improvements (c1840/50) and Craftsman alterations (c1910/40; (2) a board–and–batten Gothic Revival farm barn; (3) a stable or carriage–house; and (4) a frame mill from the turn of the Twentieth–Century occupying the foundation of the Demarest Gristmill (1783), subsequently the Cooper Chair Factory (1840/95), Martin Toy Factory (1897-1908) and Bergman Piano Factory (1908/48). After destruction by fire about 1900, the extant mill building was erected and successively used as a toy and piano factory. The Marchbanks, owners since 1949, restored part of the mill building damaged by fire in 1965. The four buildings, occupying the grassy slope of a hollow, well-shaded in summer by deciduous trees, are connected by a narrow lane that descends from the barnyard past a rectangular garden plot and well-house to the dwelling house and mill. The remainder of the Barn Lot to the east is a post-1908 suburban subdivision. A suburban subdivision on the former Christie Farm abuts the north boundary of the Mill Lot.
The Mill House is still a private residence while two outbuildings (mill and barn) are occupied by an art studio, by the shop of a furniture-maker and repairer and by storage. The Mill House furnishings include a significant collection of Cooper chairs manufactured at the site.
SIGNIFICANCE OF THE DEMAREST-COOPER MILL LOT
by Kevin Wright Copyright 1994
The Demarest-Cooper Mill Lot was a small industrial plantation that provided residence, sustenance and employment to a succession of owner/managers and laborers who operated a mill advantageously situated upon Long Swamp Brook with a sufficient flow, pondage and fall of water for manufacturing purposes. The farm maintained draught animals necessary for carting raw materials and finished products. While such mill farms were formerly a feature of the agrarian landscape of Bergen County, they largely vanished under the intensive suburbanization of the past century. From 1783 to 1840, during the heyday of cereal farming in the Hackensack Valley, water power at this location processed feed and flour, the principal products of an agricultural community known as the Bergen Dutch. The Demarest-Cooper Mill Lot, however, possesses singular significance as the site where Richard Cooper and his son, Tunis R. Cooper, introduced a prototypical “factory system” of relatively high-volume production and wholesale/retail merchandising, conducted largely by wage-earners for an interregional market, to what had previously been a folk craft suited to the tastes and demands of a localized rural clientele.
Originally, Bergen Dutch chairmakers had used traditional skills, a folk knowledge of materials and forms, and hand-methods to craft wood and reeds into matted, turned chairs. By operating their own lathes, chairmakers elaborated upon traditional patterns of wood turning so as to create a measure of individual style and artistic expression while generally conforming to basic folk forms. The industry was able to expand beyond local market demands through the proximity of city markets, convenient by water and land carriage, and through the naturally renewing resource of extensive cattail marshes, seasonally cut for matting seats. Beginning about 1820, however, water-driven lathes were added to several local sawmills which began to mechanically mass-produce several grades of chair stuff according to patterns. Certain local farmers then specialized in assembling chair stuff and matting seats in the fallow season, purchasing specific quantities of various grades to fill orders. Beginning about 1840, Richard Cooper and his son, Tunis R. Cooper, brought these seasonal chairmakers into the “factory” and paid them a wage to manufacture and assemble chair stuff and to mat or cane the seats. The production was sold wholesale and retail through local “furniture dealers” and through the company’s own showroom on Pearl Street in New York City. Thus, the Coopers controlled the quantity and quality of the product from purchasing raw materials in bulk through manufacturing and marketing their productions at competative prices in interregional markets to suit general standards of “taste” and quality. To stimulate demand for their output, the Coopers employed professional designers, painters, carvers and salesmen to mold and market Cottage chairs that cultivated changing popular tastes during a sequence of pseudohistorical Romantic Revivals of Greek, Gothic, Renaissance and Chinoiserie (principally a bamboo-turned ballroom chair) styles. Their success endured until railroads greatly extended their reach beyond Atlantic tidewater, creating a national market and feeding the growth of the industrial city through cheap, reliable transport of fuel, materials and products among an ever-widening network of producers and consumers.
Alec Marchbank and his wife, the late Catherine Leiby Marchbank, have been generous over many years in making the site available for archaeological and historical studies and have contributed to historical exhibits, tours and publications regarding the Cooper Chair Factory. Their participation has increased knowledge and public appreciation of a significant historic site and era as a vital component of the community.
THE DEMAREST-COOPER MILL LOT occupies the western part of Lot #21, originally belonging to Benjamin D. Demarest, in the Second Allotment of the French Patent. The Second Allotment covered that portion of the French Patent extending between the Patent Line (now Prospect Avenue) and Chesche Brook (Tienekill). Benjamin Demarest may have occupied his lot about the time of his marriage to Elizabeth DeGroot in November 1713. In 1717, a four-rod road (now West Church Street) was laid out along the southern boundary of Benjamin Demarest’s lot, where it abutted Lot #22 (then belonging to Abraham Brower).
Benjamin D. Demarest, born about 1691, married Elizabeth DeGroot at Hackensack on November 7, 1713. They produced nine children between 1715 and 1737. David B. Demarest,their second son, was baptized December 4, 1720. On January 22, 1743, he married Marrityn Ackerman, daughter of Johannes D. and Jannetje (Lozier) Ackerman. The couple had twelve children, six boys and six girls, born between 1743 and 1778, all baptized at Schraalenburgh. Tory Refugees burned David B. Demarest’s house, barn and cow-house at Schraalenburgh on June 24, 1789.
On May 21, 1785, Benjamin P. Demarest, weaver, Peter P. Demarest, mason, David P. Demarest, farmer, John P. Demarest, carpenter, and Jacob P. Demarest, mason, all of Hackensack Township, released two tracts of land at Schraalenburgh to David B. Demarest, Esq., for 10 shillings. These grantors (sons of David’s older brother, Peter B. Demarest) were Loyalists during the Revolution; most departed Schraalenburgh soon after signing this quit-claim, relinquishing any interest they held in their grandfather Benjamin’s lands. The first tract, comprising 47.75 acres, commenced by the road at the southwest corner of John W. Christie’s farm and was further bounded by the Schraalenburgh Main Road (Washington Avenue), by the road (West Church Street) leading to Schraalenburgh South Church and by the road from South Church to Colonel Nicoll’s Mill (North Prospect Avenue). A second tract, comprising 69.50 acres, lay along the east side of the road from Schraalenburgh to Teaneck (i. e., Washington Avenue) and bounded on the farm of Thomas Campbell. Excepted from the conveyance, however, were 15-acre parcels of land reserved by prior contract between David B. Demarest, Peter B. Demarest and their father, Benjamin Demarest, dated September 14, 1784, whereby Peter B. Demarest was to have 15 acres in the two lots or farm of David B. Demarest and David B. Demarest was to have 15 acres in the farm of Peter B. Demarest.
The last will and testament of David Demarest of Hackensack Precinct was written July 12, 1784 and probated November 19, 1795. Therein, he devised 15 acres off the northwest corner of a lot of land at Schraalenburgh near the church, including the grist mill, to his son Benjamin. The remainder of his real estate was divided equally among his sons, Johannes, Abraham, Jacob, David and Petrus. He also bequeathed legacies to his daughters, Elizabeth, wife of Cornelius Van Zaan; Jannetje; Leah, wife of Jacobus Quackenbos; and Maria. Jannetje and Maria were to receive an out-set upon their marriages. His wife, Maria, was entitled to the use of his personal property during her widowhood.
Benjamin Demarest was born March 31, 1749. He married Catrina Van Orden, daughter of Peter and Geertje (Snyder) Van Orden, at Schraalenburgh on December 24, 1768. The couple had nine children between 1770 and 1793, all baptized at Schraalenburgh. He served in the Bergen Militia during the Revolution. His father’s last will and testament, written in July 1784, provided him with 15 acres near the Church, including a gristmill. He was first listed as owner of a gristmill on the tax assessment records of Hackensack Township in July 1785. Upon his father’s death in 1795, Benjamin inherited the mill lot. His name appears on the tax lists as a mill owner until July–August 1802, when his son, Peter B. Demarest, is listed as proprietor of a gristmill and 10 acres. Peter B. Demarest, then 30 years old, married Hannah Volk at South Schraalenburgh church on September 4, 1802. It is probable the dwelling house near the mill was constructed for Peter at the time of his marriage. He and his family removed to New York City at sometime between 1807 and 1813, where he became a milk dealer.
On January 3, 1804, Benjamin and Catherine Demarest of Hackensack Township received a mortgage from Peter Dey of Cayuga County, New York, for 250 acres along Singack Brook in Saddle River Township. He settled upon this tract, where he died March 30, 1817. Benjamin D. Demarest of Saddle River Township, farmer, composed his last will and testament on August 7, 1816. He provided Catrina, his wife, with the use, comfort and benefit of his estate during her widowhood, including two milch cows and her choice of whatever household and kitchen furniture she needed. His three sons were to provide her maintenance. His real estate was to be equally divided among his three sons, Peter, David and Benjamin. His son Benjamin’s share was to included the dwelling house and other buildings where Benjamin, Senior, then lived. He also provided a legacy of $250 to be equally divided among his six daughters: Maria, wife of Richard Banta; Elizabeth, wife of William Bogert; Geertje, wife of Cornelius Doremus; Anna, wife of Cornelius Van Saun; Jane, wife of Hessel Doremus; and Leah, wife of Adrian Onderdonk. Benjamin’s widow died February 13, 1839. Both were buried in the Dey Burying Ground at Preakness.
There is no recorded conveyance, either by will or by deed, whereby Benjamin or Peter Demarest disposed of the 15-acre Mill Lot near the Church after their relocation to Preakness about 1804. The tax assessment list of Hackensack Township for July-August 1813, lists John W. Christie, a neighbor, as owner of a grist and saw mill and 150 acres. He was again listed as a mill owner in July-August 1814. On February 27, 1804, John Quackenbush and his wife, Sally, conveyed seven acres to John W. Christie, bounded west by the road leading to John W. Christie’s Mills, south by the road leading to Old Bridge and north and east by the Mill Pond. The boundary survey for this lot began “near the Saw Mill of James W. Christie.” These mills, therefore, were located in present-day New Milford, downstream of Benjamin Demarest’s gristmill. Consequently, there is no listing for the Demarest mill in this interval of time. It is probable, however, that Peter B. Demarest remained upon the mill lot at Schraalenburgh until his removal to New York about 1813. The gristmill may have been idled by Thomas Jefferson’s Embargo Act (1807-1809) or possibly incapacitated by fire.
Frederick Mabie first appears as owner of a gristmill in the Hackensack Township tax records in 1814, corresponding with Peter B. Demarest’s departure for New York. In June-August 1817, Frederick Mabie is listed as owner of a gristmill and 40 acres. Benjamin Demarest’s last will and testament, probated after his death March 1817, divided his real estate equally among his three sons, Peter, David and Benjamin, with Benjamin receiving his father’s homestead at Preakness. No mention is made of the Mill Lot at Schraalenburgh. In June-August 1820, Frederick Mabie is listed as owner of a gristmill and 15 acres. His neighbors included Dr. George Chapman, Reverend Solomon Froeligh and Ralph Christie, leaving no doubt that Mabie owned and operated the mill on Cooper’s Pond. He was listed as mill owner in the assessment of June-August 1822.
Frederick Mabie and his wife, Bailey, mortgaged the mill lot at Schraalenburgh to Jaspar Demarest of Old Bridge (now River Edge) for $1,000 on May 5, 1825. The mortgage was taken on “all that tract or parcel of land and premises...beginning on the east side of the road leading from Schraalenburgh Church to Nicholas Kipp’s Mill and at the northwest corner of the Parsonage Lot, thence running easterly along the Parsonage Lot as far as the same may go, thence southerly along the Parsonage Lot to land of Doctor Chapman, then easterly along Chapman’s land to land of Roelof Christie, thence westerly along Christie’s lot of land as far as it may go, thence easterly along Christie’s land to land of Peter Christie, thence westerly along same to the aforesaid road, thence southerly along the same to point of beginning, containing about 15 acres.” Frederick Mabie paid off this mortgage on April 21, 1828. On May 2, 1831, Frederick and Bailey Mabie took another mortgage of $500 from Peter Westervelt. They mortgaged two tracts, the first being “a certain Mill lot, House, piece or parcel of land...containing about 15 acres, and the second being a parcel of woodland on the east side of the road to Simon Demarest’s Mill containing 5.78 acres. This woodland was bounded west by the road, north by land of John Quackenbush, east by land of David Kipp and south by land of James Kipp. Frederick Mabie paid off this mortgage on May 8, 1839. On April 12, 1838, Frederick Mabie again mortgaged the 15-acre Mill Lot, this time to Maria Bogert for $220. He paid this mortgage on May 8, 1839. Finally, on April 5, 1839, Mabie mortgaged his two tracts to Jaspar Demarest for $2,400. This mortgage was canceled on May 13, 1840.
Jaspar Demarest’s mortgages to Frederick Mabie, the first in 1825 for $1,000 and the second in 1839 for $2,400, are probably indicative of some business relationship between these men. On December 12, 1823, Jaspar Demarest of Hackensack Township purchased a lot of one acre fronting on the Hackensack River, abutting a road and land of Abraham Van Buskirk, from James O’Conner, chair maker, of New York City for $280. When he sold this same lot to James Pearsell on June 10, 1831, Jaspar Demarest described himself as a “Merchant.” His store and dwelling were situated on the west bank of the Hackensack River at Old Bridge (now River Edge).
On May 2, 1840, Frederick Mabie and his wife, Bailey, of Hackensack Township conveyed the 15-acre mill lot to Richard T. Cooper for $4,050. Again, Jaspar Demarest issued a mortgage. According to the deed description, the property began on the east side of the road leading from Schraalenburgh South Church to Samuel Demarest’s Mill and at the northwest corner of the Parsonage Lot, running from thence east along the Parsonage Lot, thence southerly along the same to Dr. Chapman’s land, thence easterly along the Chapman lot to land of Ralph Christie, thence west along Ralph Christie’s land as far it runs, thence east along the same to the land of David Kipp, thence north along David Kipp’s land to land of Peter Christie, thence west along the same to the beginning, containing about 15 acres. Subsequent deed transactions indicate that Richard Cooper remained a resident of New Barbadoes Township. Richard Cooper, eldest son of Tunis and Margaret (Banta) Cooper, married Effme Huyler and had the following children: Tunis, born August 9, 1809; William, born April 20, 1812; Margaretta, born March 30, 1814; Tyne, born November 7, 1816; George, born August 19, 1814; and John, born June 19, 1827. Richard Cooper resided at New Milford (now Oradell) upon part of the Cooper farm included in the purchase by his great-grandfather, Cornelius Claes Cooper, from John Demarest, Sr., and John Demarest, Jr., on October 31, 1716. According to a biographical sketch written in 1889, Richard Cooper was “a carpenter by occupation and eventually manufactured chairs for the New York market.” When he wrote his last will and testament on May 11, 1842, he mentioned his farm “on which I now live” at New Milford (now Oradell) in New Barbadoes Township. An inventory of his possessions, made on September 13, 1854, included $86.50 worth of “Carpenter and chair maker’s tools” and $178.54 worth of “Chairs and chair stuff.” He died August 28, 1854, aged 67 years, 10 months and 19 days. By his last will and testament, Richard devised $1,000 to his son, Tunis. Effe (Huyler) Cooper died June 14, 1862, aged 76 years and 7 months.
On January 2, 1849, Richard T. Cooper and his wife, Eve, conveyed the 15-acre mill lot and 5.78-acre wood lot to their son, Tunis R. Cooper, for $4,050. The mill lot was bounded north by land Peter Christie, south by the Parsonage Lot and lands of Dr. Chapman and Ralph Christie, east by lands of Ralph Christie and Cornelius L. Blauvelt, and west by the road leading from Schraalenburgh South Church to Samuel Demarest’s Mill. The deed included provision for raising the waters of the mill pond at any future period to their usual height. The lot of woodland included in the sale was situated on the east side of the public road leading from South Church to Demarest’s Mill. It was bounded north by land lately belonging to John Quackenbush, south and east by land of James Kipp and west by the public road.
The 1850 Census for Hackensack Township lists Tunis R. Cooper, aged 40 years, as a “Chair manufacturer.” His eldest son, Richard, aged 16 years, was listed as a chair maker. Three chair makers also resided at the Cooper Millhouse: Gregory Leatherman, aged 25 years, a German; and two Irishmen, John Thisan, aged 13 years, and Daniel O’Connel, aged 20 years. Two other chair makers resided in the immediate neighborhood, namely, Daniel Terhune, aged 27 years, and Jacob Earle, aged 28 years.
On June 6, 1852, James W. Christie of Hackensack Township conveyed an undivided half interest in a lot of Brackish Meadow on the east side of Teaneck Creek to Tunis R. Cooper for $60. On June 26, 1852, James W. Christie and David W. Christie, executors of John W. Christie, conveyed the other half-interest in this meadow lot to Tunis R. Cooper for $60. Cattail rushes were harvested annually from this meadow lot for matting chair seats.
Tunis Richard Cooper married Sarah Vanderbeck at the South Church, Schraalenburgh, on August 20, 1829. Their six children were named: Anna, born 1830, Richard, born 1834; Henry, born 1837; Euphemia, born 1839; Rachel, born 1849; and Margaretta, born 1853. Anna Cooper married Peter W. Banta at North Church (Dumont) on December 20, 1849 and had two children: Sarah Ann and Hellena. Richard Cooper died October 11, 1867, aged 33 years. Henry Cooper married Margaret Milk of Englewood and had children: John W., Ira, Joseph, Amelia and Anna. Euphemia Cooper married William T. Bogert and had children: Anna, Tunis and Emma. Rachel Cooper married James D. Christie of River Edge and died July 5, 1881, aged 32 years, 2 months and 13 days.
Tunis Cooper became a successful chair manufacturer. According to advertisement placed in the Bergen Journal in 1858, he not only manufactured chairs, but was a wholesale and retail dealer in “Cottage, Office, Dining & Rocking Chairs.” Workmen in his enterprise resided in a neighborhood along Prospect Avenue known as Coopertown. In 1860, the Cooper Chair Factory utilized a six-horsepower overshot waterwheel to produce 100 dozen rush-bottom or cane-seated chairs with an estimated value of $7,500. The factory operated for nine months out of the year. In 1870, Tunis Cooper employed about 25 workers in producing $20,000 worth of furniture. Woods used included: maple (12,000 feet), walnut (3,00 feet), oak (1,000 feet) and all others (25 feet).
Tunis Cooper operated a sales room on Pearl Street, New York, between 1859 and 1862. He financed this expansion in production and sales by heavily mortgaging various properties: (1) 15.81 acres in New Barbadoes Township mortgaged to Albert J. Voorhis on May 1, 1859, for $800, paid June 15, 1862; (2) the 15-acre mill property and woodland at Schraalenburgh mortgaged to John D. Demarest for $700 (according to conditions of a bond or obligation for $1,400), paid January 1, 1870; (3) the 5-acre mill property and woodland at Schraalenburgh mortgaged to Thomas J. Gildersleve on May 1, 1861, for $7,947 (according to conditions of a bond or obligation for $15,894), canceled by satisfaction on May 6, 1874; (4) a lot in Hackensack Township mortgaged to Cornelius Quackenbush on July 2, 1861 for $350 plus interest, paid May 30, 1866; (5) a tract in New Barbadoes along road from Kinderkamack to New Milford mortgaged to his brothers and sisters, William R. Cooper, John R. Cooper, George R. Cooper, Margaret Christie and Caroline Bogert, wife of Albert Bogert, on July 1, 1862, for $800 (according to conditions of a bond or obligation for $1,600), paid April 22, 1863; (6) 22 acres on the Hackensack River in New Barbadoes Township and 5 acres of woodland mortgaged to John R. Cooper for $1,250 (according to conditions of a bond or obligation for $2,500).
In the 1860 Census for Hackensack Township, Tunis R. Cooper listed his occupation as “Farmer.” Three daughters, Euphemia, Rachel and Margaret, lived at home. Tunis’ son, Richard, aged 25 years, who also resided in his parents’ household, listed his occupation as “Chair maker.” Two apprentices, namely, Philip Lynn, aged 14 years, and John Woods, aged 13 years, both born in New York, also resided in the Cooper household. Eleven other chair makers resided in the immediate neighborhood of the Cooper Chair Factory, occupying dwellings at Coopertown: Michael Ryan, aged 30 years; David Guildersleve, aged 20 years; Gilbert Demarest, aged 51 years; John W. Voorhis, aged 22 years; Daniel Terhune, aged 37 years; Peter Terhune, aged 42 years; David Pearsall, aged 36 years; Garret F. Hillyer, aged 44 years; Nelson Palmer, aged 21 years; John Lee, aged 21 years; and Henry Stallion, aged 20 years. John Dubois, aged 30 years, is listed as a “Turner.” Richard T. Cooper died of pneumonia at Schraalenburgh on October 11, 1867, aged 33 years, 2 months and 22 days. Since he was listed as a chair maker in the 1860 Census, the business may have declined as a consequence of his death.
Tunis R. Cooper died May 18, 1887, aged 76 years. His widow, Sarah, died January 6, 1890. In February 1893, Richard W. Cooper leased the house of the late Henry Van Buskirk at Oradell while plans were made to demolish the old Cooper residence at New Milford (Oradell) and to build a fine new mansion in its place. He also proposed to erect a large edifice to accommodate a carpentry shop for himself and chair factory to be conducted by Teunis Bogert of Schraalenburgh. The foundation was built on the banks of the Hackensack River by the middle of April 1893 and carpenters then raised the superstructure for a large building. Upon completion of the building, chair-making at Schraalenburgh ceased and operations shifted to the new factory at Oradell. On Saturday, September 23, 1893, auctioneer William E. Taylor offered to sell, by order of the executors, Henry Cooper and William S. Bogert, the following properties in order to settle the estate of the late Teunis R. Cooper:
FIRST: 4 NICE, COMFORTABLE COTTAGES,
Each with a large plot of ground.
SECOND: THE MILL PROPERTY
Formerly used as chair factory, large mill buildings, in good order, with one acre and seven-tenths of high land, and three acres and nine-tenths of water. A fortune for some one.
THIRD: THE HOMESTEAD DWELLING
Large house and about two acres of land.
FOURTH: ABOUT EIGHT ACRES,
Suitable for cutting up in Building Lots, adjoining the railroad and near Bergenfield depot.
ALSO, SIXTEEN ACRES ON PUBLIC ROAD
leading from South Church to Madison avenue in Schraalenburgh, suitable for small farm or for cutting up.
The purchasers and purchase prices were as follows:
Henry Cooper, 7 84 -100 acres $1,999.20
“ mill property 1,000.00
“ 4 acres meadow land 600.00
Mrs. Ann Banta, dwelling house, 2 acres 1,500.00
“ double house 500.00
“ cottage 635.00
“ cottage 500.00
Mrs. W. S. Bogert, dwelling house 550.00
“ 10 07 - 100 acres 1,650.00
“ 5 3 10 acres 622.75
James A. O’Gorman 15 acres woodland 64.42
Total $9,612.45
On January 3, 1894, Henry Cooper and William Schuyler Bogert, executors of Tunis R. Cooper’s estate, conveyed Cooper Lot #7 (Dwelling House and 2.02 acres), Cooper Lot #2 (on Prospect Avenue), and Cooper Lot #1 (on Prospect Avenue) to Ann Cooper Banta for $2,500. On January 3, 1894, Henry Cooper and William Schuyler Bogert, executors of Tunis R. Cooper’s estate, conveyed several tracts to John W. Cooper. On the following day, January 4, 1894, John W. Cooper, single, of Englewood Township conveyed these several tracts to Henry Cooper of Englewood Township for $3,000. The sale comprised: Cooper Lot #8 (Barn and 7.84 acres); Cooper Lot # 6 (Mill and 1.7 acres); Cooper Lot #9 (Mill Pond Lot, 3.8 acres), and a four-acre lot of Brackish Meadow in Ridgefield Township, lying between Teaneck Creek and the Overpeck Creek.
On January 1, 1897, Henry Cooper and his wife, Margaret, residents of the City of Englewood, deeded Cooper Lots #6 (Mill Lot) and #9 (Mill Pond Lot) to Helen Otillie Martin, wife of Oskar Martin, for $1,750. On January 8, 1897, Ann Cooper Banta of Bergenfield conveyed Lot #7 (Dwelling House) to Helene Otillie Martin, wife of Oskar Martin, for $1,750. Oskar Martin was a toy manufacturer.
By several deeds dated July 6, 1903, Helene O. Martin and her husband, Oskar Martin, conveyed Cooper Lots #7, #6, and #9 to Walter Christie. On the same date, Walter Christie and his wife, Maria, conveyed the same lots to Oskar Martin. The purpose of these transactions was to transfer title from Helene Martin to her husband, Martin.
On October 28, 1905, Henry Cooper and his wife, Margaret, of Englewood Township deeded Cooper Lot #8 (Barn Lot) to Oskar Martin of Bergenfield.
On February 5, 1908, Oskar Martin and his wife, Helene O. Martin, conveyed the property to Amos C. Bergman of Manhattan. The sale comprised Cooper Lot #7 (Dwelling House), Cooper Lot #6 (Mill Lot), Cooper Lot #9 (Mill Pond Lot), and part of Cooper Lot #8 (Barn Lot). The Atlas of Bergen County, New Jersey, published in 1912 by G. W. Bromley & Co., identifies the mill property as the “Bergman Piano Factory.” Reportedly, the Bergmans produced “Soundless Pianos” for professional practice.
On March 19, 1931, Amos Bergman and his wife, Antha Minerva Virgil Bergman, conveyed four tracts of land in Bergenfield to Anna E. Friedlander, single. These tracts comprised: Cooper Lot #7 (Dwelling House), Cooper Lot # 6 (Mill Lot), Cooper Lot #9 (Mill Pond Lot), Part of Cooper Lot #8 (Barn Lot), Cooper Lot #27, and Lot #3 (on south side of lane leading to Mill Pond from Prospect Avenue) in the subdivision of Euphemia Bogert’s property. On the same date, Anna E. Friedlander conveyed the same lots to Amos C. Bergman.
Amos C. Bergman died July 16, 1948. His resident housekeeper, Daisy Coringrato, was appointed executrix of his estate. Daisy Coringrato of Bergenfield, executrix of the Last Will and Testament of Amos C. Bergman, sold the property to Alec C. and Catherine (Leiby) Marchbank on April 18, 1949 for $13,000. The sale comprised Lots #7 (Dwelling House), #6 (Mill Lot), #9 (Mill Pond Lot), and part of Lot #8 (Barn Lot).
The historic South Church and Grave Yard stand southwest of Cooper’s Pond and northeast of the intersection of Prospect Avenue and West Church Street in Bergenfield.
A substantial brick commercial premises of three storeys and basement, the former Taylor Heaslop Building was erected in 1889 -1890 as a set of three attached shops. The northwest and middle shops were built for Brisbane chemist Walter Taylor, as an investment. The southeast shop, which is larger than the other two, was built for South Brisbane grocers James and Thomas Heaslop and was a branch of their highly successful People's Cash Store. The three shops were designed by Brisbane architect John Beauchamp Nicholson and were erected as one building, with the street façades of Heaslop's shop distinguished from those of Taylor's two shops.
The land on which the building is located was originally part of a suburban block of just over 16 acres, located at the intersection of the roads to the Logan and to Ipswich, later known as the Woolloongabba Fiveways. This parcel (suburban portion 165, parish of South Brisbane) was alienated by James Gibbon in 1857, and was subdivided into commercial and residential allotments by the late 1870s.
In the 1880s Woolloongabba boomed as both a working class residential district and as a commercial centre, due principally to construction of the rail link from the Ipswich line at Corinda (South Brisbane Junction) to South Brisbane, which opened in June 1884. The main purpose of this line was to bring coal from West Moreton to the ships at South Brisbane, terminating, via a tunnel at Lower River Terrace, in Stanley Street, near the dry dock. However, the main goods yard and passenger terminus was at the western end of the former water reserve at One Mile Swamp, near Main Street between Stanley Street East and Vulture Street, now the site of the Woolloongabba Busway Station. The railway looped across Logan Road through suburban portion 165 to reach the goods yards and passenger station.
In addition, from 1887 a horse-drawn tram service linked South Brisbane to Mount Gravatt via Logan Road and the Woolloongabba Fiveways, and from the 1st of November 1889 the newly opened Cleveland Railway terminated at Woolloongabba. From here passengers continuing on to North and South Brisbane transferred to horse trams.
These improvements to passenger and goods transportation stimulated commercial development at the Woolloongabba Fiveways. In January 1886, title to a small, triangular parcel of land between Logan Road and Stanley Street East, at the Fiveways Corner (subs 1 & 2 of section 1 of suburban portion 165, containing 30 perches) was transferred to South Brisbane chemist and dentist Thomas Watson Thomason. Within a few months, Thomason had subdivided this land into eight smaller commercial re-subdivisions, each with a frontage to both Logan Road and Stanley Street East. At the Fiveways Corner, Thomason established the Five Ways Pharmacy in a two-storeyed timber building. The other seven re-subdivisions were sold by the end of 1886.
In August 1886, Henry Willoughby acquired title to re-subdivision 8 (9.3 perches), and in December 1886 Catherine Taylor, wife of Walter Taylor of Brisbane (likely the Queen Street wholesale chemist, dentist and property investor), acquired title to re-subdivisions 6 & 7 (8.7 perches). In December 1887, title to Willoughby's allotment was transferred to South Brisbane grocer Thomas Heaslop, and in May-June 1889 Brisbane architect John Beauchamp Nicholson called tenders for the construction of substantial brick buildings at the Woolloongabba Fiveways, for Walter Taylor and J & T Heaslop. This appears to refer to the large, three-storeyed brick building at 10-14 Logan Road, Woolloongabba which, when completed, dominated the Fiveways Junction.
Early photographs reveal that at street level on both street facades, the three shops shared a common convex iron awning supported on posts with decorative cast iron bracketing. The middle and northwest shops had cantilevered verandahs on the upper floors, onto which french doors opened. The verandahs had elaborately decorative cast iron balustrading, valances, and brackets. By 1955 these verandahs were removed. Designed without verandahs, the façade of the southeast shop was distinguished by arched windows and greater use of render ornament.
Nicholson developed a successful architectural practice in Brisbane in the 1880s. His notable commissions include: the Princess Theatre (1888 - 1889) at nearby Clarence Corner; the Norman Hotel (1889) on Ipswich Road, Woolloongabba and the Shaftson Hotel (1889 - 1890) at East Brisbane (both hotels possibly erected for members of the Heaslop family); and, in partnership with architect ARL Wright: the Normanby Hotel (1889 - 1890) at Red Hill; Parbury, Lamb & Co.'s Warehouse in Eagle Street (1890) (demolished); Lady Musgrave Lodge, Astor Terrace, Spring Hill (1891 - 1892) (demolished); and Chardon's Hotel, Ipswich Road, Annerley (1891 - 1892) (demolished). Nicholson had designed J & T Heaslop's shop and store in Stanley Street, South Brisbane, erected 1885 - 1887, and later their shop in Brunswick Street, Fortitude Valley, erected in 1891. Despite his varied architectural commissions and development interests, Nicholson was declared insolvent in 1891 as a result of the prevailing economic depression.
The Taylor Heaslop building at the Woolloongabba Fiveways was under construction by August-September 1889, when Catherine Taylor and Thomas Heaslop registered easements and encumbrances over a party wall now erected on their Woolloongabba property. At this time, part of Heaslop's allotment was effectively made the property of Catherine Taylor, to accommodate the whole of the middle shop. The building was likely completed in 1890.
The timing was unfortunate. In 1890 the economic boom of the 1880s burst and Queensland, along with the rest of the world, entered a period of widespread economic depression. In addition, the extension of the railway to Melbourne Street, which opened on the 1st of December 1891, bypassed Woolloongabba Station, diverting passenger traffic on the South Coast, Cleveland, and South Brisbane Junction lines to South Brisbane. The Woolloongabba passenger station closed, but the railyard remained the south side's principal goods yard and locomotive depot until the line was closed in 1969.
J & T Heaslop's People's Cash Store had opened in the southeast shop (14 Logan Road) by 1891, but the Taylor's two shops, at 10-12 Logan Road, may have been unoccupied until at least one was tenanted by SH Rawlings, boot importer, from 1892. In October 1893, Catherine Taylor transferred her interest in the two northern shops to James Heaslop, who maintained these as rental propositions. By the late 1890s, Albert M Goodall appears to have taken over Rawlings boot importing business in the building.
Brisbane in the 1890s supported four principal shopping centres: North Brisbane (along Queen, George, and Adelaide Streets); the Fortitude Valley (along Brunswick, Ann, and Wickham Streets); Stanley Street, South Brisbane; and the Woolloongabba Fiveways. Branches of J & T Heaslop's People's Cash Store were opened in each of these centres, and their building at 10-14 Logan Road, Woolloongabba, dominated the Fiveways commercial district.
Irish brothers James and Thomas Heaslop had arrived in Queensland in 1863 with their parents, Samuel and Mary Heaslop, and brothers Samuel, Robert, John, George, and William. In 1865, James and Thomas established a small retail grocery business at One-Mile Swamp (near Clarence Corner, South Brisbane) and by 1900 had created a chain of 'direct importing' stores known as the People's Cash Store. The principal wholesale and retail stores were at Stanley Street, Clarence Corner, and branch stores had been established at the Woolloongabba Fiveways; Melbourne Street, South Brisbane, at the southern end of Victoria Bridge; Brunswick Street, Fortitude Valley; Rockhampton; and Charters Towers.
The Heaslops were well known and respected in Brisbane business circles, and were staunch supporters of the Catholic Church. Thomas Heaslop served on the South Brisbane Municipal Council 1888 - 1895, from the inception of the Borough of South Brisbane, and was Mayor of South Brisbane for three terms, 1891 - 1893. He was involved with the commissioning of the South Brisbane Municipal Council Chambers, paid the workmen on the site nearly £500 out of his own pocket when the contractor, Abraham James, absconded in 1891, and officiated at its formal opening on the 1st of July 1892. His term as mayor also encompassed the great floods of 1893, which decimated large sections of South Brisbane, West End, and Woolloongabba.
In 1901 James and Thomas dissolved their partnership. At this time, title to 14 Logan Road (the southeast shop) was transferred from Thomas Heaslop to James Heaslop, giving the latter ownership of the 3 shops at 10-14 Logan Road. James leased 14 Logan Road to Thomas Heaslop (Thomas Heaslop & Co. Limited by 1911). Thomas died in 1911, but his Company continued to operate a branch of the People's Cash Store from James Heaslop's Woollongabba Fiveways building until the early 1920s.
From the 1st of May 1902, Fiveways draper John Edwin Sheppard Evans took up the lease of the middle shop (12 Logan Road) from James Heaslop, and from the 1st of February 1903 he also took up the lease of the northwest shop (10 Logan Road). Evans was no stranger to the locality. In February 1888 he had established a drapery business next door at 8 Logan Road, in premises owned by AR McLeod. By 1900 he was occupying 6-8 Logan Road, and in 1902 - 1903 expanded into Heaslop's building. Together, John Evans Cash Draper and Heaslop's People's Cash Store dominated the shopping centre at the Woolloongabba Fiveways in the early 1900s.
Evans died in 1907, and for some years the business was conducted by his widow, Margaret Anne Higgins Evans, until she sold to George Logan in 1910. As George Logan, Draper, the business was sustained into the early 1920s.
James Heaslop died in 1922, following which his estate passed to his widow, Clara Ellen Heaslop, who from February 1923 leased 14 Logan Road to grocer and hardware merchant John Robertson Blane. Also in 1923, George Logan apparently sold his drapery business to William Johns, who took a lease of 10-12 Logan Road from Mrs Heaslop in March 1923.
In the 1920s, Woolloongabba flourished as a shopping centre, servicing the rapidly expanding eastern and southern suburbs of Balmoral, Hawthorne, East Brisbane, Coorparoo, Stone's Corner, Greenslopes, Holland Park, and Annerley, all of which had electric tram access to North and South Brisbane via the Woolloongabba Fiveways. Many of the earlier shops around the Fiveways were re-developed at this period, including the block opposite Mrs Heaslop's building in Logan Road, but her building continued to dominate, both in scale and landmark value, the Fiveways Junction. It appears that the street level shop facades of Mrs Heaslop's building were remodelled at this period.
In terms of height and street presence, the only building to rival Mrs Heaslop's building at the Woollongabba Fiveways was the Broadway Theatre, a three-storey high brick picture theatre fronting Ipswich Road, just past the intersection with Logan Road, erected in 1923 but destroyed by fire in June 1962.
JR Blane, grocer & hardware merchant, occupied 14 Logan Road until 1928, and Johns & Co., Drapers, occupied 10-12 Logan Road until 1930. Ernest Reid acquired John's drapery business about this time, and also expanded into 14 Logan Road (the southeast shop, formerly Blane's), occupying all three of Mrs Heaslop's shops until 1932. In the midst of the depression of the early 1930s, Mrs Heaslop found it difficult to attract tenants for the Woolloongabba premises following Reid's departure. The shops remained vacant until 1936, when the Moreton Rubber Works, motor tyre retailers who had premises further south along Logan Road, occupied 14 Logan Road as their offices. In the late 1930s, 10-12 Logan Road was occupied by estate agents Five Ways Real Estate & Auctioneers.
Mrs Heaslop died in 1944, and the building passed out of her estate in 1950, when 14 Logan Road was acquired by Frederick Pratt and 10-12 Logan Road was transferred to Mrs Ruby Richards, then to Andrew Lowreys in 1951. In 1953, Pratt also acquired title to 10-12 Logan Road, and the property remained in his estate until 1989.
From the 1950s, the expansion of outer suburban shopping centres had a negative impact on older, inner city shopping districts such as the Woolloongabba Fiveways. The closure of the Woolloongabba Railyards and the cessation of Brisbane's tram services in 1969, and the construction of the Southeast Freeway through Woolloongabba in the early 1970s - which effectively cut the suburb's commercial heart in half - further contributed to the decline of Woolloongabba as a shopping centre. The northern end of Logan Road, where the Former Taylor Heaslop Building is located, is no longer directly accessible from the Fiveways Junction. However, in the last two decades of the 20th Century, this section of Logan Road, which is now virtually a cul-de-sac, was rejuvenated as an antiques, secondhand goods, and gallery precinct. The ground floor of the shop at 10-12 Logan Road, for example, is occupied by a furniture restoration business.
Source: Queensland Heritage Register.
Taken at the premises of the "60 shots Photography Exhibition" with the 50mm f/1.8, aka the "Nifty Fifty".
That weird thing you see at the top is just the hind side of an ordinary, everyday broom....you know, those things that when Latino people handle are granted PR in the so called "land of the free"...but when asian people do, they are just math nerds trying to make ends meet and save up for college.
# Larger view recommended
Wirrabara.
A Kaurna Aboriginal name meaning “gum trees with running water” was used to name the town when it was proclaimed in 1874 although the local Aboriginal people were the Ngadjuri tribe. Before 1874 the land was firstly leased by Samuel and Frederick White from 1844 who named their run Charlton. A small and not very successful copper mine, the Charlton mine, was established in the 1850s on this run just north of the present town site. The Charlton Mine was run by the Australian Mining Company from 1854 for just a few years. White’s leasehold was purchased by Charles. B. Fisher in 1861 who renamed the property Wirrabara instead of Charlton but Charles White retained his old homestead and some acreage around it. When Surveyor General George Goyder visited Fisher’s Wirrabara run in 1864 he estimated it was carrying 50,000 sheep. In 1866 the Wirrabara run was taken over by Alexander Borthwick Murray and his three sons of Mt Crawford as a sheep stud for their Murray Merinos. When parts of the run were resumed in 1872 for closer settlement Alexander Borthwick Murray used his employees to purchase extensive areas of freehold land in a system known as dummying. The Murray family built a homestead in 1872 on the property called Avonmore shown because they then had freehold to the property. When Alexander Scott Murray married in 1874 he extended and remodelled it into a grand ten roomed house with marble fireplaces and cedar architraves and it became his family home. There is a fine stone memorial to Alexander Scott Murray near the railway station with its silo art. He was only 34 years old when he died of ill health and he was the highly respected manager of Wirrabara Station. He had a large public role and apart from supporting local organisations he did public works like laying the foundation stone of the Laura Institute etc. On his death he left a wife and four children under five years of age. The memorial was unveiled in February 1882 two years after Alexander Scott Murray’s death in 1880. After Alexander Scott Murray’s death his brother John took over Avonmore but he too died of health issues in 1884 aged 35 years. Alexander Borthwick Murray and his remaining son Malcomb of Avonmore also had lands northwards along the ranges. In 1885 A.B. Murray had some of these lands surveyed and put up for sale as a private town named Murraytown after himself. Up to 50,000 sheep were shorn on the Wirrabara run in the late 19th century which by then occupied 20,700 acres freehold. But then son Malcom Murray committed suicide in April 1900. Malcom Pulteney Murray was known for his pranks, drunkenness and rash behaviours and his depressions. Alexander Borthwick Murray died in 1903 and his estate trustees managed Avonmore and the lands at Murraytown. The 20,700 acre Wirrabara Estate was sold as part of Alexander Borthwick’s estate in 1910 for over £141,000. At that time it was known for its fruit orchards, grain paddocks and lucerne flats. It was subdivided into 47 farms.
Apart from pastoralism forestry has been a major industry in the region even after grain farmers arrived in 1874. Some individual foresters were cutting timber and selling it from around 1865. Good quality straight posts were sold by them for the erection of the telegraph line to Melrose and Port Augusta in 1865. The first plantation forest in Australia was established by the SA government in 1875 at Bundaleer near Jamestown. The second forest was declared at Wirrabara in 1877. The government had resumed almost 50,000 acres in 1875 which was set aside as the Wirrabara Forest Reserve. A Forester’s residence and a Nurseryman’s residence were soon erected. The most drought resistant of the pine trees the Aleppo Pine from Syria was planted here in 1878. Tasmanian blue gum and other exotic and native trees were planted at Wirrabara. Most of the lands of the forest were about 1,700 feet above sea level (518 metres) and about 20 small leasehold farm blocks were created in it for fruit growing. The horticulturists were known as the Wirrabara Blockers. In these early years Wirrabara forest was also used to produce seedlings for plantings at Bundaleer. The first saw mill began in 1880 with another in 1902 to mill the Aleppo pines. In 1881 the Wirrabara Forest School opened as so many people lived in this area. A second Forest School was built in 1910. Forestry and saw milling remained an industry until the Bangor bushfires of 2014 destroyed large areas of the forests which the then current Labor government decided not to replant. The native trees along the ranges remain as forest or as conservation parks. Thus it is not surprising that the theme for the Wirrabara grain silo art is the forestry worker and the native birds of the forests like the red capped robin. The King Tree or Eucalyptus camaldulensis (usually called River Red Gum) is one of the main trees of the native forests. By 1889 the Blockers were under the control of the Commissioner of Crown Lands and some purchased their farms freehold. Most Blockers grew vines or fruit trees. Some blocks were sold by the government as soldier settler farms after World War One but this was not successful with farmers deserting their blocks by 1932.
The town began to emerge overnight in 1874 with many buildings being erected by 1875. The first stores in the town were opened by Melrose storekeepers. They were followed by a baker, a butcher, a saddler and the hotel. In fact the Wirrabara Hotel was licensed in 1875 and the fine sandstone building opened shortly thereafter. A government school followed the Free, Compulsory and Secular Education Act for 1875 by opening in 1879. It was replaced with a larger red brick school building in 1921. The Post Office started in 1880 and the Institute foundation stone was laid in 1884. Once open it was used for Anglican and Lutheran church services. It still runs a library service, the only independent library service left in SA. In 1912 a new local Wirrabara stone institute or hall was built and opened by the Governor Sir Day Bosanquet. The War Memorial in front of the Institute was unveiled in 1921. The first courtroom operated in Wirrabara from around 1880 with a temporary police station. One of the biggest events in the town growth was the arrival of the railway line from Laura in 1910 as it pushed northwards to Booleroo Centre. Public meetings in Wirrabara had called for this from 1901. Parliament approved the line in 1908 and the work was finished to Wirrabara in 1910. In 1923 the government bought a block of land in Fifth Street for a new police station but this was not erected until 1929. Apart from industry and commercial premises the town soon churches.
The Wesleyan Methodists opened their church in 1876 being the first in town. The Bible Christians Methodists opened theirs soon after. The Anglicans held early services in the first Institute until St Margaret’s Church opened in 1909 on the corner of Second and Fifth Streets. The old or first Institute was left vacant for some time after 1912 and then in 1920 it was taken over by Manning’s Furniture Store. In the early 1940s the Anglican began planning for a new and larger church. When Manning’s Furniture store came on the market in the first institute the Anglicans purchased that and it was consecrated in 1964 with the old foundation stone on the front. The Lutheran church opened in 1921. The foundation stone of Catholic Church was laid on 1 June 1930 by the Bishop of Port Augusta with the church opening in February 1931.
Wirrabara received an $80,000 federal government grant through the Fund My Neighbourhood program to have their silos painted. The Mount Remarkable Council conducted a local survey to select the artist and the theme of the painting. The most favoured artist was Sam Bates, alias Smug, of Melbourne and he was awarded the task. The most popular theme voted for was forestry and woodcutters. The woodcutter depicted on the silos is Dion Lebrun of Tumby Bay and the beautiful bird is a red capped robin. Since the closure of the forests the silo art is just one of a number of measures the locals are taking to keep their town alive. A farmers’ market is held once a month on a Sunday morning, they maintain a community website, the volunteer staffed craft shop distributes tourist information and some locals still grow apricots, peaches and nectarines and one enterprising horticulturist is now growing Manuka bushes to produce Manuka honey in a few years’ time.
The Postcard
A postally unused postcard bearing no publisher's name. Note the Doctor Who-style police box, and the railings to its left that used to enclose what is now a very rare facility, an underground public toilet.
There is a total absence of traffic which would be a virtual impossibility today, as the Upper Richmond Road West forms part of the South Circular.
Perrings
Note also the Perrings Corner awning and the signage on the roof. Perrings Home Furnishing Ltd. was incorporated in 1937. The company sold furniture and lighting, and has since been dissolved.
The premises are now occupied by the estate agents Hamptons International.
Notable People Associated With East Sheen
Notable residents include:
-- Sir Tim Berners-Lee (born 1955), computer scientist and inventor of the World Wide Web, grew up in East Sheen and attended Sheen Mount Primary School. A mosaic was placed at Sheen Lane Centre in June 2013 to commemorate his association with East Sheen.
-- Carol Cleveland (born 1942), actress and comedian, who worked with Monty Python, was born in East Sheen.
-- Abigail Cruttenden (born 1968), actress, lives in East Sheen.
-- Tom Hardy (born 1977), actor, lives in East Sheen.
-- Carrie Johnson (born 1988), conservationist and wife of Prime Minister Boris Johnson, was brought up in East Sheen.
-- Sir Trevor McDonald (born 1939), broadcaster, lives in East Sheen.
-- The novelist Mary Anne Evans, better known as George Eliot (1819–1880), took rooms at 7 Clarence Row, East Sheen (now demolished) from May to September 1855.
-- Sir Arthur Blomfield (1829–1899), architect, one of whose early works was Christ Church, East Sheen, designed and lived in The Cottage, now divided into two as 53 and 55 Christ Church Road.
-- Ralph Knott (1879–1929), architect of County Hall, the former London County Council building on the South Bank, Westminster, lived and died in East Sheen.
-- Richard Dimbleby (1913–1965), radio broadcaster, was born in the borough and lived in a flat at Cedar Court, East Sheen. This has been commemorated by an English Heritage blue plaque.
-- Marc Bolan (1947–1977), musician, died at what is now the site of Bolan's Rock Shrine, a few miles from his home at 142 Upper Richmond Road West in East Sheen.
Marc Bolan
Marc Bolan, who was born Mark Feld in Hackney, London on the 30th. September 1947, was an English musician, singer, songwriter, record producer, and poet. He is known as one of the pioneers of the glam rock movement of the early 1970's.
In the late 1960's, Marc rose to fame as the founder and leader of the psychedelic folk band Tyrannosaurus Rex, with whom he released four critically acclaimed albums.
Bolan had started as an acoustic singer-writer before heading into electric music prior to recording T. Rex's first single "Ride a White Swan" which went to number two in the UK singles chart.
Bolan's March 1971 appearance on the BBC's music show Top of the Pops, wearing glitter on his face for the UK chart topper "Hot Love", is cited as the beginning of the glam rock movement.
Music critic Ken Barnes called Bolan:
"The man who started it all".
T. Rex's 1971 album "Electric Warrior", with all songs written by Bolan, has been described by AllMusic as:
"The album that essentially kick-
started the UK glam rock craze."
Producer Tony Visconti, who worked with Bolan during his heyday, stated:
"What I saw in Marc Bolan had nothing
to do with strings, or very high standards
of artistry; what I saw in him was raw talent.
I saw genius. I saw a potential rock star in
Marc - right from the minute, the hour I
met him."
From 1973, Marc started marrying rock with other influences, including funk, soul, gospel, disco and R&B.
Bolan died in a car crash on the 16th. September 1977, two weeks before his 30th. birthday. In 1977, a memorial stone and bust of Bolan, Marc Bolan's Rock Shrine, was unveiled at the site where he died in Barnes, south west London.
His musical influence as guitarist and songwriter was profound; he inspired many later acts over the following decades. As a member of T. Rex, Bolan was posthumously inducted into the Rock and Roll Hall of Fame in 2020.
The Rock and Roll Hall of Fame is a museum and hall of fame located in downtown Cleveland, Ohio, on the shore of Lake Erie. The museum documents the history of rock music and the artists, producers, engineers, and other notable figures who have influenced its development.
Marc Bolan - The Early Years
Marc was born at Hackney Hospital, and grew up at 25 Stoke Newington Common, east London, the son of Phyllis Winifred (née Atkins) and Simeon Feld, a lorry driver. His father was an Ashkenazi Jew of Russian and Polish ancestry, while his mother was of English descent.
Moving to Wimbledon, southwest London, he fell in love with the rock and roll of Gene Vincent, Eddie Cochran, and Chuck Berry, and hung around coffee bars such as the 2i's in Soho.
Bolan was a pupil at Northwold Primary School, Upper Clapton. At the age of nine, he was given his first guitar and began a skiffle band.
While at school, he played guitar in "Susie and the Hula Hoops", a trio whose vocalist was a 12-year-old Helen Shapiro. During lunch breaks at school, he would play his guitar in the playground to a small audience of friends. At 15, he was expelled from school for bad behaviour.
Bolan briefly joined a modelling agency and became a "John Temple Boy", appearing in a clothing catalogue for the menswear store. He was a model for the suits in their catalogues, as well as for cardboard cut-outs to be displayed in shop windows.
He appeared as an extra in an episode of the television show Orlando, dressed as a mod, and Town magazine featured him as an early example of the mod movement in a photo spread.
When asked about his sexuality during an interview in 1975, Bolan said that he was bisexual.
Marc Bolan's Music Career
Early Career: 1964–1967
In 1964, Marc Bolan met his first manager, Geoffrey Delaroy-Hall, and recorded a slick commercial track backed by session musicians called "All at Once" (a song very much in the style of his youthful hero, Cliff Richard, the "English Elvis").
This was later released posthumously by Danielz and Caron in 2008 as a very limited edition seven-inch vinyl after the original tape recording was passed on to them by Delaroy-Hall. This track is one of Bolan's first professional recordings.
Marc then changed his stage name to Toby Tyler when he met and moved in with child actor Allan Warren, who became his second manager. This encounter afforded Bolan a lifeline to the heart of show business, as Warren saw Bolan's potential while he spent hours sitting cross-legged on Warren's floor playing his acoustic guitar.
Bolan at this time liked to appear wearing a corduroy peaked cap similar to his then-current source of inspiration, Bob Dylan. A series of photographs was commissioned with photographer Michael McGrath, although he recalls that Bolan "left no impression" on him at the time.
Warren also hired a recording studio and had Bolan's first acetates cut. Two tracks were later released, the Bob Dylan song "Blowin' in the Wind" and Dion's "The Road I'm On (Gloria)".
A version of Betty Everett's "You're No Good" (still unreleased) was later submitted to EMI, but was turned down.
Warren later sold Bolan's contract and recordings for £200 to his landlord, property mogul David Kirch, in lieu of three months' back rent, but Kirch was too busy with his property empire to do anything for Marc.
A year or so later, Bolan's mother pushed into Kirch's office and shouted at him that he had done nothing for her son. She demanded he tear up the contract and he willingly complied.
The tapes of the first two tracks produced during the Toby Tyler recording session vanished for over 25 years, before resurfacing in 1991 and selling for nearly $8,000. Their eventual release on CD in 1993 made available some of the earliest of Bolan's known recordings.
He signed to Decca Records in August 1965. At this point his name changed to Marc Bolan via Marc Bowland. There are several accounts of why Bolan was chosen, including that it was derived from James Bolam, that it was a contraction of Bob Dylan, and - according to Bolan himself - that Decca Records chose the name.
Marc recorded his debut single "The Wizard" with the Ladybirds on backing vocals (later finding fame with Benny Hill), and studio session musicians playing all the instruments. "The Wizard" was released on the 19th. November 1965. It featured Jimmy Page and Big Jim Sullivan, and was produced by Jim Economides, with music director Mike Leander.
Two solo acoustic demos recorded shortly afterwards by the same team ("Reality" and "Song for a Soldier") have still only been given a limited official release in 2015 on seven-inch vinyl. Both songs are in a folk style reminiscent of Dylan and Donovan. A third song, "That's the Bag I'm In", written by New York folk singer and Dylan contemporary Fred Neil, was also committed to tape, but has not yet been released.
In June 1966, a second official single was also released, with session-musician accompaniment, "The Third Degree", backed by "San Francisco Poet", Bolan's paean to the beat poets. Neither song made the charts.
In 1966, Bolan turned up at Simon Napier-Bell's front door with his guitar and proclaimed that he was going to be a big star, and he needed someone to make all of the arrangements.
Napier-Bell invited Bolan in and listened to his songs. A recording session was immediately booked, and the songs were very simply recorded (most of them were not actually released until 1974, on the album The Beginning of Doves).
Only "Hippy Gumbo", a sinister-sounding, baroque folk-song, was released at the time as Bolan's third unsuccessful single. One song, "You Scare Me to Death", was used in a toothpaste advertisement. Some of the songs also resurfaced in 1982, with additional instrumentation added, on the album You Scare Me to Death.
Napier-Bell managed the Yardbirds and John's Children, and was at first going to slot Bolan into the Yardbirds. In early 1967 he eventually settled instead for John's Children because they needed a songwriter, and he admired Bolan's writing ability. The band achieved some success as a live act, but sold few records. A John's Children single written by Bolan called "Desdemona" was banned by the BBC for its line "lift up your skirt and fly".
Marc's tenure with the band was brief. When the band split following an ill-fated German gig with the Who, Bolan took some time to reassess his situation.
Bolan's imagination was filled with new ideas, and he began to write fantasy novels (The Krakenmist and Pictures Of Purple People) as well as poems and songs, sometimes finding it hard to separate facts from his own elaborate myth - he famously claimed to have spent time with a wizard in Paris who gave him secret knowledge and could levitate.
The time spent with the wizard was often alluded to but remained "mythical". In reality the wizard was probably American actor Riggs O'Hara, with whom Bolan made a trip to Paris in 1965. Given time to re-invent himself, after John's Children, Bolan's songwriting took off and he began writing many of the poetic and neo-romantic songs that appeared on his first albums with T. Rex.
Tyrannosaurus Rex: 1967–1970
John's Children collapsed when, among other problems, the band's equipment had been repossessed by their label Track Records.
Bolan, unperturbed, rallied to create Tyrannosaurus Rex, his own rock band together with guitarist Ben Cartland, drummer Steve Peregrin Took and an unknown bass player.
Napier-Bell recalled of Bolan:
"He got a gig at the Electric Garden,
then put an ad in Melody Maker to
get the musicians. The paper came
out on Wednesday, the day of the gig.
At three o'clock he was interviewing
musicians, at five he was getting ready
to go on stage.
It was a disaster. He just got booed off
the stage."
Following this concert, Bolan pared the band down to just himself and Took, and they continued as a psychedelic-folk rock acoustic duo, playing Bolan's songs, with Took playing assorted hand and kit percussion and occasional bass to Bolan's acoustic guitars and voice.
Napier-Bell said of Bolan that after the first disastrous electric gig:
"He didn't have the courage to try it
again; it really had been a blow to his
ego. Later he told everyone he'd been
forced into going acoustic because
Track had repossessed all his gear.
In fact he'd been forced to go acoustic
because he was scared to do anything
else."
The original version of Tyrannosaurus Rex with Took released three albums; two reached the top fifteen in the UK Album Chart. They also had a top 40 hit "Debora" in 1968.
Bolan and Took were supported with airplay by BBC Radio 1 DJ John Peel. One of the highlights of this era was when the duo played at the first free Hyde Park concert in 1968. Although the free-spirited, drug-taking Took was fired from the group after their first American tour, they were a force within the hippie underground scene while they lasted.
Their music was filled with Bolan's otherworldly poetry. In 1969, Bolan published his first and only book of poetry entitled The Warlock of Love. Although some critics dismissed it as self-indulgence, it was full of Bolan's florid prose and wordplay, selling 40,000 copies, and in 1969 - 70 became one of Great Britain's best-selling books of poetry. It was reprinted in 1992 by the Tyrannosaurus Rex Appreciation Society.
In keeping with his early rock and roll interests, Bolan began bringing amplified guitar lines into the duo's music, buying a white Fender Stratocaster decorated with a paisley teardrop motif from Syd Barrett.
After replacing Took with Mickey Finn, he let the electric influences come forward even further on A Beard of Stars, the final album to be credited to Tyrannosaurus Rex. It closed with the song "Elemental Child", featuring a long electric guitar break influenced by Jimi Hendrix.
T. Rex, Glam Rock and Other Styles: 1971–1975
Becoming more adventurous musically, Bolan bought a modified vintage Gibson Les Paul guitar (featured on the cover of the album T. Rex), and then wrote and recorded his first hit "Ride a White Swan", which was dominated by a rolling hand-clapping back-beat, Bolan's electric guitar and Finn's percussion.
At this time he also shortened the group's name to T. Rex. Bolan and his producer Tony Visconti oversaw the session for "Ride a White Swan", the single that changed Bolan's career. The song was inspired in part by Mungo Jerry's success with "In the Summertime", moving Bolan away from predominantly acoustic numbers to a more electric sound.
Recorded on the 1st. July 1970 and released later that year, it made slow progress in the UK Top 40, until it finally peaked in early 1971 at number two. Inspired by his muse, June Child, Bolan developed a fascination with women's clothing, an unlikely characteristic for a British male rocker at the time.
Bolan followed "Ride a White Swan" and T. Rex by expanding the group to a quartet with bassist Steve Currie and drummer Bill Legend, and cutting a five-minute single, "Hot Love", with a rollicking rhythm, string accents and an extended sing-along chorus inspired somewhat by "Hey Jude".
Bolan performed "Hot Love" on the BBC Television show Top of the Pops wearing glitter on his face: the performance was later recognized as the foundation of glam rock. For the viewers, it was a defining moment:
"Bolan was magical, but also sexually
heightened and androgynous".
The song was number one for six weeks, and was quickly followed by "Get It On", a grittier, more adult tune that spent four weeks in the top spot. The song, re-titled "Bang a Gong (Get It On)" when released in the United States, reached No. 10 in the Billboard Hot 100 in early 1972, the only top 40 single the band had in the US.
When performing "Get it On" on Top of the Pops, Bolan wore bigger glitter teardrops under the eyes, along with a shiny jacket.
In November 1971, the band's record label, Fly, released the Electric Warrior track "Jeepster" without Bolan's permission. Outraged, Bolan took advantage of the timely lapsing of his Fly Records contract and left for EMI, who gave him his own record label, the T. Rex Wax Co.
Its bag and label featured an iconic head-and-shoulders image of Bolan. Despite the lack of Bolan's endorsement, "Jeepster" peaked at number two in the UK.
In 1972, Marc achieved two more UK number ones with "Telegram Sam" and "Metal Guru" taken from The Slider, and two number twos in "Children of the Revolution" and "Solid Gold Easy Action".
In the same year he appeared in Born to Boogie, a documentary by Ringo Starr about T. Rex, including a concert filmed at London's Wembley Empire Pool in March 1972. Mixed in were surreal scenes shot at John Lennon's mansion in Ascot and a session with T. Rex joined by Ringo Starr on a second drum kit, and Elton John on piano.
At this time T. Rex record sales accounted for about six percent of total British domestic record sales.
The band was reportedly selling 100,000 records a day; however, no T. Rex single ever became a million-seller in the UK, despite many gold discs and an average of four weeks at the top per number one hit.
Bolan took to wearing top hats and feather boas on stage, as well as putting drops of glitter on each of his cheekbones. Stories are conflicting about his inspiration for this - some say it was introduced by his personal assistant, Chelita Secunda.
However Bolan told John Pidgeon in a 1974 interview on Radio 1 that he noticed the glitter on his wife's dressing table prior to a photo session, and casually daubed some on his face there and then. Other performers - and their fans - soon took up variations on the idea.
The glam era also saw the rise of Bolan's friend David Bowie, whom Bolan had come to know in the underground days (Bolan had played guitar on Bowie's 1970 single "Prettiest Star"; Bolan and Bowie also shared the same manager, Les Conn, and producer, Tony Visconti).
However their friendship was also a rivalry, which continued throughout Marc's career. Bowie's 1972 song "All the Young Dudes" name-checked T. Rex.
Bowie's song "Lady Stardust" is generally interpreted as alluding to fellow glam rock icon Bolan. The original demo version was entitled "He Was Alright (A Song for Marc)".
In 1973, Bolan played twin lead guitar alongside his friend Jeff Lynne on the Electric Light Orchestra songs "Ma-Ma-Ma Belle" and "Dreaming of 4000" (originally uncredited) from On the Third Day, as well as on "Everyone's Born to Die", which was not released at the time, but appears as a bonus track on the 2006 re-master.
For the following recording sessions, Marc recruited soul female singers for the backing vocals on "20th. Century Boy", which peaked at number 3 in March, and mid-year "The Groover" which went to number four.
Tanx, parts of which found him heading towards soul, funk and gospel, was both a commercial and critical success in several European countries. "Truck On (Tyke)" missed the UK top 10, reaching only No. 12 in December.
However, "Teenage Dream" from the 1974 album Zinc Alloy and the Hidden Riders of Tomorrow showed that Bolan was attempting to create richer, more involved music than he had previously attempted with T. Rex.
He expanded the line up of the band to include a second guitarist, Jack Green, and other studio musicians, and began to take more control over the sound and production of his records, including by then girlfriend Gloria Jones on keyboards as well as backing vocals.
Eventually, the vintage T. Rex line-up disintegrated. Bolan's marriage came to an end because of his affair with backing singer Jones, which began in July 1973. He spent a good deal of his time in the US during this period, continuing to release singles and albums, putting R & B influences with rock on Bolan's Zip Gun. He was not living healthily, and began to gain weight, though he subsequently improved and continued working.
Resurgence and Final Year: 1976 - 1977
In September 1975 Gloria Jones gave birth to Bolan's son, whom they named Rolan Bolan (although his birth certificate lists him as 'Rolan Seymour Feld'). That same year, Bolan returned to the UK from tax exile in the US and Monaco and to the public eye with a low-key tour.
Bolan made regular appearances on the LWT pop show Supersonic, directed by his old friend Mike Mansfield and released a succession of singles, including "New York City" which reached the top 15. By then, Bolan was current with the music scene, incorporating disco elements in Futuristic Dragon and the single "Dreamy Lady".
The last remaining member of Bolan's halcyon era T. Rex, Currie, left the group in late 1976. In early 1977, Bolan got a new band together, released a new album, Dandy in the Underworld, and set out on a fresh UK tour, taking along punk band the Damned as support to entice a young audience who did not remember his heyday barely five years previously.
Later in 1977, Granada Television commissioned Bolan to front a six-part series called Marc in which he hosted a mix of new and established bands and performed his own songs. By this time Bolan had lost weight, appearing as trim as he had during T. Rex's earlier heyday.
The show was broadcast during the post-school half-hour on ITV earmarked for children and teenagers, and it was a big success. One episode reunited Bolan with his former John's Children - bandmate Andy Ellison, then fronting the band Radio Stars.
Bolan's longtime friend and sometimes rival David Bowie was the final guest on the last episode of Marc. Bowie's solo song "Heroes" was the show's penultimate song; Bolan signed off, naming some of the musicians: "All the cats; you know who they are"; they then began to play a bluesy song, over the closing credits.
After four words of Bowie's vocals, however, Bolan stumbled forward, and off the stage, but managed to grab the microphone, and find a smile. Bowie's amusement was clearly visible, and the band stopped playing after a few seconds. With no time for a retake, the occurrence was aired.
Marc Bolan's `Personal Life
Bolan began his first serious romantic relationship with Theresa Whipman in 1965. The song Hot Love was written about her.
They broke up in 1968 when Bolan met June Ellen Child. The pair immediately fell in love and moved into a flat together after only knowing each other for a few days. They married on the 30th. January 1970. June was a former secretary to his then-managers, Blackhill Enterprises, also the managers of another of his heroes, Syd Barrett, whom June had dated.
June was also influential in raising her new husband's profile in the music industry.
Bolan's relationship with June was tumultuous. He engaged in several affairs over the course of their marriage, including one with singer Marsha Hunt in 1969, and another with artist Barbara Nessim while recording in America in 1971.
The couple separated in 1973, after June found out about Bolan's affair with his backing singer Gloria Jones.
After Bolan's death, June revealed that she had undergone multiple abortions during their marriage because she believed Bolan wasn't yet mature enough to be a father at the time.
Bolan and Gloria Jones were in a committed romantic relationship from 1973 until his death in September 1977. The couple had a son together in September 1975.
At the end of June 1976, June Bolan sued for divorce on the grounds of adultery, citing Gloria Jones as the third party. At the court hearing on the 5th. October 1976, Deputy Judge Donald Ellison declared:
“I am satisfied that the husband committed
adultery with the co-respondent, and that
the wife finds it intolerable to live with him.”
June was granted a decree nisi. Twelve months after that date, it became a decree absolute. Marc explained after the ruling:
“The facts are that she initially
left me, and we just grew apart.
There were no great scenes, no
smashing things up.
It just suddenly happened one
day. We weren’t a couple anymore.”
He also used the opportunity to shed a little light on his sexuality. He only half-jested when he said:
“Anyway, I’m gay. “I can’t say I was
a latent homosexual - I was an early
one. But sex was never a great
problem. I’m a great screwer …”
Asked about the institution of marriage, he replied:
“Gloria doesn’t want to get married and
neither do I. If I ever marry anyone again,
I’ll put in a clause that when it ends you’re
on your own - and that means financially,
too.”
The Death of Marc Bolan
Marc Bolan never learned to drive, fearing a premature death. Despite this fear, cars or automotive components are at least mentioned in, if not the subject of, many of his songs. He also owned a number of vehicles, including a white 1960's Rolls-Royce that was loaned by his management to the band Hawkwind on the night of his death.
On the 16th. September 1977, Bolan was a passenger in a Mini 1275GT driven by Gloria Jones as they headed home from Morton's club and restaurant in Berkeley Square. After she crossed a small humpback bridge near Gipsy Lane on Queens Ride, Barnes, southwest London, the car struck a fence post and then a tree. Bolan was killed instantly, while Jones suffered a broken arm and broken jaw.
The car crash site has subsequently become a shrine to his memory, where fans leave tributes beside the tree. In 2013, the shrine was featured on the BBC Four series Pagans and Pilgrims: Britain's Holiest Places. The site, referred to as Marc Bolan's Rock Shrine, is owned and maintained by the T. Rex Action Group.
Marc's funeral service was held on the 20th. September 1977 at the Golders Green Crematorium in North London, where his ashes were later buried under a rose bush. At Bolan's funeral, attended by David Bowie, Rod Stewart, Tony Visconti, and Steve Harley, a swan-shaped floral tribute was displayed outside the service in recognition of his breakthrough hit single "Ride a White Swan".
There are two plaques dedicated to his memory at the Crematorium. The first was placed there in the mid-1990's in white marble and was installed by the Tyrannosaurus Rex Appreciation Society with the help of fans worldwide.
The second was installed by the official Marc Bolan fan club and fellow fans in September 2002, to commemorate the 25th. anniversary of his passing. The inscription on the stone, which also bears his image, reads '25 years on - his light of love still shines brightly'. Placed beneath the plaque there is a ceramic figure of a white swan.
Bolan had arranged a discretionary trust to safeguard his money. A small, separate Jersey-based trust fund has allowed his son to receive some income. However, the bulk of Bolan's fortune, variously estimated at between £20 and £30 million (approx $38 – $57 million), remains in trust.
Marc Bolan's Legacy
Bolan strongly influenced artists of many genres, including glam rock, punk, post-punk, new wave, indie rock and brit pop. He was the early guitar idol of Johnny Marr, who later found fame as the guitarist of the influential indie rock band the Smiths.
In 1979, Siouxsie and the Banshees released a cover of "20th Century Boy" as the B-side to the single "The Staircase (Mystery)". The band had played the song live for several months, and on the first anniversary of Bolan's death in 1978, they played the song as the encore when they performed at Aylesbury Friars.
In December 1980, "Telegram Sam" was the fourth single released by British gothic rock band Bauhaus. Also in 1980, the Bongos were the first American group, with "Mambo Sun", to enter the Billboard charts with a T. Rex cover.
Since then, Bongos frontman Richard Barone has recorded several other Bolan compositions ("The Visit," "Ballrooms of Mars"), worked with T. Rex producer Tony Visconti for his current solo album, Glow that includes a remake of Bolan's "Girl" from Electric Warrior, and has himself produced tracks for Bolan's son Rolan.
In 1983, the band Girlschool covered "20th Century Boy" on their Play Dirty. In 1984, the Replacements released a cover of "20th Century Boy" as a B-side to the single "I Will Dare"; it is also included on the re-issue version of their album Let It Be.
In 1985, Duran Duran splinter band Power Station, with Robert Palmer as vocalist, took a version of "Get It On" into the UK Top 40 and to US No. 6, the first cover of a Bolan song to enter the charts since his death.
They also performed the tune at the Live Aid concert. In 1986, Violent Femmes covered the song "Children of the Revolution" on their album, The Blind Leading the Naked.
In 1989, X released a live cover of "20th Century Boy" as the B-side to their single "Kurenai". In 1990, Baby Ford did a cover of "Children of the Revolution" that appeared on the album Oooh, The World of Baby For.
In 1991, T-Bolan a Japanese rock band debuted. The name of this band was inspired by T. Rex and its vocalist Marc Bolan.
"20th Century Boy" introduced a new generation of devotees to Bolan's work in 1991 when it was featured on a Levi's jeans TV commercial featuring Brad Pitt, and was re-released, reaching the UK Top 20. The song was performed by the fictional band the Flaming Creatures (performed by Placebo, reprised by Placebo and David Bowie at the 1999 BRIT Awards) in the 1998 film Velvet Goldmine.
In every decade since his death, a Bolan greatest hits compilation has placed in the top 20 UK albums and periodic boosts in sales have come via cover versions from artists inspired by Bolan, including Morrissey.
In 1993, Guns N' Roses covered "Buick MacKane" on "The Spaghetti Incident?", and their guitarist Slash has worn a t-shirt with an image of Bolan on the front. The main riff of Oasis' 1994 hit "Cigarettes & Alcohol" is lifted from "Get It On".
In 1993, Adam Ant covered the track live on his Persuasion tour. The song was included on a private preview show on the 21st. February 1993 in Burbank, Los Angeles which was recorded and released, complete with the cover version, as a live bonus CD with 1994 pressings of his Antmusic: The Very Best of Adam Ant collection.
The Cameron Crowe-created movie Almost Famous features a scene where a Black Sabbath groupie is telling aspiring journalist William Miller (said to be created in Crowe's own image) about how, "Marc Bolan broke her heart, man. It's famous," regarding the character of Penny Lane, played by Kate Hudson.
In 2000, Naoki Urasawa created a Japanese manga entitled 20th Century Boys that was inspired by Marc Bolan's song, "20th Century Boy". The series is a multiple award-winner, and has also been released in North America.
The story was adopted into three successful live-action movies from 2008 to 2009, which were also released in the US, Canada and the UK.
"I Love to Boogie" was briefly used on an advert for Robinson's soft drink in 2001, bringing Bolan's music to a new generation.
In 2003, Depeche Mode's Martin Gore recorded covers of "Life Is Strange" and "Left Hand Luke and the Beggar Boys", and included them as b-sides of the single "Stardust".
In 2006, Def Leppard released their album Yeah!, which contains covers of their favourite bands while growing up, the first song on this album is "20th Century Boy". Joe Elliott wanted to sing "Metal Guru" while Vivian Campbell wanted "Telegram Sam" but ended up agreeing to "20th. Century Boy".
It's not the first time that Def Leppard has sung a T. Rex song; there is a live version of Get It On.
"Children of the Revolution" was similarly performed by Elton John and Pete Doherty of the Libertines at Live 8, in 2005. U2's Bono and Gavin Friday also covered "Children of the Revolution" on the Moulin Rouge! soundtrack.
Marc's music is still widely used in films, recent notable cases being Breakfast on Pluto, Death Proof, Lords of Dogtown, Billy Elliot, Jarhead, Moulin Rouge!, Herbie: Fully Loaded, Breaking-Up, Hot Fuzz, Click, School of Rock, Scott Pilgrim vs. the World and Dallas Buyers Club.
Bolan is still cited by many guitar-centric bands as a huge influence (Joy Division/New Order's Bernard Sumner has said that the first single he owned was "Ride a White Swan".) However, Marc always maintained that he was a poet who put lyrics to music. The tunes were never as important as the words.
In the 2006 TV series Life on Mars, William Matheson portrays Marc Bolan, circa 1973, in a bar in Manchester. Time-travelling Sam Tyler recognises him, has a fan boy moment, and warns him to be careful of riding in Minis.
In the American version of the series, the character is replaced by that of Jim Croce, who died later that year in a plane crash, and Sam warns him. However, the T. Rex version of "Get It On" is played in the New York dance club in that scene.
In 2007, the English Tourist Board included Bolan's Rock Shrine in their guide to Important Sites of Rock 'n Roll interest 'England Rocks'.
As reported in 2011, a school is planned in his honour, to be built in Sierra Leone: The Marc Bolan School of Music and Film. A musical, 20th Century Boy, based on Bolan's life, and featuring his music, premiered at the New Wolsey Theatre in Ipswich in 2011.
In September 2020 a tribute album produced by Hal Willner, Angelheaded Hipster, was released featuring covers of Bolan songs by a variety of artists including Nick Cave, U2, Elton John, Joan Jett, Nena and Todd Rundgren.
Final Thoughts From Marc Bolan
"If God were to appear in my room, obviously
I would be in awe, but I don't think I would be
humble. I might cry, but I think he would dig me
like crazy."
"I personally believe that I was... a previous life
or something... a previous reincarnation, a bard
of some sort, because most of the things I write
about are descriptions of places I've never been
to."
"I tend to play a lot of blues things at home,
because most blues things are basically within
a 12-bar pattern."
"My head is perfectly clean inside."
"I'm serious about the music, but I'm not serious
about the fantasy. It's no big deal being on TV!"
"The prospect of being immortal doesn't excite me,
but the prospect of being a materialistic idol for four
years does appeal."
"I mean, I am my own fantasy."
"I am the 'Cosmic Dancer' who dances his way
out of the womb and into the tomb on 'Electric
Warrior.' I'm not frightened to get up there and
groove about in front of six million people on
TV, because it doesn't look cool. That's the way
I would do it at home."
"I think I am a child. Everything blows my mind."
"I've always been a wriggler. I just dig dancing."
"I feel there is a curse on rock stars."
"All rock musicians are deaf... Or insensitive to
mellow sounds."
"I don't like telephones."
"Time passes so slowly if you are unaware
of it, and so quickly if you are aware of it."
"Be strong and follow your own convictions. You
can't assume there is a lot of time to do what you
like. This is what David Bowie is afraid of: that he
will die before he gets a chance to make a real
strong contribution."
"There is so little time for us all; I need to be able
to say what I want quickly and to as many people
as possible."
"I honestly feel it could all end tomorrow.
Not just the band thing - I mean life."
Church of St George , George Nympton / Nymet St George Devon sits on the southern side of the village tucked away behind fronting premises.
The manor of "Limet" appears in the 1086 Domesday Survey and was held by Odo son of Gamalin, The neighbouring estates of Nymet Regis (King’s Nympton) and Nymet Episcopi (Bishop’s Nympton) were held by the King himself and the Bishop of Exeter. Nymet is an ancient Celtic word for a holy place or sanctuary and the early Christian Church often super-imposed its places of worship on pagan sites. The manor was early in the family of Nymett who took their name from the village, and afterwards in that of Hache, from whom it descended, through the Malets to the Aclands.
However it was not until 200 years later that the dedication to St George appeared, indicating the existence of a church. (A tax roll of 1288 contains the entry “Eccl’ia. De Nymeton Sci. Georgij: £2.0.0” (Nymet St George Church £2.0.0.) and John Parson of Nymet St George is named in a roll of 1297) Whilst nothing remains of that church, a 1970s survey noted “the interior of the porch has…..an unusual inner door-frame with a deeply-moulded triangular head, possibly 13c in date”. www.flickr.com/gp/52219527@N00/4WD803QG7m
The nave and north aisle separated by pillars with finely-carved capitals all date from probably 1470 - 1490. Though the ceilings of the nave and chancel have been restored the north aisle still has its original carved bosses. There was an ornate wooden screen separating the nave from the chancel, of which some pieces remain in the carved panels on the front of the north-side choir-stalls, and the beam across the tower arch which still retains its original colouring. Some fragments of old stained glass were found embedded in the stone-work when the chancel was rebuilt in 1882 and they were inserted in the upper lights of the new east window. www.flickr.com/gp/52219527@N00/5ZLMQ916di The font also dates from the 15c. www.flickr.com/gp/52219527@N00/n443A21u86 Though the building is constructed of random stone, easily obtainable locally, the pillars and the font must have come from some distance away and can only have been brought in by packhorse.
In 1668 the church wardens reported to the bishop: “our steeple is unrepaired and our bells are crashed”. Clearly there had been a disaster, probably a lightning strike which brought the bells crashing down, however there are no parish records before that date, as they were destroyed with the tower. In 1673 the unusual decision was taken to rebuild with brick in the Gothic style and the work is recorded in detail in the parish accounts. George Harris was paid £46.0.0 as master builder and James Moore £22.5s.4d. for baking the bricks on the village green. The bricks are quite uneven in size and the result is a tribute to George Harris’ skill. An entry in the parish register records: “The tower of George Nympton was built with brick in ye year of our Lord 1673 Amos Nott gent and John Pawle then Church Wardens”. An inventory of church property taken on the accession of Elizabeth I in 1558 showed: “Nymett Sancti Georgii iij belles in the towre there” and these had probably been hung during the 15c rebuilding. Recasting the “crashed” bells was undertaken at Romansleigh by an unnamed travelling founder who recast the bells of that church at the same time. The broken pieces were weighed and re-used and 3 new bells cast. There is another note in the register: “The bells in Georgenympton tower were cast ye fourth day of September in ye to and thirtieth year of the Reign of Charles ye Second and in ye year of Our Lord 1680 William Karslake and John Hele then churchwardens”.
There were some major repairs to the fabric in the period from 1680 to 1880:
Between 1713 to 1738 were placed box pews, west gallery and a three-tier pulpit topped with a gilded angel (now surmounting the organ) were installed . www.flickr.com/gp/52219527@N00/a61427D885 in 1758 the roof and the pillars between nave and aisle were taken down and rebuilt and the bell chamber was given a new roof in 1814.
By 1880 the church was in a very dilapidated state and restoration / rebuilding in Perpendicular style to match the medieval fabric took place in 1882 by E H Harbottle. This involved the rebuilding of the south & east chancel walls & porch, the addition of a north vestry, replacing the nave and chancel roofs, opening out the tower arch, tracery replacement and restoration of the nave bench ends. A new stained-glass east window was installed using the fragments of medieval glass in the upper lights www.flickr.com/gp/52219527@N00/88V69R2092 and a previously hidden east window in the north aisle was opened up. A crude covering of plaster was removed from the nave ceiling and old ribs and bosses restored. The box pews, screen, gallery and three tier pulpit were replaced with an oak pulpit, lectern and chancel seats donated by the friends and family of the former rector Rev James Richey. (why did they do that !!! ) Rebuilding the porch revealed a broken medieval holy-water stoup and an image niche over the doorway, later filled with a carving of St George. The cost escalated from an estimated £750 to £1255 as work progressed but it was covered by donations from well-wishers and the fund-raising efforts of the parishioners.
Music had for many years been provided by a church band of stringed and reed instruments. The accounts mention a violincello and a hautboy (oboe). At the time of the 1880 restoration an organ made by Bridgeman of Ilfracombe, with unusual black natural and white raised keys, was installed by the rector, the Rev Henry Dyke Acland
In 1943 it was decided that the 700-year-old parish would be amalgamated with South Molton so on the retirement of the last rector, Lt Colonel Rev Thomas Keogh, the church became its dependent chapel. The marriage register has an entry after 9 March 1943 announcing: “This and the duplicate register are disused at this point by direction of the Registrar General” This left the parishioners to meet the cost of a new licence to recover the right to perform marriages which had existed for 700 years !
This is one of the items in a display of objects of local and regional historical significance at the antique mall in Klipsan, Washington.
The setting makes viewing the collection a somewhat frustrating experience. Every other object on the premises is for sale. Only the treasures in the two cases lack price tags!
Because the informal museum is so informal, one needs to have considerable prior knowledge of local history to understand the significance of some of the pieces. Even then there are still unanswered questions.
For example, when was this beer mug made? To my untrained eye, it doesn't look very old. The surface shows no signs of age. More significantly, something isn't right about the appearance of the text if the mug is meant to date from the late 19th or early 20th century. My guess is it is a modern commemorative piece. A label would have made this speculation unnecessary.
========================================================
Overiew
US Name: George W. Elder
Owner:Old Dominion Steamship Company1874–1876
Oregon Steamship Company 1876–?
Oregon Railroad and Navigation Company Oregon Railroad and Navigation Company ?–1904
San Francisco and Portland Steamship Company 1904–1905
North Pacific Steamship Company 1905–1918
(Renamed America) Compañía Artigas Riolrio1918–1935
Routes:
Chesapeake Bay to New York City 1874–1876
San Francisco, California to Portland, Oregon 1876–?
Route:Chilean coastal service 1918-1935
Out of service:1935
Fate:Scrapped in 1935
Notes:Scrapping location is unknown
Builder:Delaware River Iron Shipbuilding and Engine Works (Chester, PA)
Launched:1874
In service:1874–1935
General characteristics
Type: Coastal passenger/cargo liner
Length:250 ft (76 m)
Beam:38 ft (12 m)
Draft:16 ft (5 m)
Installed power: Single Triple expansion engine
Propulsion:Single screw
Notes:Reached 61 years of age
History
SS George W. Elder (1874–1935) was a passenger/cargo ship. Originally a U.S. east coast steamer, she was built by John Roach & Sons in Chester, Pennsylvania. The George W. Elder became a west coast steamer in 1876 and served with the Oregon Steamship Company, Oregon Railroad and Navigation Company, San Francisco and Portland Steamship Company and the North Pacific Steamship Company. In 1907, the George W. Elder helped to rescue the survivors of her former running mate Columbia. The last owners of the George W. Elder were a Chilean firm which operated her under the name America. She operated the Chilean Coast until 1935, when she was finally scrapped. The location of her scrapping remains unknown.
The George W. Elder was launched in 1874 at the Delaware River Iron Ship Building and Engine Works of John Roach & Sons in Chester, Pennsylvania and first served as a nightboat for the Old Dominion Steamship Company on the New York City to Chesapeake Bay route.
She was equipped with brigantine-rig sail configuration and a triple-expansion steam engine rated between 900 hp (671 kW) and 1,000 hp (746 kW).
The George W. Elder drew 16 ft (5 m) of water, was 250 ft (76 m) long, had a beam of 38 ft (12 m) and measured 1,709 gross tons. Due to her design, the George W. Elder was able to visit several different ports.
In 1876, the George W. Elder was sold to the Oregon Steamship Company, which brought the ship around Cape Horn and placed her on the San Francisco, California to Portland, Oregon route.
The George W. Elder became part of the Oregon Railroad and Navigation Company fleet after O.R. & N purchased the Oregon Steamship Company.
In O.R. & N service, the George W. Elder served alongside the innovative Columbia, which was the first structure to use the incandescent light bulb outside Thomas Edison's laboratory in Menlo Park, New Jersey. O.R. & N was bought out by the Union Pacific Railroad in 1898.
On May 31, 1899, the George W. Elder set out of Seattle, Washington on a scientific exploration voyage to Russia, via British Columbia and Alaska. Although her stopovers were brief, the actions and nature of research done on the George W. Elder followed tradition. The voyage, called the Harriman Expedition, was over 9,000 mi (14,484,096 m) long. The George W. Elder was captained by Peter A. Doran during this expedition.
After the Harriman Expedition, the United States Army drafted the George W. Elder in November 1899 for use as a troopship in the Philippines during the Spanish–American War.
Strangely during this time, the owners of the George W. Elder were listed as Goodall, Perkins & Company, the agents of the Pacific Coast Steamship Company who were the owners of the ill-fated Pacific back in 1875.[5] In December of the same year, she was returned to O.R. & N.
In 1904, the George W. Elder was transferred to the newly formed San Francisco and Portland Steamship Company along with the Columbia.
During this time, the George W. Elder continued to build on its reputation for being a safe vessel. In 1905 however, this reputation vanished, when the George W. Elder, now 31 years old, struck a rock along the Columbia River and sank under 16 ft (5 m) of water.
She was raised in May, 1906.
After being salvaged, the San Francisco and Portland Steamship Company abandoned her and she was sold in Auction to Captain J.H. Peterson.
In 1906, the George W. Elder was sold to the North Pacific Steamship Company, who would be her last American owners. In a chance of coincidence, the George W. Elder was paired the SS Roanoke, which had also been built as a nightboat for the Old Dominion Steamship Company.
On July 21, 1907, the former running mate to the George W. Elder, the Columbia collided with the lumber schooner San Pedro off Shelter Cove, California, causing the Columbia to sink, killing 88 people.
Among the dead was Captain Peter A. Doran, who had commanded the George W. Elder on her 1899 Harriman Expedition.
Both the George W. Elder and Roanoke arrived at the site of the disaster and picked up Columbia's survivors from the badly damaged San Pedro.
The George W. Elder returned some of the survivors to Astoria, Oregon.[5] The George W. Elder also towed the San Pedro to shore, following the disaster.[7]
By 1915, the North Pacific Steamship Company was struggling, due to the loss of their steamer Santa Clara on the bar of Coos Bay, Oregon, in 1914.
The management considered closing the company's doors. Thankfully, relief came when the California South Seas Navigation Company chartered both Roanoke and George W. Elder. Neither were used for passenger service under this charter.
Unfortunately, the Roanoke capsized and sank off the California coastline, on her second voyage under the charter. Only three people survived. During World War I, the George W. Elder was leased by the Pacific Mail Steamship Company, which was at the time owned by the Grace Line. The George W. Elder was used during this time as part of a four ship feeder service for Central American and Mexican ports.
At war's end, now 44 years old, the George W. Elder was sold to Artigas Riolrio Compañía, based in Valparaiso, Chile, they were to be her last operators. The George W. Elder was renamed America and served the Chilean coastline until 1935. On 7 December 1928, the Chilean cargo ship SS Quintero collided with America and sank.[8]
America survived the collision and was reported scrapped in 1935, but it remains uncertain whether the job was done in Japan or Valparaiso. Either way, America had reached an outstanding age of 61 years.
Empty shops and business premises are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business only have a limited life.
This collection portrays retail outlets that have been empty long-term, some for many years. In the past, all these have housed thriving businesses. Yet now, for some reason, they are empty and some are falling into a state of disrepair and dilapidation.
Each has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente
.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
1/4
Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Empty shops and business premises are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business only have a limited life.
This collection portrays retail outlets that have been empty long-term, some for many years. In the past, all these have housed thriving businesses. Yet now, for some reason, they are empty and some are falling into a state of disrepair and dilapidation.
Each has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
Dunnett's Transport Mercedes Benz 516CDi EVM SN61CXD and Ford Transit minibus D22CFD pictured at the company's Wick premises on 14/5/2025. T30CFD making a brief appearance at the back!
Residents and businesses decorate their premises to mark the 75th anniversary of VE Day, a fitting tribute to the market town's commemoration events.
Empty shops and business premises are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business only have a limited life.
This collection portrays retail outlets that have been empty long-term, some for many years. In the past, all these have housed thriving businesses. Yet now, for some reason, they are empty and some are falling into a state of disrepair and dilapidation.
Each has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
HTM PCC 1308 + motorised PCC trailer 2104 sen on the premises of the former GVB Amsterdam tram work shop.
In the last years this was the city depot for preserved trams. New development plans forced the old trams to leave. However, nothing happened for a long time on that spot, not doing any good for the listed building, nowadays it is amongst other thing a food market and cinema.
This PCC couple is in Belgium now and for a while played an active role in the Brussels tram museum of Woluwe. Rumour has it that they will move to the Coastal Line an will get metric bogies. Another possibility is that these PCC will be part of the Bombardier preserved fleet in the Bruges factory.
HTM 1308 + 2104 op het voorterrein van de voormalige Centrale Werkplaats Tram van het GVB. In de laatste jaren fungeerde een deel van dit gebouw als stads- en exploitatiedepot voor museumtrams.
Onhaalbaar gebleken ambitieuze plannen van projectontwikkelaars en stadsdeel dwongen de ontruiming af van alle trams in 2005. Het trieste is dat er met het gebouw al jaren niets is 'ontwikkeld', leeg stond en in kwaliteit hard achteruit is gegaan. Sinds 2014 huist hier onder meer een bioscoop, een voedselmarkt en een bibliotheek..
Dit PCC-stel keerde terug naar Den Haag en is - na een (technische) inspectie en opknapbeurt - naar Brussel overgebracht, Daar zou het een actieve rol krijgen op de museumtramdienst naar Tervuren, maar er is nu sprake van een inzet op de Kustlijn. In dat geval zullen de normaalspoor-draaistellen moeten worden vervangen door meterspoor-exemplaren, het stel is onderdeel wordt van het bedrijfsmuseum van Bombardier in Brugge.
Amsterdam, Bellamyplein - June 24 / 24 juni 2004.
© 2004 Amsterdam RAIL | All Rights Reserved
Building a city.
Churches and schools were important structures for the early citizens of Geelong as they were important signs of progress and civilisation. In 1855 Geelong Grammar School opened as an Anglican boarding school for boys. It had several moves to different premises and its prestige grew as a boarding school for the wealthiest of the Western District pastoralists. It moved to its present location on Corio Bay in 1914 from 55 Maud Street Geelong. This is the school Prince Charles attended in the 1960s. The Church of England Girls’ Grammar School only opened in 1906. Yet another important educational establishment was the opening of the Gordon (named after General William Gordon from the Siege of Khartoum 1884-5) Technical College in 1888. This grand Scottish baronial style building was extended in 1891 and the matching northern wing was added in 1916. It makes a dramatic statement in Fenwick Street. Part of the campus incudes the Bostock Memorial textile laboratories and the Edward Lascelles wool laboratories. One of the city’s wool broker was T E Bostock who was also Mayor of Geelong 1905 to 1908. When he died in 1922 a public subscription fund was started to build a memorial to him. He was a founder of Strachan Bostock and Co a leading wool firm and employer in the city. The foundation stone a new textile laboratories for what was then the Gordon Institute of Technology was laid in 1928. The architects were Laird and Buchan. About the same time (1921) a public subscription fund was started as a memorial to Edward Lascelles another Geelong leader of the wool industry. His wool stores are down on Brougham Terrace. The new Lascelles building in Art Deco style with strong vertical lines was to be joined to the Bostock Laboratories. Building started in 1944 and was completed in 1951. The architect of this Art Deco masterpiece was Percy Everett who also designed the old Courthouse into a Spanish Mission Art Deco building around 1930. Nearby is the Matthew Flinders Girls Secondary School which was established in 1856 and known as the Flinders National School for boys. It was the first state school in Geelong and became the first state school to offer high school studies. From 1864 it was also a primary school for girls and in 1939 it became a girls’ secondary school. Although the main building dates from 1856 it was extended, remodelled and given its current Italianate appearance with a three storey tower in 1880.
Outside the city centre are two other prestigious schools in Geelong from later in the 19th century –the Catholic Sacred Heart College in Newton and the formerly Presbyterian Geelong College. The main two storey Gothic buildings of Geelong College in Talbot Street Newton were designed by architects Davidson and Henderson in 1871. Additions in 1873 and layer have produced an outstanding college campus in architectural terms. The college began as a boarding school in 1861 and still offers boarding but now for both boys and girls. Boarding colleges in Geelong were needed for the wealthy pastoralists of the Western Districts to have their children well educated. Sacred Heart College for girls is in Retreat Road Newton. It was established in 1860 by the Sisters of Mercy from Dublin. It opened as a boarding school for girls and still provides that service. The early school complex was Gothic in design near a blue stone chapel built between 1871 and 1874. The early school and chapel remained largely unchanged. The architect was T Kelly. Presbyterian Girls College opened in 1920 in a grand house called Morongo which was built in 1860. This college amalgamated with Geelong College in 1994.
Although early church services for Catholics, Methodists and Presbyterians were held in private homes from the early years it took a few more years to build churches. The first church in Geelong appears to have been St Andrews Presbyterian Church in Yarra Street which for many years has been a Lutheran Church. Its foundation stone was laid in March 1841 and the simple Georgian style church opened as Scot’s Presbyterian in July 1842. It was changed to St Andrews Presbyterian in 1858. The current two storey classical façade was added in 1912 after it closed as a Presbyterian Church in 1911 and became a Scots Hall. It was purchased by the Lutherans in 1946. This heritage listed church is the first Presbyterian Church in Geelong and the oldest still standing in Victoria and the oldest Victorian church outside of Melbourne. The Catholics built an early church also in Yarra Street in 1842 which was demolished in 1872 when the nave of the current St Mary’s Church was completed. Work began on St Mary’s in 1854. Work continued on the current St Marys Basilica Church until it was completed in 1937. This grand cathedral like church with three towers and a huge rose window is befitting of Victoria’s second city. A fine two storey Catholic Presbytery is next to the church. Below the Catholic Basilica towards the harbour is the old Wesleyan Methodist Church which is now the Uniting Church. This Wesleyan Church was built in 1845 but there is little of the early church visible from the street except a few feet of wall with windows at the rear of the current church and the four partition mullion window on the street facing gable of the nave. There are several late 19th century additions around the 1845 nave. The oldest continuously used Anglican Church in Victoria is Christ Church Anglican Church in Moorabool Street. An early chapel school room was built around 1840 and it still stands on the site but the architect Edmund Blacket of NSW had work start on the church proper in 1843. It opened in 1847 with a nave and tower. It was enlarged with a transept which was completed in 1855. The spire on the tower was added later. Much of the sandstone of the church, especially the buttressed are weathered and peeling away in places.
Surprisingly Geelong also had a break away or Reformed Church of England congregation which built the magnificent Trinity Church on la Trobe Terrace in 1858. The church closed around the turn of the century and it became the Churches of Christ Church, which it still is, in 1907. It is the only independent Anglican Church known in Victoria and possibly in Australia. Almost next door to it in La Trobe Terrace and Myers Street is yet another Free Presbyterian Church built in 1858 which is now painted blue. Next to it is an earlier church and later church hall built in 1854. . The Free or Reformed Presbyterians built quite a few churches in Geelong including a small church in 1862 in Fenwick Street. Almost next door to that church the Baptists built their early church around 1860 (with a raised roof) and a later church in 1911. But the biggest Free Presbyterian Church in Geelong was built in 1861 in Gheringhap Street in basalt with sandstone quoins which are now badly weathered. Next door they began a Presbyterian school in 1854. Two school rooms of that early school remain in Gheringhap Street. The church closed in 1977 with the formation of the Uniting Church but its magnificent mullion stained glass window in the gable by Ferghuson and Urie has been preserved. The main Presbyterian Church, St George’s in La Trobe Terrace was built in 1861. Behind it is a superb basalt two storey manse. The church closed around 2011 and is now vacant. By 1900 there were six Presbyterian churches just in central Geelong including the Ryrie Street church of 1858 which is now incorporated into a modern building façade at 12 Ryrie Street. The Jewish community acquire land for a synagogue in 1851 in Yarra Street but they did not build a synagogue on it until 1861. It closed as a synagogue in 1984. There were Baptist, Congregational, Primitive Methodist and other Presbyterian churches in the town. Many have now been demolished but several (Catholic, Presbyterian and Anglican) still exist near the railway station. Although not a church and far from it the Protestant Hall erected in 1888 at 61 Yarra Street is worthy of mention. Conflict between Protestants and Irish Catholics in Victoria was always an issue and a lodge purely for Protestants was seen as appropriate in those times. In 1882 a Protestant Hall was built in Melbourne for the Protestant Alliance Friendly Society with the support of Orange Lodges. The Protestant Hall in Geelong which opened in 1888 survived until closure in 2013. It was basically a pro-British Empire association run by the Protestant Alliance Friendly Society which provided insurance for funerals and the like with an emphasis on loyalty to the Crown and Empire. Other lodge organisations including the Loyal Corio Lodge used the Geelong Protestant Hall for their meetings and the Protestant Alliance raised funds for the Geelong hospital and other charitable organisations. By the 1920s there were Protestant Halls in Mildura, Shepparton, Ballarat and several Melbourne suburbs but few survived as long as the Geelong Hall.
Some of the commercial buildings of Geelong have heritage listing or are of special historical importance. At 1 Malop Street is the former interwar stripped classical building of Dalgety Wool Merchants and shipping agents. It was built in 1924 and has now been incorporated into a 14 storey office block. Next door at 9 Malop St. is the former London Chartered Bank built in 1860 with classical elements and an almost fortress like appearance. It is built in local sandstone. It became an English Scottish and Australian bank in 1921 but is now purely used for commercial purposes. Across the street at 8 Malop St is the Trustees building. It was built in 1857. Additions in 1886 gave it the current appearance and is probably when it became the Trustees Building. On the next corner of Malop and Clare streets is the former Carlton Hotel. An old hotel on this site from the 1850s was rebuilt as a modern Art Deco building around 1930 with porthole windows, wrought iron on the doors, coloured tiled walls to the street etc .On the next corner with Moorabool Street and Malop Street is the National Mutual Building. It was built in stripped classical style in 1929 and is still a city landmark. On the opposite corner is part of Market Square. This big square was once a park but the site was converted to shopping. The Market Square along Moorabool Street was built in 1912 and opened in 1913. It began life as Solomon’s store. Like many public buildings in Geelong it has a cupola on each street corner of the building. Further along at 79 Malop Street is the fine CML or Colonial Mutual Life insurance building. It was built in 1923 and the fine stone and cement corner tower with its cupola has an historic clock in it dating to 1856. A clock tower was built in the middle of the 1850 square. When the square was redeveloped the clock was put into the CML tower. Further along Malop Street at 138 is the former Corio Chambers used for city lawyer offices. It was built in Queen Anne style in the 1890s and although it is on a corner with Yarra Street it does not have a cupola. Instead it has a small spire instead and three pediments in the steep angled roof. The decoration or entablature around the windows is superb. It was later known as Southern Union House as the Union Investment Company had offices here. It is still a city landmark.
In Ryrie Street a number of buildings are worthy of mention. At 137 Ryrie are the Hopetoun Chambers named after the then Governor of Victoria. Built in 1891 in classical style for businessman G.F. Belcher. Next door is Belchers Corner (with Moorabool St.) with another building that has Corinthian acanthus leaved pilasters against the walls etc. On the opposite corner is the landmark T and G Life Assurance Building with its fine Art Deco features and its six storey clock tower. When built in 1934 this would have been the tallest building in Geelong. Nearby at 161 Ryrie is the Geelong Gas Company building built in Art Deco style with bay windows, towers etc The Gas Works Co was founded in 1858 and operated until 1971 with the gas works at Geelong West. The offices in Ryrie Street were built in 1920. At 194 Ryrie is the Geelong Theatre now beautifully painted. It began theatre productions in 1913. Today it is a Village Cinema. On the next corner of Ryrie and Yarra note the Gatehouse on Ryrie Guest House. This pretty two storey red brick Art and Crafts house with some Art Nouveau decoration was erected in 1897. The plaster decoration in the gables is very Art Nouveau with a pseudo armorial shield and a French fleur de lys.
Down by the esplanade and Brougham Street the wool merchants erected their grand wool stores and offices near the port and piers. Right on the esplanade is the Sailors Rest home built in the Art Deco style in 1912 with a cupola on the corner of the building. The architect was Percy Everett and the building was originally known as the Kind Edward VII Sailors’ Rest home. It is heritage listed because it has the oldest electric advertising sign with flashing lights in Victoria which was erected in 1926. It was erected to keep sailors away from alcohol and city temptations but did it work? Just back from the Sailors’ Rest Home on the corner of Brougham Street is C. J Dennys & Co wool store. It was erected in 1872 in local basalt with cement render quoins on corners and around windows. It is now the Tourist Information Centre and the National Wool Museum. Dennys had a tallow works and tannery as well. His company included his cousin Edward Harewood Lascelles who owned another wool broking company in his own right. The opening of three woollen textile mills in Geelong in 1874 helped his wool sales greatly. Later Sidney Austin of Barwon Park estate near Geelong later joined the company too. The other wool stores in Brougham Street are the Strachan and Co stores, the Dennys Lascelles red brick wool store, Dalgety and Co, Murray Shannon and Co etc. Most have been converted to office, sales or apartment accommodation now. Also in Brougham Street is the Geelong Club surrounded by the wool stores. It was the wool pastoralists and the wool brokers who wanted a gentlemen’s’ club and Edward Lascelles, one of the city’s major wool brokers worked for the opening of the club house. His son ran Dennys Lascelles wool stores. The club was formed in 1859 but Lascelles pushed the erection of the club which occurred in 1889. The delightful Queen Anne style building still stands next to the sombre three and four storey wool stores.
The civic precinct and buildings of Geelong are especially attractive around Johnstone Park. The park was named after a mayor of Geelong Robert de Bruce Johnstone. When the town was laid out the area here was a swamp. In the 1850s it became a dam to supply water for the growing town. Mayor Johnstone in 1865 wanted a fine park and garden there for Geelong. Hence the naming of the park after him. An early bandstand was erected here but the park and gardens were beautified in 1917 when a new bandstand with a cupola was erected. Later a war memorial and war memorial gates were built in the park which were opened in 1926. One the edge of the park is the Town Hall which dates from 1855 when it faced Little Malop Street. Its grand classical style was befitting of a growing city. The rest of the original architectural plans for the Town Hall facing Gheringhap Street were completed in 1917. Just two years before that the Geelong Art Gallery was built on the edge of the park too. Behind the Art Gallery is the futuristic Dome which is now the city library. It was only completed in 2015. Although not part of the civic complex across the park is the stunning facade of the Gordon Technical College in Fenwick Street which was built in 1887. On the north western corner of the park is the Geelong railway station. The company that built the Melbourne to Geelong railway opened the service in 1856. Malop Street begins at Johnstone Park and at the eastern end of it is another garden- the Geelong Botanic Gardens. 200 acres were set aside here as a reserve in 1851 when Victoria became a separate colony from NSW. An area for a botanic garden was established in 1857 when the first garden curator Daniel Bunce was appointed. In 1859 a conservatory and a greenhouse were erected in the gardens as the plant collection from around the world was being established. In line with Victorian era trends a fernery was built in 1885 and a pond in 1886. The fernery was demolished in 1920 as gardening trends altered. The gardens were renovated in 2002 with new arid land and Australian native gardens.
Sunset from inside the premises of Chowmahalla Palace - Old Hyderabad City, Andhra Pradesh, India.
______________________________________________________________________ _______________
Copyright © learning.photography.
All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.
Thanks for your Visit, Comments, Favs and Awards !
Where Rank is specified underneath any Explored Photo, that means that is the highest Rank achieved in Explore.
No private group or multiple group invites please !
Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.
______________________________________________________________________ _______________
Chowmahalla Palace or Chowmahallat (4 Palaces), was a palace belonging to the Nizams of Hyderabad state. It was the seat of the Asaf Jahi dynasty and was the official residence of the Nizam.
In Persian, Chahar means four and in Arabic Mahalat (plural of Mahal) means palaces, hence the name Chowmahallat/four palaces, or four palaces.
All ceremonial functions including the accession of the Nizams and receptions for the Governor-General were held at this palace.
The prestigious UNESCO Asia Pacific Merit award for cultural heritage conservation was presented to Chowmahalla Palace on March 15, 2010. UNESCO representative Takahiko Makino formally handed over the plaque and certificate to Princess Esra, former wife and GPA holder of Prince Mukarram Jah Bahadur.
While Salabat Jung initiated its construction in 1750, it was completed by the period of Afzal ad-Dawlah, Asaf Jah V, the V Nizam ensured its completion between 1857 and 1869.
It is believed to be modelled on Shah of Iran's palace in Tehran.
The palace is unique for its style and elegance. Building of the palace began in the late 18th century and over the decades a synthesis of many architectural styles and influences emerged.
This palace consists of two courtyards, southern courtyard and northern courtyard. They have elegant palaces, the grand Khilwat (the Durbar Hall), fountains and gardens.
The palace originally covered 45 acres (180,000 m2), but only 14 acres (57,000 m2) remain today.
The present Nizam (Barkat Ali Khan Mukarram Jah, Pretender) and his family decided to restore the Chowmahalla Palace and open it to the public in January 2005. It took over 5 years to document and restore the palaces of the first courtyard to its former glory.
Source : en.wikipedia.org/wiki/Chowmahalla_Palace
Dates::
Taken on----------------------December 22, 2012 at 4.00pm IST
Main Exif data::
Camera----------------------Canon EOS 7D
Exposure----------------------0.001 sec (1/800)
Aperture----------------------f/16.0
Focal Length----------------------18 mm
ISO Speed----------------------100
Exposure Bias----------------------0 EV
Flash----------------------Off, Did not fire
Image Width----------------------5184
Image Height----------------------3456
X-Resolution----------------------500 dpi
Y-Resolution----------------------500 dpi
Exposure Program----------------------Program AE
Date and Time (Original)----------------------2012:12:22 16:00:46
Date and Time (Digitized)----------------------2012:12:22 16:00:46
Custom Rendered----------------------Normal
Exposure Mode----------------------Auto
White Balance----------------------Auto
Scene Capture Type----------------------Standard
Compression----------------------JPEG (old-style)
Lens----------------------EF-S18-135mm f/3.5-5.6 IS
REVISITED
View of St NIcholas Cathedral from the Black Gate, Newcastle upon Tyne, April 1958 (TWAM ref. DT,.TUR/4/976/3).
Tyne & Wear Archives presents a series of images taken by the Newcastle-based photographers Turners Ltd.
The firm had an excellent reputation and was regularly commissioned by local businesses to take photographs of their products and their premises. Turners also sometimes took aerial and street views on their own account and many of those images have survived, giving us a fascinating glimpse of life in the North East of England in the second half of the Twentieth Century.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
Photo of the inside of an abandoned house captured via Minolta MD Zoom Rokkor-X 24-50mm F/4 lens and the bracketing method of photography off of State Route 261. Columbia Plateau Region. Adams County, Washington. Late November 2017.
Exposure Time: 1/250 sec. * ISO Speed: ISO-1000 * Aperture: F/5.6 * Bracketing: +1 / -1 * Color Temperature: 4950 K * Film Plug-In: Kodak Portra 160 NC
Empty shops and business premises are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business may survive for only a limited period of time.
This collection portrays retail outlets that have been empty long-term, some for many years. In the past, all these have housed thriving businesses. Yet now, for some reason, they are empty and some are falling into a state of disrepair and dilapidation.
Each has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
A.C.B. Drapers:
The 1920s was a decade of significant growth in Fortitude Valley. The success it had attained as a commercial and industrial hub from the beginning of the twentieth century, expanded further in the 1920s. In this decade, the newly amalgamated Brisbane City Council undertook major civic work programs in the Valley. Large and small retailers extended their premises and many public and community buildings were erected. Not least of these extensive building plans were those of Albert Charles Byerley, director of the A.C.B. Ladies Drapers.
Byerley had commenced the A.C.B. Ladies Drapers on Wickham Street in the Valley on 13 October 1916 with £5000 worth of stock and 17 employees. Fortitude Valley was not short of drapers in 1916, with the well-known and long-established drapery stores of T.C. Beirne, Overell and Sons and McWhirter and Sons dominating the shopping precinct. The draperies were large, able to provide a wide variety of goods to eager customers, and with a combination of well-priced goods and attractive displays, were capable of attracting enthusiastic crowds of shoppers. Small businesses in the Valley profited from the customers drawn to the draperies, but entering into direct competition with the drapers’ firms was risky. Byerley’s gamble paid off, however, and by 1923 the A.C.B employed 600 people, with branches in Gympie, Maryborough, Bundaberg, Rockhampton, Mackay, Townsville, Toowoomba, Warwick and Pittsworth. Byerley even won bowls championships with one of the Overell managers towards the end of the 1910s. At 40 years old, Byerley declared proudly, he was the youngest drapery executive in Australia.
From the 1920s, Byerley and the A.C.B Drapers embarked on a period of tireless expansion. The A.C.B’s flagship Valley store was first run from Northcote Chambers on Wickham Street, close to the Wickham Street frontage of the massive Overell department store. In February 1920, Byerley and partner George Henry Birkbeck obtained title to 32.15 perches of land adjacent to Northcote Chambers, along with a £18,500 mortgage from former land owner Colonel Charles Plant. By April, the A.C.B. Drapers had announced its plans for large extensions to its showrooms. The company spent £38,000 to renovate its branches and promoted its new plans with a building sale. It was boasted that the new building would have the largest single street plate-glass window frontage in the Commonwealth. Plans for brick alterations to the property were approved in October 1920, to be constructed by contractor Henry Roberts. No architect was listed, although Roberts may have been responsible for the design of the building. Roberts was a speculative builder who later went on to become an architect and designed several buildings, particularly as his own investments.
The new building opened in February 1921, with a sketch included in the advertisements of the Brisbane Courier.
In July 1921, the Brisbane Municipal Council approved plans for the A.C.B Ladies’ Drapers to build a new brick building, again constructed by Henry Roberts. The first part of the new building was completed in twelve weeks and four days, ready to open in October. The A.C.B.’s business was so large that it continued its occupation of Northcote Chambers (which was owned, in part, by Henry Roberts) as well as moving into the new building. Birkbeck retired from business and the entire property was transferred to Byerley in December.
The second part of the new building was completed in August 1922, just as a fire broke out in the Northcote Chambers building and caused £15,000 worth of damage to stock, as well as to other tenants. All drapery stock was moved into the new building. Expansion continued, with new footwear sections opened in April 1923. At the same time, Byerley proposed to construct a ten-storey building on a newlypurchased site adjoining the property in Wickham Street. The building was to have bulk stores, two floors of show rooms, a mail order department, offices, three floors for manufacturing and two storeys for lunch rooms – one for employees, the other for the public. Designed by the Queensland Construction Company, it would cost the A.C.B. £50,000. Byerley entered into a mortgage with the Australian Mutual Providential Society to the value of £24,000 and a second to Colonel Plant for £10,000 (both registered on 10 April).
Work on the foundations was announced to start in May 1923, and the A.C.B again celebrated with a ‘building sale’. Progress slowed, and a concrete warehouse was finally approved on 11 March 1924. The buildings between the A.C.B building and Clark Street were cleared at the end of the year; a photograph published in the Brisbane Courier in September 1923 shows workmen from the Queensland Construction Company near the Wickham and Clark Street corner, preparing to demolish the shops.
In the interim, Byerley was expanding the A.C.B. branches to regional Queensland. New premises had been opened in Cairns, Innisfail, Charters Towers in 1924 and Atherton and South Brisbane in 1926, and each branch had been registered as a separate company.
By 1926, however, the A.C.B. had passed the peak of its commercial success. Only one floor and a basement of the ten-storey building had emerged. Two fires broke out in the Valley premises in November 1927, causing £28,115 worth of damage (including £3,298 to the building). Repairs were undertaken by the Queensland Constructional Company, which had set up its offices in the A.C.B’s buildings.
Further troubles followed. While Byerley expanded, borrowing from banks and other creditors, the financial situation of his companies began to worsen. The stock market crash and ensuing depression hit in the late 1920s and early 1930s, and by 1930 Byerley was almost certainly insolvent. Officially, however, it was not until 1932 that A.C.B. Limited crashed, with £282,276/12/5 in liabilities and over 130 creditors. In the hearings over the ensuing years, Byerley’s one-man A.C.B. drapery chain was described as a ‘bubble organisation’ which had finally burst. The company was compulsorily wound up and Byerley declared bankrupt. There were only two secured creditors in the company, both with charges over the Wickham Street property. Of AMP’s original £24,000 mortgage, £22,999/14/10 remained, while the estate of
Colonel Plant had a £6,000 charge over the property. Byerley had claimed the Wickham-street building was worth £46,150, but it was judged that the property would raise insufficient money to cover the debts of the two creditors. James Malouf, a draper, took possession of the Valley property in October 1932, with the blessing of the Australian Mutual Provident Society.
With debtors to be paid, the A.C.B property was offered for sale at auction in March 1933. The entire property was composed of two allotments, totalling just over a quarter of an acre and with a frontage (138 feet 6 inches) said to be one of the largest in the city. The sites contained two buildings: a ‘substantial brick building’ of three floors and a basement, with 69 foot and four inch frontage (now number 282). There was also a two-storey building on the site adjacent (now number 302). The properties had an advantageous location near the Brunswick Street train station, but at auction they were passed in without any bids. (Similarly, Foy and Gibson’s large premises had received only one bid at auction eight months earlier, while Stewart and Sons’ large factory in McLachlan Street was offered for sale unsuccessfully for several years.)
Malouf continued his drapery store from the premises until 1937, when the Australian Mutual Provident Society became the holder of the estate. Smith’s furniture store leased the building until 1949, when the Brisbane City Mission relocated there. The Mission purchased the property at number 282 (a site of just under thirty-two perches) in 1952. The building became known as ‘Revesby House’ after Revesby Holdings purchased it in 1985, using it for shops and offices. In 1987 it passed to Richard and Juliana Martin and was transferred to For Angels Ltd in 2003.
McWhirters Bulk Store:
The drapery firm of James McWhirter and Son Ltd was founded in 1898. Business commenced in a single shop fronting Brunswick Street, but quickly expanded to include other retail. James McWhirter senior had been employed by T.C. Beirne, another draper in Fortitude Valley, before establishing his own business. Competition between the two major retailers played out over the twentieth century, with their stores facing each other across Brunswick Street.
By the early twentieth century, McWhirters was one of the three largest Valley retailers, alongside TC Beirne and Overells. Following the disastrous 1890s floods which drove south side retailers to the north side, the Valley became the shopping hub for greater Brisbane, rivalled only by the city centre itself. McWhirters flourished as a family department store, its many customers attracted by a high quality of goods, variety of merchandise and moderate prices. The store’s shop windows, especially at Christmas, became a Fortitude Valley attraction.
The massive trade of McWhirter and Son necessitated expansion during this period. Large buildings and additions were undertaken in 1912, 1923 and 1930-31. These buildings engulfed one side of the ‘Valley Corner’, taking up most of the block fronting Wickham, Warner and Brunswick Streets. These buildings are all listed together on the State Heritage Register.
McWhirters’ development was not limited to Fortitude Valley. James McWhirter’s sharp business acumen had enabled him to expand his business to branches throughout Queensland. McWhirters worked on the principle that ‘distance shall be no bar to trade’. It had a large number of Queensland country clients and regularly sent parcels to customers in New South Wales, South Australia and New Guinea. The firm was renowned for its postal service for country customers and produced regular catalogues for mail orders. Similarly, the large city-based drapery firm of McDonnell and East’s advertised itself as the ‘Home of the Mail Order’ in 1918, while T.C. Beirne had a rural store in Mackay.
Expansion of McWhirters around the late 1910s seems to have focused on catering for this business: the firm’s garage, from which many parcels would have been delivered, was built in 1918 in nearby Ballow Street.
McWhirters had contributed greatly to the attraction of Friday night shopping in the Valley in the early 1900s. However, in 1908 a Shop Assistants’ Wages Board was established, and in the following years agitation to abolish Friday night trading and to reinstate the 48 hour week, grew. The Drapers’ Association, which included McWhirters, agreed in 1916 to cease their Friday night trading, foreshadowing the 1917 stipulation that overtime rates had to be paid for Friday night shopping, in effect abolishing Friday night shopping. To counteract the reduction in trading hours, McWhirters advertised the introduction of a suburban section of their Mail Order Department, for the convenience of customers. In reality, the loss of Friday night trading does not seem to have harmed most of the Valley firms, who were reported not to want re-establish Friday night trading, and whose takings increased after the abolition. The success of the mail order department can be seen in the 1918 purchase of the Warner Street site on which the bulk store was built.
In 1918 McWhirter and Son purchased the Warner Street site. It had been owned from 1913 by T.C. Beirne, although it was not used as part of Beirne’s retail business, but rather the location of the Elite Skating Palace.
On 25 September 1918 plans for the new brick warehouse on Warner Street were registered, though they were not approved until 20 December. The architect, Thomas Ramsay Hall of Queen St and contractor, Henry Roberts of Adelaide St, had been employed to construct the Ballow Street garage earlier in 1918. Hall was a prominent Brisbane architect from a family of prominent Brisbane architects: John Hall, his father, designed buildings for the Queensland National Bank and private residences including ‘Greylands’, ‘Langlands’ and ‘Pahroombin’, while Francis Richard Hall, his half-brother, was in practice with Robin Dods as Hall and Dods. T.R. Hall contributed significantly to the architectural design of Brisbane and Queensland, as a solo practitioner (with designs including the Castlemaine Perkins Building in Adelaide St (1918-19), McDonnell and East Limited Building (1912-1928) and the Sandgate Town Hall (1911-12)); with partner GG Prentice (most notably City Hall (1930), Our Lady of Victories Catholic Church (1924-5)); and with later partner LB Phillips (Gayndah Shire Hall (1935), Southport Bathing Pavillion (1934) and the Southport Town Hall (1935)). Hall, ‘well and popularly known in Brisbane’, also worked with Henry and D.F. Roberts on developments of McWhirters in 1914, where his ‘considerable technical resource’ was considered invaluable on the intricate remodelling scheme.
As Hall formed an architectural firm with GG Prentice in 1919, Prentice may also have contributed to the design of the McWhirters bulk store.
The McWhirters Bulk Store was completed in 1919. Four storeys high, spacious and imposing, it afforded ‘convincing evidence of the wonderful growth of that firm’s [McWhirter and Son] business.’ It was considered ‘decidedly attractive’ and appreciated for its ‘thorough modernity’. A dock on the ground floor was connected to the upper storage levels by an electric lift, with electric lighting and fire sprinklers installed throughout the building. A lunch room for the employees took up half a floor, making it large enough to be considered for dances and socials. A tower above the roof was capped with a concrete water tank. The total floor space was 46,000 square feet.
The completion of the bulk store unfortunately coincided with the death of James McWhirter, son of the founder. James junior died in Sydney in September 1919. McWhirters Limited was incorporated in the following year. James senior lived only a few years longer, dying in 1925. However the success of McWhirters continued well into the first half of the twentieth century: in 1928 McWhirters earned a record profit of ₤77,888, with more settled earnings of ₤37,072 by June 1940. In 1949 the turnover of Valley residents was estimated at ₤15 million each year, of which McWhirters, T.C. Beirne’s and Overells accounted for more than ₤5 million.
In the late 1920s, the mail order business and packing department were moved into the building. Business had grown so significantly in the 1920s that it was seen as more beneficial to relocate the department into separate and larger premises. This also had the advantage of locating the mail order department conveniently close to the Ballow Street motor garage, from which the parcels were sent. However, the building was also used for events outside its normal business: it was the location for a wireless concert and horticultural exhibit in 1925. In 1933, the bulk store was the site of distribution of free Christmas hampers donated by McWhirters to those suffering the effects of the Depression. 5,000 people arrived on Christmas morning to claim a hamper.
Architect T.R. Hall was retained for the McWhirters 1930-31 addition, with new partner G.G. Phillips. The striking building on the Wickham and Brunswick Street corner, joined the two existing buildings and was built by G.A. Stronach. This five-storey addition provided another 250,000 square feet (a little more than two hectares) of floor space at a cost of ₤130,000.
Source: Brisbane City Council Heritage Register.
Empty shops are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business may survive for only a limited period of time.
This collection portrays retail outlets that have been empty on a long-term basis. In some instances for many years. At some time, all these shops have housed thriving businesses. Yet now, for some reason, they are empty and in some instances falling into a state of disrepair and dilapidation.
Each shop has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business was last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
(further information and pictures are available by clicking on the link at the end of section and of page!)
Synagogue St. Pölten
Exterior of the former St. Pölten Synagogue
The St. Pölten Synagogue was up to the November pogroms in 1938 the main synagogue of the Jewish Community of St. Pölten. The In the years 1912 to 1913 by the architects Theodor Schreier and Viktor Postelberg built Art Nouveau synagogue is located in the Dr. Karl Renner Promenade in St. Pölten and is now the headquarters of the Institute for Jewish History in Austria.
History
The old synagogue, which was demolished in favor of the new one
The first prayer rooms of in 1863 founded Jewish Community of St. Pölten were located in the premises of the former Kattunmanufaktur (cotton manufactory), the later Gasser factory at school ring. A building of this factory was adapted between 1885 and 1890 as a synagogue. This adaptation was associated with considerable effort, which is why the members of the Jewish community already since 1888 endeavoured to get a new building, until 1903 but this was rejected by the township. At this time, a redesign of the promenade was planned, which was only possible by demolition of the in the street course standing synagogue. After lengthy preparations, a preparatory committee was elected in April 1907, which in addition to building site and plans the necessary financing should provide.
1911, a building committee was chosen and agreed with the community a real estate exchange. At the architectural competition, which was tendered in the same year, participated among others Jacob Modern, Jacob Gartner, Ignaz Reiser and Theodor Schreier. The latter was together with his partner Viktor Postelberg by the Committee commissioned another project for a temple with room for 220 men and 150 women to submitt, which was then realized. The conditions for the planning work developed Rudolf Frass. The necessary funds were raised through collections and appeals for donations throughout the country, so that could be started with the construction in June 1912. The gilding works were carried out by Ferdinand Andri. After little more than a year of construction and 141 390 crowns total investment, the synagoge on 17 August 1913 was solemnly consecrated.
Destruction
On the night of 9th to the 10th November 1938 invaded several SS and SA members the rooms of the synagogue, smashed windows and set fire. The that night caused damage was limited, as the fire could be extinguished relatively quickly. On the following morning 300 to 400 people gathered, some in civilian clothes, in front of the building. They moved with the singing of political songs in the sacred spaces and destroyed them completely. The windows were broken, Torah scrolls, Torah shrine, benches and images burned. Even water pipes and door posts were torn from the walls. The books of the extensive library were largely thrown on the road and burned. Some people climbed the dome and tore the Star of David of the roof .
Almost all of the movable property of the Jewish community was destroyed or stolen . A limited set of books were placed in the city archives, the City Museum there's still a donation box and a painting of Emperor Franz Josef, which hung in the entrance area. A single prayer book is since 1998 owned again by the Jewish Community.
In the following years the side rooms of the building of the SA were used as an office, the interior was used among other things as furniture warehouse. 1942, the synagogue became the property of the city of St. Pölten, which used it as a detention center for Russian forced laborers. In last fightings and bombings in 1945 the building was further damaged.
1945
The Red Army used the former synagogue as a grain storage until it was in 1947 returned to the city. The application of restitution was recognized in 1952 by the city council, which then returned the synagogue to the Jewish Community Vienna. In the following years, the former house of God continued to decay as after the Holocaust no Jewish community in St. Pölten could establish. The domed roof showed severe damage, individual components were threatening to collapse completely and through the boarded windows came rain and snow into the by dovecotes populated house.
In 1975, the Jewish Community Vienna (IKG - Israelitische Kultusgemeinde Wien) offered the city of St. Pölten to purchase the synagogue, which did not accept the offer due to lack of uses. Then the Jewish Community Vienna wanted to initiate the demolition, but this was prevented by the fact that the Federal Monuments Office the building put under monument protection. Then it was renovated from 1980 to 1984. Here, for example, many wall paintings were recovered, on the other hand, some structural changes were made (especially removal of water basins for the ritual washing of the hands), since it was clear from the beginning that the building would not be used as a synagogue, but as an event center.
Since 1988 in the premises of the former synagogue the Institute for Jewish History of Austria is located, further regular events are realized. The original function the synagoge never could fulfill again, as too few Jews returned after the Holocaust to St. Pölten.
On the occasion of the 100th anniversary of the synagogue the City Museum in St. Pölten 2013/14 the building dedicates its own special exhibition. In doing so there is also shown a recently found photo of the interior before the destruction. It is also pointed out that the synagogue due to lack of funding already again is abandoned to a certain decay.
The St. Pölten rabbi
Interior of the synagogue with part of the dome ceiling, in the center of the former shrine
Name Period of office
Moritz Tintner 1863-1869
Adolf Kurrein 1873-1876
Samuel Marcus 1876-1878
Adolf Hahn 1878-1882
Jacob Reiss 1882-1889
Bernhard Zimmels 1889-1891
Leopold Weinsberg 1891-1897
Adolf Schächter 1897-1934
Arnold Frankfurt 1934-1936
Manfred Papo 1936-1938
Building description
Outside
The dominant element of the synagogue is the octagonal, completed by a large dome main building, to which the eastern and western side wings are attached. Connected to the synagogue is the former school building in Lederergasse 12.
Main tract
The main tract houses the former sanctuary. The facade is divided into a low ground floor, high upper floor and the dome. At the facade facing the street can be found in the two storeys each three windows, that are executed on the ground floor as low segmental arch windows with above running continuously cordon cornice. The windows on the upper floor, however, are high, rectangular windows, the space between them is divided by pilasters. The original stained glass windows were destroyed from 1938, today, clear glass can be found in the windows. Directly under the dome there is a large segment gable with representations of the Tablets of the Law, set in floral vines. Beneath it is written in Hebrew the text of Psalm 118, verse 19.
" פתחו לי שערי צדק אבא בם אודה יה "
"Open to me the gates of righteousness: I will enter and give thanks to God".
- Inscription under the law boards.
On the short, lateral oblique walls of the main building on the ground floor there are side entrances, in the transition to the dome there are embedded large oval windows.
Side wings
To the eastern side wing, which in comparison to the western tract is designed very narrowly, connects the former school building and was once home to the shrine. At the by segment gable and barrel roof completed tract can be found on the northern front in the upper floor a tall, rectangular window of the same type as that of the main wing. At the eastern side a round window is embedded, in the ground floor begins a connecting room to the school building.
The western side wing is identical to the east in the basic form, but it is significantly wider. In addition, in front of it there are entrance buildings. Both at the road side and on the opposite side between the main wing and the western annex are wide projecting semi-circular staircases, next to it can be found till half the height of the first upper floor each a buttress with two low windows. Road side, this buttress is preceded by a walk-in porch, which on three sides is open round-arched. The with triangular gable completed building ends in a concave enclosure, where a commemorative plaque is attached today. The west facade repeats the design of the main building, it can be found on the ground floor low segmental arch windows with above running continuously, jagged cordon cornice. On the first floor the windows are, however, significantly lower than in the main wing.
Former school building
The former school building has its main facade towards Lederergasse and there has the number 12. The road-side main facade of the two-storey building is divided into four axes. The window on the ground floor are round-arched disigned, the ones on the upper floor rectangularly. Between side wing of the synagogue and the main wing of the school building there is a tower-like, curved stairwell risalit up to the attic.
Gallery
Wall lamp
Wall ornament
Wall ornament
Wall ornament
de.wikipedia.org/wiki/Synagoge_(St._P%C3%B6lten)
(further information is available by clicking on the link at the end of page!)
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
Looking along Barras Bridge, Newcastle upon Tyne, towards the Haymarket, May 1961 (TWAM ref. DT.TUR/2/26766A).
Tyne & Wear Archives presents a series of images taken by the Newcastle-based photographers Turners Ltd.
The firm had an excellent reputation and was regularly commissioned by local businesses to take photographs of their products and their premises. Turners also sometimes took aerial and street views on their own account and many of those images have survived, giving us a fascinating glimpse of life in the North East of England in the second half of the Twentieth Century.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
Bonavista, Newfoundland The Town of Bonavista has a steep and enriched economic and cultural history dating back to 1497. Learn more about our past and how it has developed us into who we are today. Proud, strong, and always hospitable...
Giovanni Caboto (John Cabot), a freelance Venetian explorer, was contracted by England’s Henry VII to find new lands, and a sea route to the Orient. Cabot set sail from Bristol, England in his ship the Matthewin 1497. When Cabot first saw land he’s reputed to have said "O Buon Vista" (“Oh, Happy Sight!”) giving rise to the name of the town and nearby Cape Bonavista. Cabot landed with "a crucifix and raised banners with the arms of the Holy Father and those of the King of England". The land was inhabited, as the expedition found a trail leading inland, a site where a fire had been, and "a stick half a yard long pierced at both ends, carved and painted with brazil". The harbour was not ideal, eventually requiring the construction of several breakwaters. Despite this Bonavista became one of the most important towns in Newfoundland due to its proximity to the rich fishing and sealing grounds to the north of the peninsula.
The Spanish, Portuguese, French and English fished off Cape Bonavista during the 16th century, but the Spanish and Portuguese presence soon declined, leaving the French and English as the dominant powers. Tension between the French and English sometimes resulted in military action, including an unsuccessful attempt in 1704 by the French to burn the town. The French Shore, which had Bonavista as its eastern terminus, was established by the Treaty of Utrecht in 1713. Fishing rights in the area continued to be a source of tension between the French and English.
Bonavista was a major commercial centre and the evidence for this is preserved at the Ryan Premises, a National Historic Site maintained by Parks Canada. It is a restored example of a large fish merchant's operation.
Bonavista’s status was further enhanced by the development of the Fisherman's Protective Union in the early 20th century, and the creation of nearby Port Union. During the peak years of 1891-1901, the Bonavista Peninsula's population of about 20,000 was centred in Bonavista. The Bonavista Cold Storage Co. fish plant, now a Fishery Products International operation, became the centre of fishery production after the decline of salt fish markets.
In 1722 the first school in Newfoundland was built in Bonavista by Rev. Henry Jones. {Wikipedia}
Brief History:
Bonavista is where modern North America began. On June 24th, 1497, and Italian explorer sailing under the British flag for King Henry VII, made landfall in the New World. "O Buona Vista," Giovani Caboto was said to exclaim after early two months at sea. Oh happy site! News of the existance of the this New Found Land - and the riches of the Grand Bank fishery - spread throughout Europe after Cabot's return journey across the Atlantic.
Caboto was an adventurer, who after failing to muster up funding in his home country, went to the King of England promising him spices from the far east in exchange for money and supplies. Under the negotiated deal, Caboto and his three sons were given permision to set sail from Bristol, the most westerly port in England to "discover and find whatsoever isles, countries, regions or provinces" lay to the west.
Although Caboto found no spice, the fishing grounds were so plentiful that the crew could dip buckets in the water and fill them with cod fish. King Henry VII was pleased enough to reward Caboto the impressive sum of 10 pounds. And so the Bonavista boom began.
English, Spanish, Portuguese and French fishermen fished off Cape Bonavista in the 1500's and though Bonavista offered poor shelter and had less than ideal anchorage, it became one of the most important towns in Newfoundland.
Other communities have laid claim to the site of Cabot's first landfall, but it is Bonavista that is identified as such on John Mason's map
(1615-21). Bonavista was also documented by the great cartographer Captain James Cook, who made his headquarters here in 1763. Cook noted Bonavista was
settled before 1660.
In 1696, the French invaded Bonavista in an attept to take the settlement but more than 300 men
were able to save it from invasion. Bonavista,
like most desirable fishing harbours, experienced the rule of the fishing admirals who often made life difficult for those who wish to settle permantly.
In the last decade of the 19th century, Bonavista was a booming town that serviced the 20,000 people living on the peninsula.
Today The Town of Bonavista is modern community with a rich history and continues to grow both economically and culturally. We welcome you to come visit our scenic community and experience the exhuberant hospitality of our wondefrful people and their culture.
GALLERY OF THE CENTRAL BOHEMIAN REGION (GASK)
The gallery is housed in the unique premises of the former Jesuit College in Kutná Hora. The Jesuit College represents an important example of Early Baroque architecture influenced by Italian construction. It was declared a national cultural monument and inscribed on the UNESCO World Heritage List.
The Czech state, and subsequently the Central Bohemian Region, decided to reconstruct this unique historical gem in order to promote culture and tourism in the region. The reconstruction proceeded in two phases. The objective was to establish an art institution where people could meet. The total cost was funded by the European Union (Regional Operational Programmes) and the Central Bohemian Region.
GASK is an institution whose collection and exhibitions are focused on the art of the 20th and 21th centuries. Temporary exhibitions are staged on two floors of three wings of the Jesuit College, and these premises also house a new permanent exhibition from the GASK collections titled “State of Mind / Beyond the Image“. GASK presents modern and contemporary art by way of exhibitions that are conceived sensitively and inspirationally. It continues on from the historical mission of the Jesuit College as a house of education by compiling its collection and exhibition programme on the basis of authentic testimonies and mediating their message in the form best understood be contemporary visitors.
But GASK is far more than just exhibitions. Visitors will be amazed by the Jesuit College‘s reconstructed premises and the beauty of its surrounding gardens. The newly furnished north wing has a loft conference hall, which is equipped with state-of-the-art audiovisual equipment. The modern fittings are a pleasant contrast to the sensitively preserved attic space. And because GASK also caters to its youngest visitors, an entire floor of the north wing is devoted to children. You can visit the brand new visual playrooms. The plethora of colors and shapes is sure to thrill children as well as their parents. Children can set their imaginations free and create their own works of art. The walls are covered with wallpaper bearing the motifs of famous paintings, which children can colour in and complete. On the floors are building blocks from which children can build their own designs or buildings. The climbing wall with the motif of a famous painting by Piet Mondrian is the proverbial icing on the cake.
And if your visit of the exhibitions or the visual playrooms tires you out, you can get some rest in the gardens of the Jesuit College. This is a zone of peace and relaxation, complete with soothing water features. The gardens are on the visitors‘ tour routes around Kutná Hora, leading them to the gallery and the neighbouring Cathedral of St Barbara. The oldest structure in the entire GASK complex is in fact located in the gardens. It is called the staff house, which has also undergone a complete reconstruction. It contains a preserved Baroque three-flight staircase and unique Renaissance rib vaults on the ground floor. Its Gothic cellars and Baroque roof trusses on the first floor have also been preserved.
If you come to Kutná Hora, make sure to visit GASK, a place of discovery, fun and relaxation.
from
"Brancepeth Castle is a castle in the village of Brancepeth in County Durham, England, some 5 miles south-west of the city of Durham. It is a Grade I listed building.
A succession of buildings has been on the site. The first was a Norman castle built by the Bulmers, which was rebuilt by the Nevilles in the late 14th century. For many years the castle was owned by the Neville family until in 1569 it was confiscated by the Crown following the family's involvement in the Rising of the North.
There have been a number of other owners since that time. In the early 17th century, the estate was granted by the Crown to Robert Carr, 1st Earl of Somerset, from whom it subsequently confiscated the castle back due to his involvement in a poisoning scandal. In 1636, three men who had bought the castle from the King's Commissioners in 1633 sold it to Ralph Cole of Newcastle. His grandson, Sir Ralph Cole, 2nd Baronet, sold the property on 9 April 1701 to Sir Henry Belaysyse, whose daughter was involved with Bobby Shafto and who was said to have inspired the famous song. In 1796 the castle was acquired by William Russell (1734-1818) of Newbottle near Sunderland, a wealthy banker and mine owner and father of Matthew Russell (1765–1822), MP for Saltash in 1818, who in the 1820s spent lavishly on the Castle's reconstruction. The present building is largely his work, to the designs of the architect John Patterson and improved in the mid-19th century by architect Anthony Salvin for William Russell, (High Sheriff of Durham in 1841). During the First World War the castle was used as a hospital by convalescents from Newcastle General Hospital. In 1939 it became the regimental headquarters for the Durham Light Infantry, who erected a military camp of over 100 huts to the south of the village during the Second World War. The Durham Light Infantry left the Castle in 1962.
The castle is now privately owned by the Dobson family. Margaret Dobson, wife of publisher Dennis Dobson, bought the castle in 1978 to store the company's stock of books when the lease on its Notting Hill premises expired. Her husband died that year before the move north, but the family moved nevertheless and Margaret Dobson did much to restore the fabric and interior of the building, including the lead roof, which had been stripped by an earlier tenant. She refurbished many of the main function rooms for use as a venue for auctions and twice-yearly craft fairs, Shakespearean plays were staged in the main courtyard, and rooms were rented to post-graduate students at Durham University and other tenants. Margaret Dobson died aged 86 on 19 October 2014, leaving four sons, three daughters and 11 grandchildren.
A stash of original French political posters from 1968 was subsequently found in the cellar of the castle by the Dobsons' son Oliver and featured in the BBC programme Inside Out North East & Cumbria in February 2019.
Brancepeth is a village and civil parish in County Durham, in England. It is situated about 8 km (5.0 mi) from Durham on the A690 road between Durham and Weardale. The population of the civil parish taken at the 2011 census was 414.
Brancepeth Castle was until 1570 the fortress of the Neville Earls of Westmorland. The castle was extensively modified and rebuilt in the 19th century by Viscount Boyne (later Baron Brancepeth). It was later a military hospital.
St Brandon's Church was famed for its exceptional 17th-century woodwork, until it was destroyed in a major fire in 1998; the church has since been restored and reroofed.
In 1924, Harry Colt laid out a golf course on the deer park which formed part of the estate surrounding the castle. A club house was created from the old coach house and stables and remains in use by Brancepeth Castle Golf Club. The 6400-yard, par 70 course is regarded as one of the finest in the north-east of England.
Remains of Brancepeth railway station in 1965
According to one story, the village's name is said to derive from "Brawn's Path". There is a legend that Brancepeth was once terrorized by an enormous brawn, which was eventually killed by a knight named Sir Roger de Ferie in 1208. A commemorative stone marks the traditional location of the brawn's death.
A more likely explanation is that it derives from "Brandon's Path", after St Brandon, the patron saint of the parish church." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
This grade II listed property in Saint Edward Street, Leek dates back to the late Eighteenth century and was originally designed for domestic use.
It was used by the Leek Embroidery Society from around the start of the twentieth century until about 1930 and was run by a lady named Clara Bill, nee Troost (originally from Saxony).
It was then sold to Annie Sutton who ran a business called the Art Needlework Depot from the premises.
The shop frontage to the right of the main entrance was added towards the end of the nineteenth century, and was latterly used by Moreton's Domestic Appliances, presumably this was created to front the Art Needlework Depot business.
Empty shops and business premises are a common sight on UK High Streets, but many vacancies are relatively short lived - the shops are soon in use again although in these difficult times, the new business only have a limited life.
This collection portrays retail outlets that have been empty long-term, some for many years. In the past, all these have housed thriving businesses. Yet now, for some reason, they are empty and some are falling into a state of disrepair and dilapidation.
Each has its own story to tell. Some are completely empty, others seem to have stopped trading suddenly and appear like the Marie-Celeste, still with stock in the windows. In many cases, we can tell easily from the faded signage what business last operated from the shop. Others are a complete mystery with faded blinds or shutters and all signs removed.
Leicestershire Fire and Rescue supported by Nottinghamshire fire and rescue at 7 pump 3 arial fire at former Nightclub premises Churchgate Gravel Street Burleys way Leicester 4th October 2022
Thanks for viewing my photos on Flickr. I can also be found on Twitter and You Tube new videos uploaded Wednesday and Sunday please subscribe to see the latest videos
Preserved Greater Manchester Standard Atlanteans 8758 and 8763 stand side by side at the NWVRT running day in June 2013.
8763 is part of the Wigan Transport Trust whereas 8758 was at this time based at the NWVRT premises at Kirkby. Both now live within yards of each other at the Wigan groups base.
View along the River Tyne towards the Tyne Bridge, June 1961 (TWAM ref. DT.TUR/2/26897B).
Tyne & Wear Archives presents a series of images taken by the Newcastle-based photographers Turners Ltd.
The firm had an excellent reputation and was regularly commissioned by local businesses to take photographs of their products and their premises. Turners also sometimes took aerial and street views on their own account and many of those images have survived, giving us a fascinating glimpse of life in the North East of England in the second half of the Twentieth Century.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
PKP Ty42-134 am 03.05.1997 auf dem Geländes des Bahnbetriebswerks Korsze.
PKP Ty42-134 w dniu 03.05.1997 r. na terenie lokomotywowni Korsze.
PKP Ty42-134 on 03.05.1997 on the premises of the Korsze railway depot.
(for further pictures and information please contact the link at the end of page!)
Schönbrunn Palace - History
Already in the 14th century was here a plot of land with buildings. The property was then called 'Katterburg', included a mill and a public house with wine and was in possession of the Klosterneuburg (small city in Lower Austria) Monastery. Over time the property was extended and by 1548 of Mayor Bayer to a manor expanded.
In 1569 the Habsburg Maximilian II purchased the property. His goal was primarily to build a zoo, which mainly consisted of indigenous poultry and wild game. After Maximilian's death in 1576 the Katterburg went into the possession of Rudolph II. In 1605, Hungarian troops destroyed the garden of Katterburg which was then only provisionally repaired. Namesake of Schönbrunn should have been Emperor Matthias, who while hunting on the premises discovered a source in 1612 which spawned crystal clear water.
The Katterburg about 1672
This fountain was so beautiful that he should give the property the future name. Emperor Ferdinand II, the successor Matthias', spent as a passionate hunter a lot of time in Schonbrunn. When he died spent his widow Eleonora Gonzaga, who was also very attached to the Jägertum (passion for hunting) a lot of time in Schönbrunn and indulged from then on a rich social life. This soon demanded a more representative environment as it was the old Katterburg, so she in 1642 had built a castle, whose name Schöbrunn in the same year for the first time was recorded in a document. At the same time she had also the garden broadened and expanded, often offering room for business meetings.
During the second Turkish siege in 1683 the grounds and Gebäulichkeiten (old buildings) were largely destroyed, whereupon the Emperor Leopold I., who acquired the plant in 1686, for his successor Joseph I wanted to have constructed a new building of the castle. For this project, the architect Johann Bernhard Fischer von Erlach was consulted, which submitted a draft in 1688 to prove his architectural skills. Then Fischer von Erlach was hired immediately and has since worked for the court and nobility. Finally, he was commissioned in 1693 by Leopold I to design a concrete blueprint for the castle. Three years later with the construction was begone, and in the spring of 1700 the central wing was completed and habitable. As a result of the Spanish war of succession arose financial gaps, which greatly slowed the progress of construction of the side wings. And when Joseph died suddenly, they were discontinued altogether. In the coming years the unfinished palace served the Wilhelmine Amalie as a widow seat.
Emperor Charles VI. bought the chateau in 1728 with the baroque garden. However, he remained there merely for pheasant hunting. Therefore, he gave the whole castle to his daughter Maria Theresa, who has since always had a heart for the Palace Schönbrunn. This meant the beginning of the first heyday of Schönbrunn Palace. End of 1742, construction work on the castle was resumed and led to the great complex as it is found today. Maria Theresa engaged the experienced architect Nikolaus Pacassi for the management of construction. 1745 the new palais chapel was opened which still completely was based on the plans of Fischer von Erlach. In the following year, already could be moved into the residential and audience spaces in the east wing. Thus, the completion went on until an extension of the castle was needed because the imperial family experienced brisk growth. Between the main floor and the upper floors a mezzanine was inserted with living spaces for the imperial children. The baroque garden was subjected to strict symmetrical order, which was particularly manifested in the application of the flower beds and paths. The beds were in large part made of boxwood and were lined with colorful stones. The plant was like a carpet with rich ornaments.
It was Maria Theresa's desire to accommodate a castle theater in the building. It found its place in the northern courtyard wing and was opened in 1747. The Empress herself namely was a talented singer, and also her children were involved artistically at New Castle Theatre appearing themselves as singers and actors. Yet shortly after 1750, Maria Theresa had to expand the castle one more time, as the imperial family had grown again. In the west wing arose another mezzanine, now leading to the outer appearance of the castle, representing a symmetry and thus the facade could finally be completed. Here ended the first renovation phase.
The second renovation phase was less object of spatial extensions, because rather were made changes to existing premises. The big and the small gallery received a vaulted ceiling with lavish stucco of Albert Bolla and huge frescoes by Gregorio Guglielmi. The result was a masterpiece of Rococo. The neighboring rooms were of a similar standard, and nowhere with rocaille, mirrors, tapestries, paintings, and other precious decorative elements was economized. From 1753 Franz Stephan in the Hietzinger area of the castle park had laid out the so-called Dutch garden, in which arose an extensive collection of exotic plants, which should serve scientific purposes.
Another phase of equipment activities began after the death of Emperor Franz I. Stephan in 1765, Maria Theresa profoundly affecting. In order to express her grief and to commemorate her late husband, she had in the eastern wing numerous rooms equipped to Memorial rooms. In doing so, to her nothing was too expensive, and so arose richly decorated rooms with precious lacquer panels, specially acquired wood panelings from distant lands, finest fabric upholstery and many other exclusivities.
One last important phase of expansion began in the 70s of the 18th century, as Empress Maria Theresa had the gardens by the court architect Johann Ferdinand Hetzendorf of Hohenberg expanded.
Under his leadership, the Gloriette, the monumental Fountain of Neptune, the Roman artificial ruin, the Obelisk, the avenues and all the places and ways with the countless statues and sculptures, mainly originating from Wilhelm Beyer emerged. The design of the whole complex was until shortly before Maria Theresa's death in 1780 under way. From 1779 on, the park was open to the public. After that, the castle stood empty except for the years 1805 and 1809, in which Napoleon Schönbrunn occupied. After the Congress of Vienna in the years 1814/15 came up renewals, which were urgently needed. The facade was given according to plans by Johann Adam a completely new face: He removed the exuberant Rococo paneling and gave the castle its present appearance.
Another golden age began for Schönbrunn when Emperor Franz Joseph I in 1848 took over the Austrian rule. Schönbrunn was in fact already in his childhood his favorite. He inhabited as Emperor the premises of the West Wing, where he remained throughout his life. Except for the audience rooms, the rooms were refurbished in Franz Joseph's living area.
With a comparatively sober and simple setup of bourgeois character they were provided, which enables to conclude on Franz Joseph's personality. Even with the marriage and the arrival of Elisabeth of Bavaria ("Sisi" or the "Sissi") and on the occasion of the later family growth extensive device-specific changes have been made, yet much remained from the time of Maria Theresa. On the occasion of the World Exhibition in Vienna in 1873 even a large part has been restored. Extensive renovations, extensions and additions to the Maria Theresa Rococo style were made mainly to the galleries and to the premises in the east wing. The Dutch garden was transformed into an English garden and in it in the years 1880-82 was built the famous Palm House, a huge building made of glass and iron. Now, the final face of Schönbrunn was created, as it is known today throughout the world.
A visit to the Keenan of Ayr premises at Coalhall in April 2014 found this Alexander Y-type bodied Leyland Leopard languishing in the undergrowth.
XMS 424Y was new as Alexander(Midland), MPE 424 in November 1982. It later passed to Strathtay Scottish as its SL46 (later 546).
Based on a Leopard PSU3G/4R chassis its bodywork originally carried 53 seats but was later upseated with 3+2 seating to carry 63 passengers.
It was removed from here in June 2015 by Dunsmore, Larkhall for scrap.
Looking up Dean Street from The Side, Newcastle upon Tyne, November 1963 (TWAM ref. DT.TUR/2/32626D).
Tyne & Wear Archives presents a series of images taken by the Newcastle-based photographers Turners Ltd.
The firm had an excellent reputation and was regularly commissioned by local businesses to take photographs of their products and their premises. Turners also sometimes took aerial and street views on their own account and many of those images have survived, giving us a fascinating glimpse of life in the North East of England in the second half of the Twentieth Century.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
As services expanded Stark's moved from Dunbar High Street to premises and a yard nearby in Countess Crescent. Seen inside the depot are AEC Reliances B920S and B102S
they surround Bristol FS6G Lodekka AA852A and in background a Leyland Tiger Cub. Note the Reliances were originally SMT/Eastern Scottish vehicles turned out in Stark's colours with S the garage code for vehicles at Dunbar and North Berwick, A the code for Edinburgh.
The scene illustrates a continuing problem for Lothian the 'new' operators to Dunbar in that SMT/Eastern Scottish could use double decks to the town as their fleet was 'lowbridge' so able to pass under the railway bridge at East Linton. This meant double decks were used on the Edinburgh service with two of the Edinburgh fleet 'outstationed' here overnight but worked by local crews, in particular at weekends when the last journeys were busy and normally duplicated as far as Haddington. In later years 75 seat buses enabled a guarantee of a seat for passengers boarding at intermediate stops such as Haddington where ironically Lothian have cut service X6 to a few journeys.
Following deregulation Lowland and First Bus sold the Dunbar depot and the site is now a supermarket - similar to what happened to the old Peebles depot.
Seen today at the premises of Caetano (near Coalville) is a trio of brand new Caetano Levante II bodied tri-axle Volvos. They were just about to set off for their new home in Chesterfield where they will operate for the Yorkshire Traction Company (Stagecoach in Yorkshire) on National Express services 560 and 465.
The change from the £1,000,000 bought the drivers a large latte each at Costa.....
Not the sort of vehicle that I would normally photograph but it was the first time I have ever collected a brand new vehicle from the "factory".
FJ59BKF Leicestershire Fire and Rescue Service Spare Scania pump
at 7 pump 3 areal fire at former Nightclub premises Church gate Gravel Street Burleys way Leicester 4th October 2022
Thanks for viewing my photos on Flickr. I can also be found on Twitter and You Tube new videos uploaded Wednesday and Sunday please subscribe to see the latest videos
This hotel, hard by Katoomba railway station, is the oldest licensed premises surviving in the township. The original sandstone building, quarried from the Crushers adjacent, was erected around 1880 and first licensed in 1881 to George W. Biles, the manager of the refreshment room at Mount Victoria railway station. The Katoomba Hotel, which does not survive on its original site, had opened a month or two earlier in 1881; the Great Western (soon renamed the Carrington) received its first licence in July 1883 and quickly transformed Katoomba from an industrial village to a holiday destination.
Biles benefited from the increased business at the new railway station, but around 1885 sold the hotel to Joseph Nimmo, who became a prominent local politician. Under Nimmo and his lessees, the name Biles’ Hotel was at first preserved, under the able licensee, David Brown, in 1886 - 1887, but the licence then lapsed for some years.
In 1910 a widow from Broken Hill bought the hotel. Mrs Emily Gearin transformed the Victorian building into its present Interwar Art Deco Style, outside and in, renaming it the Railway Hotel. The basic rebuilding was complete by 1919. The earlier stone building seems to have been completely destroyed and its site fully occupied by the new brick hotel. Even the cellar, which is lined with brick and approached by a narrow concrete stair from the public bar, owes nothing to Biles’ original 1880 building.
From 1938 until 1946 Mrs Gearin leased the hotel to a Bondi hotelier called McNiven. Under McNiven the premises became known as the Hotel Gearin and after 1946 the Gearin family resumed direct management, making further alterations to the fabric, particularly to the windows.
In the mid 1970s Theo Morris, the new owner of the Carrington, a Greek migrant entrepreneur, bought the Hotel Gearin, ending 65 years of Gearin ownership. Neither the Carrington nor the Gearin received the capital expenditure they needed, however, and after a fire in 1986, the Hotel Gearin was closed for six years. It reopened in 1992 after renovations by the new owners, Brian Monti and Jenny McLaughlin.
Source: New South Wales Heritage Register.