View allAll Photos Tagged Published
The centrefold of the Blues in Britain magazine, February 2015 - a picture I took of Leburn New Years Eve 2012
IMG_2015-02_BigPic_BiB-
2011-11-12 017
My photo was selected for the certificates given to new Pacific Battleship Center members.... plankowners.... between now and December 23rd ! www.pacificbattleship.com/memb10.html Starting at just 25 bucks.
(From the PBC website:) " Plank Owner Memberships
In order to reward those who demonstrate their early faith in our organization, The Pacific Battleship Center has created our Plank Owner Membership program. Plank Owner Members get special privileges, such as being invited on board the ship before the general public and having their names forever inscribed on a commemorative plaque. But that's just the beginning. The higher the donation amount, the more benefits a plank owner receives."
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Il giorno del giudizio è arrivato.
Ilaria, Lorenzo, Madh e Mario saliranno sul gigantesco palco (1.600 metri quadrati!) del Mediolanum Forum di Assago per sfidarsi in tre manche al cardiopalma, circondati da tanti fantastici ospiti. In attesa di goderci la Finale di questa edizione incredibile, ripassiamo i brani scelti dai finalisti per l'ultima manche... e che vinca il migliore!
Una Finale incredibile, con tanti ospiti sensazionali e tre manche al cardiopalma per incoronare la nuova popstar del 2014.
Alessandro Cattelan, Fedez, Mika, Morgan e Victoria vi aspettano giovedì alle 21:10 in diretta dal Mediolanum Forum per l'incredibile Finale di #XF8!
PRIMA MANCHE
Ilaria - Sere nere (con Tiziano Ferro)
Lorenzo - Sei nell'anima (con Gianna Nannini)
Madh - Moon (con Malika Ayane)
Mario - La notte (con Arisa)
SECONDA MANCHE
Ilaria - My Name
Lorenzo - The Reason Why
Madh - Sayonara
Mario - All'orizzonte
TERZA MANCHE
Ilaria - You've Got the Love (dei Florence + The Machine)
Lorenzo - Rewind (di Paolo Nutini)
Madh - Heartbreak (di Nneka)
Mario - Use Somebody (dei Kings of Leon)
Per celebrare l'incoronazione, X Factor ha deciso di invitare tanti ospiti, italiani e internazionali, che divideranno il palco del Mediolanum Forum insieme ai nostri talenti.
#XF8 è iniziato con lui e con lui doveva terminare. Dopo la sensazionale performance del primo Live Show sulle note del suo ultimo singolo, Senza scappare mai più, Tiziano Ferro torna a regalarci grande musica d'autore su un palco ancora più grande: quello di Assago!
Per la prima volta a X Factor diamo il benvenuto a una delle rocker più importanti della musica italiana: Gianna Nannini! Con alla spalle 40 anni di carriera, centinaia di live e un album, Hitalia, appena uscito, Gianna Nannini ha scelto il palco di X Factor per regalarvi la Finale più spettacolare di sempre.
Da giudice ad amica e ora ospite della Finale, anche Arisa delizierà il pubblico della sua presenza. Reduce da un tour (Se vedo te tour) per molte tappe sold out, da un film, Colpi di fulmine e da un romanzo edito Mondadori Tu eri tutto per me, Arisa torna a X Factor per portare la sua musica.
L'ultimo ospite italiano che si esibirà sul palco del Medionalum Forum per la Finale di #XF8 è una cantautrice con all'attivo 3 album, un disco multiplatino, sette dischi di platino e due dischi d'oro. Stiamo parlando di Malika Ayane, la cantautrice classe '84 che dal 2008 fa impazzire il pubblico con brani del calibro di Ricomincio da qui e Come foglie.
Ma non è finita qui, vi avevamo parlato di ospiti stranieri... Il primo che vi sveliamo è un dj e produttore di fama internazionale, con oltre 8 milioni di album venduti in tutto il mondo e vincitore di 2 Grammy Awards: David Guetta! Per la prima volta in Italia con la sua band, eseguirà live durante la Finale il singolo Dangerous, il brano certificato platino e contenuto in Listen, il suo primo album di canzoni che vede la partecipazione di artisti del calibro di Emili Sande a John Legend, SIA, Nicki Minaj, The Script, Magic!, Ryan Tedder di One Republic.
I secondi ospiti internazionali sono la “New band of the day” come li definisce il Guardian: "Ogni loro canzone si annuncia con un fiorire e molto slancio, e c'è una leggera spolverata di ritmi caraibici, sapori tropicali e salotto-jazz." Loro sono i Saint Motel, che dal 2009 a oggi sono riusciti a suonare in tutti gli Stati Uniti aprendo i concerti degli Arctic Monkeys e degli Imagine Dragons. Durante la Finale di #XF8 canteranno il loro singolo My Type, che, dopo avere conquistato l'Inghilterra è ora ai vertici delle classifiche radio e di iTunes anche in Italia.
Il diciannovenne siciliano Lorenzo Fragola batte Madh nella finalissima del talent show in onda su Sky che registra record di ascolti e di interattività.
The Postcard
A Matteson Series postcard that was published by R. Steinman, St. Paul, Minn. The card was posted in Raton, New Mexico using a one cent stamp on the 30th. October 1907. It was sent to:
Miss O. S. Higgins,
East Gray,
Maine.
The message on the divided back of the card was as follows:
"A little different
from Maine.
E. M."
Sol Tax
So what else happened on the day that the card was posted?
Not a lot, but the 30th. October 1907 did mark the birth, in Milwaukee, Wisconsin, of Sol Tax. The following obituary was published by the University of Chicago Chronicle on the 19th. January 1995:
"Professor Sol Tax
Sol Tax (Ph.D. 1935), an internationally renowned anthropologist, Professor Emeritus and former Chairman of Anthropology and former Dean of the University Extension, died on the 4th. January 1995. He was 87.
Tax organized anthropology as a global discipline, and helped establish the field of action anthropology, an approach in which researchers work to help solve social problems. He also was a specialist on Native American cultures.
In 1957, he founded Current Anthropology, an international journal that publishes research and commentary. He was editor of the journal from 1957 to 1974.
George Stocking, the Stein-Freiler Distinguished Service Professor in Anthropology has said:
"More than any other single person, Sol Tax
was the facilitator and organizer of anthropology
as an international discipline.
He used Current Anthropology as a means of
providing communication worldwide on important
issues in anthropology.
Particularly in developing countries and in the
former Soviet Union in the 1960's and 1970's,
Sol Tax was the name people associated with
anthropology."
Throughout his career, Tax was a leader in bringing people together to discuss social and anthropological issues. In 1961, he was coordinator of the American Indian Chicago Conference, which brought 700 Native Americans from more than 80 tribal groups to the University in order to prepare a "Declaration of Indian Purpose."
The declaration sought for the first time to present a unified Native American position on the relation of native people to the federal government.
In 1968, Sol organized a conference on the military draft that brought together military leaders and political figures. The conference led to the publication the same year of Tax's book The Draft: A Handbook of Facts and Alternatives.
In 1973, Sol organized the Ninth International Congress of Anthropological and Ethnological Sciences, "One Species, Many Cultures," which was held in Chicago.
More than 1,000 papers were presented at 85 conference sessions. The conference was attended by 4,000 scholars from more than 100 countries.
Tax's main area of specialization was the social anthropology of North and Middle American Indians. As a researcher in that area, he established the approach known as action anthropology.
Tax said in a paper that he delivered at a meeting of the American Anthropological Association in 1950:
"By definition, action anthropology is an
activity in which an anthropologist has
two coordinate goals, to neither one of
which he will delegate an inferior position.
He wants to help a group of people to
solve a problem, and he wants to learn
something in the process."
Tax received his Ph.B. in 1931 from the University of Wisconsin and his Ph.D. in 1935 from Chicago. He was an ethnologist for the Carnegie Institution from 1934 to 1946.
Sol also served for much of his career, from 1938 to 1962, as director of the Fox Indian Project in Tama, Iowa.
Tax joined the University of Chicago faculty as Research Associate in 1940. He was named Professor in 1948.
From 1963 to 1968, he served as Dean of the University Extension. As dean, he oversaw the off-campus education programs of the University, and also organized conferences, including one held in 1965 on the theme "The Origins of Man."
The research presented at that conference added new insights to work that had been presented at a conference that Tax had organized and chaired in 1959 -- the Darwin Centennial Celebration held at the University.
In addition to being on the faculty at Chicago, Tax served as director of the Smithsonian Institution's Center for the Study of Man. He also served on the U.S. National Commission for UNESCO, and on President Johnson's special task force on American Indian Affairs.
Sol was a consultant for the U.S. Office of Education, the U.S. Bureau of Indian Affairs, the National Institute of Mental Health, and the Smithsonian Institution.
Tax was widely honored for his work. In 1962, he received the Viking Fund Medal and Award from the Wenner-Gren Foundation for Anthropological Research for his outstanding achievements.
He was an honorary member of the Royal Anthropological Institute of Great Britain and Ireland, the Chilean Anthropological Society, and the Czechoslovakian Anthropological Society.
From 1958 to 1959, he was president of the American Anthropological Association."
The Death and Legacy of Sol Tax
Sol Tax died of a heart attack following a short illness on the 4th. January 1995, at his home in Chicago.
Sol was laid to rest at the Spring Hill Cemetery and Mausoleum, Milwaukee, Wisconsin.
Tax was survived by his wife, Gertrude Katz Tax; daughters Susan Freeman of Chicago, and Marianna Choldin of Champaign, Ill.; and three grandchildren.
Sol's published works include:
-- "Penny Capitalism: A Guatemalan Indian Economy" (1953).
-- "Evolution After Darwin," co-author and editor (1960).
-- "Horizons of Anthropology" (1963).
-- "The People vs. The System: A Dialogue in Urban Conflict" (1968).
-- "The Draft: A Handbook of Facts and Alternatives," co-author and editor (1968).
The Postcard
A postcard that was printed and published by Photo Precision of St. Albans. The image is a glossy real photograph. Note the ad for HP Sauce on the far left.
The card was posted in Christchurch, Hants using a 2d. stamp on Wednesday the 31st. July 1957 to:
Miss H. Douglas,
4, Townsend,
Woodford Halse,
Nr. Rugby.
The message on the divided back of the card was as follows:
"31/7/57.
Quite happy in our
caravan and the weather
is wonderful.
We visited Weymouth
yesterday - but glad to
get back to quieter
Mudeford.
Jack, Ena & Simon."
Weymouth is 44 miles by road from Mudeford.
Weymouth
Weymouth is a seaside town in Dorset, England, situated on a sheltered bay at the mouth of the River Wey on the English Channel coast. The town is 11 kilometres (7 mi) south of Dorchester and 8 kilometres (5 mi) north of the Isle of Portland. The town's population in 2011 was 52,300.
Weymouth is a tourist resort, and its economy depends on its harbour and visitor attractions; the town is a gateway situated halfway along the Jurassic Coast, a World Heritage Site on the Dorset and east Devon coast, important for its geology and landforms.
Weymouth Harbour has provided a berth for cross-channel ferries, and is home to pleasure boats and private yachts, and nearby Portland Harbour is home to the Weymouth and Portland National Sailing Academy, where the sailing events of the 2012 Olympic Games and Paralympic Games were held.
The history of the borough stretches back to the 12th century; including involvement in the spread of the Black Death, the settlement of the Americas, the development of Georgian architecture, and a major departure point for the Normandy Landings.
The Army Game
So what else happened on the day that Jack, Ena and Simon posted the card?
Well, on the 31st. July 1957 the fourth-ever episode of The Army Game sitcom, entitled "Open Day," was screened on British television.
The Army Game was aired on ITV from the 19th. June 1957 to the 20th. June 1961. It was the very first ITV sitcom, and was made by Granada.
It follows the exploits of Hut 29, a dysfunctional group of soldiers and their National Service conscription into the British Army during the post war years.
The original cast consisted of William Hartnell, Michael Medwin, Geoffrey Sumner, Alfie Bass, Charles Hawtrey, Bernard Bresslaw and Norman Rossington.
The cast changed over the years, with actors such as Bill Fraser, Ted Lune, Frank Williams, Harry Fowler and Dick Emery appearing in subsequent series.
The popularity of the series inspired a film spin-off, I Only Arsked! (1958), and a top ten hit. It also produced the successful sitcom Tootsie and Nudge, starring the popular characters played by Bass and Fraser.
Background to The Army Game
The creator, Sid Colin, was inspired by a 1956 film, Private's Progress, that starred Ian Carmichael, Richard Attenborough and Terry-Thomas. William Hartnell had a supporting role similar to that of Sergeant-Major Bullimore in The Army Game.
Plot and Characters
The show centres on a group of conscripts assigned to the Surplus Ordnance Department at Nether Hopping, Staffordshire. Billeted in Hut 29, the men are determined to work little and have fun. Each episode lasted 30 minutes.
Geoffrey Sumner played Major 'Piggy' Upshot-Bagley, the commanding officer, with William Hartnell as Company Sergeant Major (CSM) Percy Bullimore, the bane of Hut 29's army life.
Michael Medwin was the spiv-like Corporal Springer in charge of Hut 29, with the original conscripts consisting of Bernard Bresslaw's IQ deficient Private Popplewell, Alfie Bass's Private 'Excused Boots' Bisley, Charles Hawtrey's Private 'Professor' Hatchett, and Norman Rossington's Private 'Cupcake' Cook.
Arguably the break-out character of the series was Bresslaw's Popplewell, who would go on to be the lead of the film version, I Only Arsked! (1958), which used his catch-phrase as its title.
On the back of the series Bresslaw became a star of the late fifties, and would also use the Popplewell characteristics for other roles of the period, such as the 1959 films Too Many Crooks and The Ugly Duckling.
After Bresslaw left, Bass and Fraser's Bootsie and Snudge would become the most popular characters, and would get their own spin-off series, Bootsie and Snudge, after The Army Game finished.
Other Media
A film based on the series, I Only Arsked!, appeared in 1958, made by Hammer Film Productions. The plot concentrated on Bernard Bresslaw's character and included Michael Medwin, Alfie Bass, Geoffrey Sumner, Charles Hawtrey and Norman Rossington playing their characters.
A record was released sung by Michael Medwin, Bernard Bresslaw, Alfie Bass and Leslie Fyson. In June 1958, it reached number five in the UK Singles Chart. Bresslaw's song "Mad Passionate Love", sung in the style of Private Popplewell, also did well in the charts.
A paperback was produced, and Granada brought out a board game in 1959.
Alfie Bass and Bill Fraser's characters turned up in a spin-off, Bootsie and Snudge, between 1960 and 1963 and in 1974. Bootsie and Snudge also appeared in the 1964 sitcom Foreign Affairs.
The year after the series debuted saw the first Carry On film, the very similar Carry on Sergeant (1958), which also featured Hartnell, Hawtrey and Rossington.
Royal Variety Performance
In June 1959, Michael Medwin, Alfie Bass, Norman Rossington, Bill Fraser and Ted Lune performed a short The Army Game scene at the Royal Variety Performance in front of Queen Elizabeth the Queen Mother.
This was the last Royal Variety Performance not to be televised, although highlights were broadcast on BBC radio on the 29th. June 1959.
DVD releases
Of the 154 episodes of The Army Game that were made, 52 are thought to have survived. On the 6th. June 2005, Network released the first 26 episodes from series 3 on DVD under the title The Army Game – Volume 1.
On the 14th. August 2006, the remaining twenty-four episodes (including three surviving episodes from the first series) were released under the title The Army Game – Volume 2. An episode of Bootsie and Snudge was included.
The Army Game Collection, containing every surviving episode, was released on 13 August 2008.
Elvis Presley
Also on the 31st. July 1957, the Number One chart hit record in the UK was 'All Shook Up' by Elvis Presley.
Published by Walker Books in 1987.
Dudley is a sleepy dormouse who lives in an old hollow tree. In this adventure story he discovers that making plum jam is an extremely sticky business.
Published by 'Books for Children' in 1979.
This is not the edition I had - mine was a paperback published in 1973 I think. I haven't managed to get a copy yet... so this will do for now.
I have uploaded my favourite pictures, ones I used to look at for ages.
My photo of a Davidson's plum tree in the latest issue (No. 131) of Wild magazine.
Thanks to Ang for inspiring me to use a 50mm lens.
© A-Lister Photography. All rights reserved.
DO NOT BLOG, TWEET, TUMBLR, FACEBOOOK or redistribute my photographs in any form, in any media without my written permission.
Please use the Getty Images “Request to License” link found in “Additional Info”.
Published - VOGUE italia, photographed by Vital Agibalow ( face of HENSEL USA )MakeUp & Hair by Kate Romanoff Model - Tori Maisey
The Postcard
A postally unused postcard published prior to 1918 by B.B. of London. The photography was by Hutchinson & Svendsen. The image is a glossy real photograph, and the card has a divided back.
Miss Phyllis Dare
Phyllis Dare (15th. August 1890 – 27th. April 1975) was an English singer and actress, famous for her performances in Edwardian musical comedy and other musical theatre in the first half of the 20th century.
The Early Years
Born Phyllis Constance Haddie Dones in Chelsea, London, Dare first performed on stage at the age of nine, in the Christmas pantomime 'Babes in the Wood' (1899).
Later that year, she appeared as Little Christina in 'Ib and Little Christina'. She soon played Mab in the Seymour Hicks musical 'Bluebell in Fairyland', and at the age of 15, she took over the starring role of Angela in 'The Catch of the Season'.
In 1909, Dare created the role of Eileen Cavanagh in the hit musical 'The Arcadians', where she met the producer George Edwardes. This started a long association between the two, who collaborated on productions including 'The Girl in the Train', 'Peggy' and 'The Quaker Girl'.
In 1912, she starred in 'The Sunshine Girl'. In 1913 she joined the cast of 'The Dancing Mistress' as Nancy Joyce at the Adelphi Theatre, and continued to star in successful productions throughout the 1920's, including in the role of Mariana in 'The Lady of the Rose' (1922).
The Later Years
During her later career, she turned to straight plays, some of which included 'Aren't We All' in 1929, 'Words and Music' in 1932, and 'The Fugitives' in 1936.
Phyllis appeared occasionally in films, starring in 'The Argentine Tango and Other Dances' in 1913, 'Dr. Wake's Patient' in 1916, 'Crime on the Hill' in 1933 and 'Debt of Honour' in 1936.
In the 1940's she appeared in a tour of 'Full House', and was later cast in 'Other People's Houses'.
In 1949, Phyllis Dare opened as Marta the mistress in Ivor Novello's musical, 'King's Rhapsody'. The show ran for two years, and was Dare's last theatrical endeavour. She retired to Brighton in 1951, and died at the age of 84.
Published May 4th 2013
- As part of 'Courageous Mayhem'
A graphic comic compendium that showcased several comic artists and their stories. Edited by Gar Shanley.
(Prints available)
(Original size A3 - In ink on paper and post production colour created on computer.)
My original Inked A3 Cartoon pages could be Art Exhibited interestingly with the colouring overlaid in Acetate sheets.
****************************************************************************
The comic story is an expression of characters heroic personal revolt against austerity and urban imprisonment, it echoes the story of Alexander the Great who is also seen as a Don Quixote. Escaping capitalist mono rationalism Alexander discovers nature is still there alive and full of wonder!
Confronting Darius the local Scrapyard King of Ireland he abducts his daughter a young traveller woman to be his bride Roxanne! Together on the road they joust with the pursuing police and farmers tractors (Quixote's windmills) and Alexander even promises to lead all the animals in a grand revolt!
Until suddenly time and space fall away and the Poet of our Cosmos, interested, arrives to talk with them….
Alexander's search for something lost now ends up on life's cliff and limit where his escape can go no further. But as our hero's mask falls away and now completely naked he discovers he is loved by Roxanne, at last they make love and riding together upon Alexander's loyal bicycle stead Buce Phalus, returning them back to the city to bring their discoveries of love, empathy and a revolution in human values home!
Published as shot i.e. no post-processing.
View even larger: farm3.static.flickr.com/2129/2264736732_887b96131a_o.jpg
This photo appeared in the Honolulu Star-Bulletin on October 4, 2007.
My byline follows...
BILL ADAMS | MOMENTSNOW.COM
Haku Ho`opai, adorned with the `ie`ie. Sig Zane Designs, Hehi`ulu
Dress, 2008 Wailani Collection.
Not every day i get the Opportunity to have my work seen in a magazine all over the world.
I was contacted last week by the editor of the ROSL a Magazine to ask if they could use my picture ...well you know me by now Sure...Yip Grrrrreat NO Problem.
The issue goes all over the world to all Commonwealth countries.and is dislplayed in overseas house in London and in Edinburgh.
I was as you would say jumping for joy when i seen this today my picture in the big picture and another wee bit of me and The photo "The Belfast Child"around the world
Info about Rosl-The Royal Over-Seas League ,Patron HM The Queen Vice Patron HRH Princess Alexandra Brief history of the Royal Over-Seas League
The Royal Over-Seas League is a unique institution. It is the practical embodiment of an idea conceived by a young man John Evelyn Wrench who saw what was then the British Empire not merely as a political and economic structure but as a 'far flung brotherhood of individual men and women of diverse creeds and races living under
differing conditions in different latitudes'. He sought to encourage friendship and understanding between them.
Founded in 1910 as the Over-Seas Club, it was granted a Royal Charter of Incorporation in 1922. To mark its Golden Jubilee in 1960, Her Majesty the Queen granted the title 'Royal'.
View large
Big Ant TV Media LLC ©
Published Pro Freelance Photographer
PAID SHOOTS ARE 1st PRIORITY
(PORTFOLIO BUILDING” SHOOTS ARE 2ND)
“PLEASE INQUIRE WITHIN”
#fffweek #sbfw #nyfw #stylefw
#fashionphotographer
#canon5DMarkIV
#UrbanModeling
#plussizemodeling
#sportsphotographers
#BigAntTVMedia #editorialphotographers
#NYCPhotographers #BiggsthePhotographer
#lens4fashion #biganttvproductions #m76photo
Published in 1967 for the princely sum of two rupees. The original is of polyconic projection to the scale of 1 inch to 15.78 miles.
This photograph was published in the Illustrated Chronicle on the 20th of July 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
In apertura ai concerti di Dropkick Murphys, e Frank Turner & the Sleeping Souls.
Formatisi nel 1912, quando Robert the Bard era poco piu' di un sedicenne, i Dirty Bastards vagabondarono lungo un secolo per tutto il globo, suonando nelle strade, nei pub, nelle folk session e nelle peggiori bettole. Dalle Orkney fino a Dover per poi sbarcare da Holyhead a Dublino e attraversare tutta l’Irlanda, e giù ancora fino alla Trinacria e a risalire verso l’Insubria, dove sopravvivono ancor oggi, pur non senza difficoltà. Nel corso di un secolo di musica i Dirty Bastards hanno evoluto il proprio sound, inserendo strumenti ed un'attitudine rock, ma senza per questo scordare le proprie radici folk e la propria irresponsabile vocazione alcolica...
Ok, questa è la versione romantica della storia. Volete quella vera? Il progetto Dirty Bastards nasce il 28 giugno 2007 con l'intenzione di mettere in piedi uno show unico e rendere omaggio ad un caro amico scomparso, riunendo musicisti veterani dell’area tra Varese e Milano, in un concerto bislacco in cui si andavano ad unire le passioni comuni per la musica rock & heavy ed il folk irlandese, tra chitarre elettriche, mandolini, banjo e molto altro ancora. Da quello che sarebbe dovuto essere un unico concerto, trascinati dall’entusiasmo del pubblico e dalla passione per la musica, è nata un’avventura che si è deciso di portare avanti, con l’intento di riproporre un repertorio musicale ed artistico destinato altrimenti a scomparire e unendo l’energia vibrante di un concerto rock all’approccio genuino di una pub session d’altri tempi.
Weedo Domingo: vocals, acoustic guitar, bodhrán
Lorenzo Testa: tenor banjo, mandolin, vocals, spoons
Silvano "Piz" Ancellotti: electric & acoustic guitar, coarse vocals
Uncle Bard: bass guitar, lamenting vocals
Luca Crespi: tin whistle, uilleann pipes, Irish flute
Michela Paganini: fiddle, vocals
Francesco Fabris: drums & percussions
Occasionally on stage with us
Ul Marco Ruggeri: mandolin
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
published in Buzz
Photographer: Fayyaz Ahmed
Model: Iffy Zafar
Hair & Makeup: Asma Zuberi @Depilex
Label: Arsalan & Yahseer
This photograph was published in the Illustrated Chronicle on the 25th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
The Columbus Metro Parks has included one of my photos (golden spider web at sunrise, take at Three Creeks Metro Park) in their Autumn edition of the Parkscope. Doing me cute happy dance : )
Marina And The Diamonds
Friday, June 5th, 2015
Bowery Presents
Webster Hall, NYC
© 2015 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Estilismo: Paulo Mendez
Makeup: Marcelo Celis, Coni Montenegro.
Modelos: Danae Barla y Joanna Ferrari.
Pelo: Cristopher Maldonado, Romina silva, Felipe Cardenas.
Foto: Pedro Quintana.
Asist. foto. Caro Albornoz, Mathias Sielfeld.
This photograph was published in the Illustrated Chronicle on the 10th of November 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
I'm published! This little picture will grace the cover of Volume 8, No. 4 of the journal Souls . How cool is that?
This boy was selling papers from the Farrakhan organization.