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Published by the Manhattan Post Card Publishing Co.
I picked up three GWB post cards at an antique mall in Ohio.
Published in Salyse Magazine's July issue!
Chay Bigger Photography
Christian Fuglsbjerg Lorentzen -Retouch
Andrea Yasmeen - MUA
Arty Nicole The StyleBully - Wardrobe
Hayley Green - Hair Stylist
Ivy Chen - Model
Chelsea Elle Breaux Elle Byrd - Model
Susan Yim - Model
Back in the spring I talked to Alberta Views at a local festival, and mentioned about my Victoria Park photos, within a couple of months they had agreed to run a photo essay, the article (with text by Gillian Steward) was published in their October 2006 issue!
I'm rather happy...
Post surf self portrait..February 21st, 2008. Lake Superior
Published in Mountain Life Magazine- Fall Issue November 2009
This photograph was published in the Illustrated Chronicle on the 13th of August 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 and have any stories and information to add 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.
Radiohead
Secret Solstice 2016
Friday, June 17th, 2016
Reykjavik, Island
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
This photograph was published in the Illustrated Chronicle on the 1st of May 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 or have any stories or information to add 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 was very proud to participate in the inside-out | be the change project in athens, greece. on friday, june 21st, 2013, a group of young people plastered some portraits that i shot, along with extraordinary photographers, around klafthmonos square. this was one action of many, in which a new generation is being the change they want to see.
more information:
athens youth being the change they wish to see
You know you have a successful hobby when your beignets photo is chosen to be published in the strip joint section of the 2013 New Orleans Meeting Planners Guide. Now, if they could only spell my name right! :)
**Beignets photo taken on my dining room table in Carrollwood Village -- Tampa, Florida / Published by Miles Partnership**
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La rock band approda a San Siro con "Because We Can - The Tour", senza Richie Sambora
Dopo essersi esibiti in oltre 2.700 concerti in più di cinquanta Paesi guadagnando il titolo di tour mondiale con il maggior incasso per ben due volte in tre anni, i Bon Jovi tornano dal vivo con una nuova tournée. Il Because We Can – The Tour fa tappa allo Stadio di San Siro il 29 giugno. La rock band presenta i brani tratti dal nuovo album What About Now, oltre a celebri hit quali Livin' on e Prayer e It's My Life.
Con il loro inconfondibile marchio di puro rock’n’roll, i Bon Jovi torneranno in tour nel 2013, con date negli stadi e arene di tutto il mondo. Il “BON JOVI Because We Can – The Tour” partirà il prossimo febbraio in Nord America, per poi proseguire in Europa, Asia, Africa, America Latina e Australia. Il ritorno in tour della band nel 2013 farà tappa in moltissime città in tutto il mondo, consacrando ancora una volta i Bon Jovi come uno dei gruppi live più importanti del globo: la band vanta infatti l’incredibile cifra di oltre 2.700 concerti in oltre 50 paesi davanti a più di 35 milioni di fan, e ha guadagnato il titolo di tour mondiale con il maggior incasso lordo per ben due volte in tre anni.
Jon Bon Jovi – lead vocals, guitar
David Bryan – keyboards, backing vocals
Tico Torres – drums
Phil X (Philip Theofilis Xenidis) – lead guitar, backing vocals
Bobby Bandiera - rhythm guitar, backing vo
Hugh McDonald – bass, backing vocals
© 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.
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In apertura al concerto di Musica Nuda, al CarroPonte l’8 settembre 2015, Luca Gemma, cantante, autore e musicista.
Ha iniziato negli anni 90 cantando e suonando nei Rossomaltese, una band folk-rock fondata con Pacifico e molto conosciuta nel circuito indipendente. Due album (Santantonio e Mosche Libere) e oltre 350 concerti all’attivo in Italia e Francia, comprese le aperture dei tour di Caetano Veloso, Tito Puente e Billy Bragg. Fino al 1998. Come autore Luca ha scritto diversi brani per cantanti italiani quali Fiorella Mannoia, Malika Ayane, Patrizia Laquidara, Bobo Rondelli, Paola Donzella e canzoni per radio (Radio3-Canzoni in batteria vol I e vol II del 2009), tv (Edmondo Berselli su Rai2 e Fabio Volo su La 7 e Mtv), cinema (Roberta Torre) e teatro.
Ha collaborato a lungo con Steve Piccolo, fondatore della band newyorkese dei Lounge Lizards, e con il dj giapponese Gak Sato ad un progetto live, Expedition, sfociato in un disco omonimo del 2004, tra canzone e musica concreta. Nel 2006 ha partecipato a Felici e Cantanti, un album di canzoni ispirate alle fiabe per bambini per Fabbri Editori/Istituto Barlumen insieme a Ludovico Einaudi, Frankie Hi Nrg, Mauro Pagani, Patrizia Laquidara, Georgeanne Kalweit e altri. Come cantante solista Luca nel 2012 ha pubblicato Supernaturale, il suo quarto album che, come i suoi tre precedenti Saluti da Venus del 2004, Tecniche di Illuminazione del 2007 e Folkadelic del 2010, mischia canzone d’autore, rock, pop, folk e soul con grande apprezzamento di critica e di pubblico. Ha suonato in giro per l’Italia, aprendo anche i tour di Blonde Redhead, Archive, Paolo Nutini e Donavon Frankenreiter, e nei festival a Manchester e Lussemburgo.
Robert Frank (1924)
San Francisco, 1956
Abzug, printed 1977
Silbergelatinepapier, Gelatin silver print
Albertina, LS
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.
Genealogy and the living members (pre WW2) of family on my father's side.
Written and published by my grandfather in 1941.
Yearly family reunions managed also by him in Budapest, Kárpátia Restaurant.
Photos of a 1940 family reunion in this book.
1941. Farkas Gedeon Könyvnyomdája, Szerencs
Bain News Service,, publisher.
Peace Parade
1914 Aug. 29 (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title and date from data provided by the Bain News Service on the negative.
Photograph shows the women's peace parade down Fifth Avenue in New York City on August 29, 1914, shortly after the start of World War I. (Source: Flickr Commons project, 2011)
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.17021
Call Number: LC-B2- 3207-11
Written by William Shakespeare, published in 1623. View all four folios at digital.lib.MiamiOH.edu/folios.
CV29 2094 C Growing your own orchids, Published by Salamander, London (1982)
ISBN 10: 0701815426, ISBN 13: 9780701815424, Rittershausen, Wilma,
This photograph was published in the Illustrated Chronicle on the 9th 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.
Published in January 1894 by The Historical Publishing Company, author J. W. Buel, this book contains 300 photographs of every aspect of the fair.
The World's Fair: Columbian Exposition (also known as the Chicago World's Fair) was a world's fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. At the core of the fair was an area that quickly became known as the White City for its buildings with white stucco siding and its streets illuminated by electric lights.
This photograph was published in the Illustrated Chronicle on the 17th of May 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 or have any stories or information to add 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 Postcard
A postcard that was published by Wildt & Kray of London NW. The card was printed in Saxony.
The card was posted in Rye using a ½d. stamp on Friday the 22nd. December 1916 to:
Miss Tremaine,
'Mountfield',
5, Upper Maze Hill,
St. Leonard's,
Sussex.
The message on the divided back of the card was as follows:
"Iden Parsonage.
Dear Dolly,
Just a card to wish you
a Jolly Xmas and a Bright
and Prosperous New Year.
Love,
Polly Hills."
Iden is a village in the Rother district of East Sussex, two miles (3.2 km) north of Rye. Iden is a Domesday Village that is listed in the Domesday Book.
Iden's 12th. century parish church is dedicated to All Saints.
The Danish West Indies
So what else happened on the day that Polly posted the card?
Well, on the 22nd. December 1916, the Government of Denmark ratified the Treaty of the Danish West Indies, which allowed the United States to purchase the Danish West Indies for $25 million.
The Desert Column
Also on that day, the Desert Column was established under the command of Field Marshal Philip Chetwode as part of the Egyptian Expeditionary Force.
The Sinking of a British Submarine
Also on the 22nd. December 1916, the Royal Navy submarine HMS E30 struck a mine and sank in the North Sea with the loss of all 30 of her crew.
The Sopwith Camel
Also on that day, British pilot Harry Hawker flew the first prototype of the Sopwith Camel, which was designed to counter the German Fokker aircraft.
The Sopwith Camel was developed as a successor to the very popular Sopwith Pup. The Camel name allegedly came from the formed metal hump that covered the fighter's synchronised twin .303 Vickers machine guns.
Fernando Corena
The 22nd. December 1916 also marked the birth in Geneva of the Swiss opera singer Fernando Corena, who was best known for his success with the Metropolitan Opera between 1954 and 1978.
Fernando died in Lugano, Switzerland, on the 26th. November 1984, four weeks short of his 68th. birthday.
This photograph was published in the Illustrated Chronicle on the 12th of January 1916.
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 and have any stories or information to add 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 Postcard
A postally unused Natural Color Postcard published by E.C. Kropp Co. of Milwaukee, Wis. The photography was by the Oregon State Highway Department, and the card was printed in the USA.
On the divided back of the card the publishers have printed a rather uninformative paragraph:
'For those who like to explore,
the Oregon Caves are just the
thing for thrills and excitement.
Lovely as the Palace of the
Mountain King, these dark
mysterious caves extend far
back into the depths of the
Earth's crust.
Trails and paths lead
unerringly to chambers of
rare and grotesque beauty'.
Oregon Caves National Monument and Preserve
Oregon Caves National Monument and Preserve is a protected area in the northern Siskiyou Mountains of southwestern Oregon in the United States. The 4,554-acre (1,843 ha) park is 20 miles (32 km) east of Cave Junction, on Oregon Route 46. The protected area, managed by the National Park Service (NPS), is in southwestern Josephine County, near the Oregon–California border.
History of the Caves
Elijah Davidson, a resident of nearby Williams, discovered the cave in 1874. Over the next two decades, private investors failed in efforts to run successful tourist ventures at the publicly owned site.
After passage of the Antiquities Act by the United States Congress, in 1909 President William Howard Taft established Oregon Caves National Monument, to be managed by the United States Forest Service (USFS).
The growing popularity of the automobile, construction of paved highways, and promotion of tourism by boosters from Grants Pass led to large increases in cave visitation during the late 1920's and thereafter.
Among the attractions at the remote monument is the Oregon Caves Château, a six-storey hotel built in a rustic style in 1934. It is a National Historic Landmark, and is part of the Oregon Caves Historic District within the monument.
In 2014, the protected area was expanded by about 4,000 acres (1,600 ha) and re-designated a National Monument and Preserve. At the same time, the segment of the creek that flows through the cave was renamed for the mythological Styx and added to the National Wild and Scenic Rivers System.
Cave Geology
Oregon Caves is a solutional cave, with passages totalling about 15,000 feet (4,600 m), formed in marble. The parent rock was originally limestone that metamorphosed to marble during the geologic processes that created the Klamath Mountains, including the Siskiyous.
Although the limestone formed about 190 million years ago, the cave itself is no older than a few million years. Valued as a tourist cave, the cavern also has scientific value; sections of the cave that are not on tour routes contain fossils of national importance.
Park Activities
The NPS, which assumed control of the monument in 1933, offers tours of the cave from mid-April until early November.
Activities at the park include cave touring, hiking, photography, and wildlife viewing. One of the park trails leads through the forest to Big Tree, which at 13 feet (4.0 m) is the widest Douglas fir in Oregon.
Lodging and food are available at The Château and in Cave Junction. Camping is available in the preserve at the Cave Creek Campground, at a local USFS campground, and private sites in the area.
Gondole veneziane - Venezia, Italia
I’m doing some revisiting on some old travel photos. These photos have been in my Flickr for about a year now, and I decided to give them a second chance. I can explain that.
Recently I’ve read on a photographer’s website that people should publish (post/upload) their best works only. The hint to achieve that was to first pick the Top 50 among them. Once this is done, then the pick the Top 40 and keep on like this until finally reaching Top 10. Then you are good to upload them.
Analyzing my photos from last year visit to Italy, I realized I had too many photos there (192 photos). So, why not choose my Top 10? Besides that, after 1 year, I’ve learned something about Lightroom, so, why not re-do some post-processing also? At first, I thought “It will be piece of cake. I can do that in a couple hours”. Well, until things started to go all wrong…
What is the problem? Choosing the photos is not an easy task. Not that the pictures are too good, but because they have lots of (good) memories in them. It’s difficult to have the criteria solely based on composition, colors, exposure and other technical stuff. I’ve tried hard to reach at least my Top 50, but couldn’t go farther than Top 60 (it was like 57 but decided to round up so it would sound better).
If someone feel like giving me some hand and say something like “Fabio, take this one from the list, it’s is not so good” I will take any suggestions.
copyright 1968 - Berkely paperback is 1st pb editiion published March 1969
Reviewed by CR
The Goblin Reservation (1968) by Clifford D. Simak (1904-88) is a jumble of science fiction and fantasy themes. Individuals are fetched from the past; grotesque aliens mingle with humans; a genetically altered saber tooth tiger purloins steaks off of restaurant tables; the hero's companions are a Neanderthal man with a thirst for moonshine and a ghost; and there is a seething dispute between the trolls and the elves over some doctored ale. Just to keep it interesting Simak add the fact that our protagonist, Peter Maxwell, had an identical duplicate the was killed just prior to his return to Earth from a mysterious "roofed-in crystal planet" and we cannot overlook the puzzling artifact found in the distant past that is causing quite a stir among the alien community. Simak, to his esteemed credit, can somehow maintain a level of credability and reader interest in this convoluted story.
Readers farmiliar with Simak's fiction will recognize these reoccurring topics woven into the text: the location is Wisconsin; comments about the beauty of the autumnal landscape abound and there some serious musing about the role of man in the Universe and the strong possibility we are part of a grand design.
A lot of the story seems like the author was just letting his imagination create stream of ideas onto the page with little forethought or editing for that matter. Nothing at all wrong with that, I say. Not, in my oppinion, one of his better novels but worthy of study by students and fans of speculative fiction. First published as a two-part serial in Galaxy Magazine April and June 1968.
published in Dawn Images
hair & makeup: Sajid
outfits: Kash Hussain
fashion editor: Madeeha Syed
photography: Fayyaz Ahmed
i was very proud to participate in the inside-out | be the change project in athens, greece. on friday, june 21st, 2013, a group of young people plastered some portraits that i shot, along with extraordinary photographers, around klafthmonos square. this was one action of many, in which a new generation is being the change they want to see.
more information:
athens youth being the change they wish to see
Talk about excited! I was stoked when Phil Massaro of Massaro Ballistic Laboratories told me he wanted me to shoot his mug for the cover if the internationally published Gun Digest magazine. But, was even more stoked when he called and said it was done and awaiting to be put on shelves. Emotional when I actually saw it, and man...it's an awesome feeling. Congrats to us. Haha!
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This photograph was published in the Illustrated Chronicle on the 29th of May 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.
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