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Along Jefferson Street, at the entrance of the Hope Gardens neighborhood, a man teeters over his bicycle and watches the cars roll past on a Sunday afternoon. He was more than happy to tell of his memories of Jefferson Street and how things have changed over the years.
1910 postmarked postcard view of a street fair in Flora, Indiana. This was a view of Center Street looking north from the southwest corner at the Columbia Street intersection. A huge crowd had gathered for the celebration.
A sign on the brick column near the left edge of the postcard identified the location of the Flora Post Office on the northwest corner of the intersection. The 1917 Sanborn™ fire insurance map set for Flora shows the post office at that location. Nearby, a performer wearing a top hat stood on a makeshift stage. A stool and a dog were on the stage as well.
A banner at the far end of the street advertises RAG-TIME SENSATION. A Ferris wheel stood next to that banner. This was north of the Main Street intersection. The sign above the entrance on that northeast corner advertised the TRUST CO. The 1917 map set shows that business at that location. Near the center of this scene were three banners. Two advertised CAPTURE OF ANGOLA GORILLA and MAN GORILLA MISSING LINK. The bottom of that latter banner announced POSITIVELY ALIVE. The lettering on the nearest of the banners is unclear.
This image was created by Thomas Keesling from a postcard courtesy of the Indiana Postal History Society.
The full postcard image can be seen here.
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Copyright 2006-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
...and reflections. Title is a song by From Autumn to Ashes.
Photo was taken on a beautiful morning at Packwood Lake in the Gifford Pinchot/Goat Rocks National Forest in Washington State.
This was a great day! I had to work 10 hours at kohls because they asked me to stay overnight and i'm so happy i did because it was awesome easy money! I got done at 6am and then went to bed at 7, woke back up @ 11:00 and sebastian called me and I said come pick me up and we'll go get some breakfast at Heckles. So we did and i got a breakfast burrito and he got a chicken bacon ranch wrap and then we split a cinnomon roll and...water and coffee....and then he dropped me off and i watched something i have no recollection of. Then he called me up at 3 and i went back over there. We had to go to his grandmas so we could get his pictures so i could fix them...and then back to his house. We found all his pokemon videos and cards so the rest of the day we sorted through them all! I swear over 500... The cartoon is so hilarious too! Then his mom bought us all pizza and breadbowls and they were delish and then we watched anchorman with RON BURGANDY ;D After that we passed out and then woke up, he ate a cereal bowl and we went downstairs and snuggled for awhile before i left at 2am. Now it's 12:14pm on Sunday and i'm really tired :( :D bai!
02 February, 2011
Black History Month 2011: Retired Judge Gordon Martin captivates Canadian audience with recollections of Mississippi voting rights trial
The Consulate invited members of the Black History Foundation of Canada and U of C’s Stop Racism! Committee to mark Black History Month with a first-hand account of the ‘Black Vote’ movement in the early 60’s. Guest speaker retired Judge Gordon Martin spoke of his experience as one of twelve “stouthearted” lawyers in Mississippi preparing one of the most influential cases in Civil Right’s history- United States vs. Theron Lynd, the first trial that resulted in giving Black Americans the right to vote. During the discussion he drew on his book, Count Them One by One: Black Mississippians Fighting for the Right to Vote (http://www.amazon.com/Count-Them-One-Mississippians-Alexander/dp/1604737891). After the presentation, participants agreed Mr. Martin’s humility and strong principle in a time of much uncertainty was truly inspiring, and were lessons not quickly to be forgotten.
c1910 postcard view of the West Baden Springs Hotel, in West Baden, Indiana. This two-story domed space is labeled "office lobby." There is a fireplace on the far wall next to the WESTERN UNION TELEGRAPH AND CABLE OFFICE. A desk or bar of some sort is at the right. This hotel opened in 1902 after a fire destroyed an older structure in 1901. It has been refurbished and reopened for business in 2007.
From a private collection.
A close-up section of this postcard image can be seen here.
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This link will take you to the Flickr page showing the full print.
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Print description
c1910 view of the Spring Lake Park interurban station. The station was located along the Old National Road (US 40 today) between Greenfield and Indianapolis. I produced this print from a photograph and added the title. The cemetery in the background in this scene is still located south of US 40 and east of Sugar Creek. Smith-Johnson Ditch ran along the south side of the road in this area toward Sugar Creek. That ditch may explain why the station is elevated between the two tracks. The photographer was standing on the south edge of the road and looking east-southeast.
The nearest sign in the shelter informed visitors to SEE THAT YOUR TICKETS ARE STAMPED AT SPRING LAKE PARK _______ THE CAR. The other sign is unclear. The privately owned park was located about half a mile south of this station. Spring Lake is a residential community today.
Trolley car number 30 was in front of the station and car number 45 was behind the station. The name GREENFIELD was printed in large letters on the side of car 45 and the name above the windows appears to include the word RAPID. It is highly likely these cars belonged to the Indianapolis & Greenfield Rapid Transit Company. That company was incorporated in 1899 and operated seven passenger and express cars and a work car on 17 miles of track east of Irvington.¹ A 1903 financial securities publication included the following information about the first phase of interurban railway consolidation between Indianapolis and Richmond.
“Indianapolis & Eastern Railway.—Incorporated under laws in 1902 as a consolidation of the Indianapolis & Greenfield Rapid Transit and the Indianapolis & Eastern Traction Co. Operates about 30 miles of track extending from Knightstown to Irvington, where it connects with the Indianapolis Street Railway, over whose tracks it operates into Indianapolis under a 31 year contract. An extension is being built to Dublin, Ind.”²
The Dublin extension became operational in 1905 and was the final interurban link between Indianapolis and Dayton, Ohio. The R. S. & I. (Richmond Street & Interurban) Railway Co. had already extended their line west to Dublin, and that 16-mile line connected with the Dayton & Western Traction Company system that operated between Richmond and Dayton, Ohio (40 miles). The following report was published in January 1905.
“The remarkable extent to which construction and connection of electric railways in central Indiana and Ohio has been accomplished is well illustrated by an article in the Street Railway Journal, recording a trip of Indiana managers of electric roads, taken recently under the auspices of the Ohio Interurban Railway Association. The tour as made by the official party in special cars, starting from Indianapolis, covered a total of 781 miles, over which the actual running time was about 27 hours, giving an average speed of 27.96 miles per hour for the entire trip.³
That trip took the group east from Indianapolis, through Dublin and Richmond to Ohio, and brought them back to Indianapolis via that same route after visiting several Ohio cities.
In 1907, the T. H. I. & E. (Terre Haute, Indianapolis & Eastern) Traction Company was formed via the consolidation of the I. & E., the R. S. & I. and several other central Indiana interurban companies. The T. H. I & E. ultimately operated one of the largest interurban systems in Indiana.
1. The Quotation Supplement of The Commercial & Financial Chronicle (New York, NY: William B. Dana Company, 1901), page 46. Available online at books.google.com/books?id=2TlOAAAAYAAJ&printsec=front....
2. Moody’s Manual of Corporation Securities (New York, NY: Moody Publishing Company, 1903), page 1041. Available online at books.google.com/books?id=J2U3AQAAMAAJ&printsec=front....
3. The Railway Age, Volume 39 (Chicago, IL: Railway Age Company, 1905), page 78. Available online at books.google.com/books?id=RINPAAAAYAAJ&printsec=front....
Copyright 2006-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
"There's a brick wall in Notting Hill near Portobello Market that I would rather look at for hours than go to Madame Tussaud's and it's totally free and full of history"
- Joe Strummer
Portobello Road, London
28th February 2011
20110228 IMG_8887
c1910 advertising postcard for Polar Ice & Fuel Co. of Indianapolis, Indiana. Five Polar Ice wagons had stopped on the Meridian Street Bridge over Fall Creek. The view was looking southeast. The man in the coat and tie may have been Henry Louis Dithmer, the company’s owner. Two boys managed to get their picture taken. They were standing on the bridge railing behind the first wagon.
The Indiana Historical Society has a brief history of the Polar Ice Co. on their website.
www.indianahistory.org/our-services/books-publications/hb...
From the collection of George Mitchell.
A close-up section of this postcard can be seen here.
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Copyright 2005-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
Marsden Hartley's New Mexico Recollection #6, an oil paint on canvas, was executed in 1922. Hartley strove to capture what he called the "solidity" of the landscape aroound Taos and Santa Fe. "The country of the Southwest is essentially a sculptural country," he wrote.
The Denver Art Museum, a private, non-profit museum, is known for its collection of American Indian art. Its impressive collection of more than 68,000 works includes pieces from around the world including modern and contemporary art, European and American painting and sculpture, and pre-Columbian and Spanish Colonial art. The museum was originally founded in 1893 as the Denver Artists Club. In 1918, it moved into galleries in the Denver City and County Building, and became the Denver Art Museum.
In 1971, the museum opened what is now known as the North Building, designed by Italian architect Gio Ponti and Denver-based James Sudler Associates. The seven-story structure, 210,000-square-foot building allowed the museum to display its collections under one roof for the first time. The Frederic C. Hamilton Building, designed by Studio Daniel Libeskind and Denver firm Davis Partnership Architects, opened on October 7, 2006 to accommodate the Denver Art Museum's growing collections and programs.
c1910 postcard view of automobiles on display in Morgantown, Indiana. The back of the postcard is stamped with the name “R. C. Karst, Morgantown, Indiana.” This was Roscoe C. Karst, a local photographer. The location was probably at the intersection of West Washington and Cross streets where the photographer was facing northwest. The buildings at the left edge of this scene aren’t easily identified, but appear to be some of the buildings shown in the 1910 Sanborn™ fire insurance map set for Morgantown. Those buildings were on the north side of Washington Street between Marion and Cross streets. The two two-story brick buildings in the center of this scene appear to be the two structures shown in the 1902 and 1910 map sets on the northwest corner at Cross Street. The building to the west (partially hidden by the trees) was identified as a dwelling in both map sets. The 1902 map set also identified a millinery business in that dwelling.
The building on the corner is now the Morgantown Town Hall. Its use wasn’t identified in the 1902 Sanborn™ map set, but the 1910 map set shows a bakery in the building. In this postcard scene, the signs on that building advertised a RESTAURANT, HOT MEALS and GROCERIES and included the name C. MITCHELL. In 1990, Morgantown submitted a form seeking nomination for National Register of Historic Preservation status. In the form, the authors mentioned that this building had, at one time or another, been a restaurant, a pool room, a grocery store and a feed store.
The purpose of this gathering on Washington Street is unclear, but the number of drivers and passengers present suggests they were preparing for a parade or a tour. Most of the automobiles have small American flags attached to fenders or windshields. One automobile has a MORGANTOWN MHS banner attached. Several automobiles have JACKSON banners hanging from the running boards. Morgantown is in Jackson Township, but the significance of those banners is not apparent.
The automobile manufacturers are identifiable in most cases. There were two Buicks in the group on the left and the automobile at the right was probably a Buick as well. The fifth vehicle from the left was an E-M-F 30 automobile, produced by a company (Everitt-Metzger-Flanders) that came into existence in 1908 via a merger of two pre-existing automobile companies with three plants in Michigan. From the beginning, E-M-F established a relationship with Studebaker Brothers Manufacturing Company in South Bend to sell the E-M-F cars through Studebaker dealerships. In 1910, Studebaker bought E-M-F and the two companies became Studebaker Corporation in early 1911.
The automobile back in the corner is unidentified, but the one on the left and two on the right are REO automobiles. Ransom Eli Olds built his first automobile in the 1880s. By 1901, he was successfully selling Oldsmobiles, initially from Detroit and later from Lansing, Michigan. The R. E. Olds Motor Car Company was organized in 1904 and the name then changed to REO.
From a private collection.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
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Copyright 2007-2017 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
30 years of photography at the NY public library
Nearly all the photographs were portraits in comparison to now I think our materialistic minds tend to capture things more often than people.
Sears TLS | Sears (Mamiya Sekor) 55mm | Kodak Gold
May 2000. Vietnam War Memorial. Heck Park. Monroe, Michigan.
1910 postmarked postcard view of a covered bridge at Fredericksburg, Indiana. This was the Fredericksburg Covered Bridge that spanned the Blue River on the old New Albany-Paoli Pike. This road ran from New Albany through Floyds Knobs and Palmyra to Fredericksburg and then on to Paoli. Highway US 150 follows the old Paoli Pike through the Fredericksburg area. According to the countyhistory.com website, the bridge was lost in 1916. It was probably located in the vicinity of the current US 150 bridge. Around 1912, The New Albany and French Lick Traction Company began planning for an interurban line to be constructed between New Albany and French Lick along the New Albany-Paoli Pike, but the line was never built.
Two women were posing at the entrance to the bridge. The message doesn’t mention who they might be. The postcard was sent from Popa in Fredericksburg to Lela D. Robertson in Cambellsburg, Indiana. The message read, “Lela this is the Fredericksburg Bridge across Blue River built for the old pike road between New Albany and Paoli.”
The bridge was a convenient place to advertise and the photographer did a nice job of creating a photograph where the advertisements are readable. The top two signs on the left side of the bridge portal advertised BATTLE AX PLUG tobacco. Identical signs had been placed on the right side of the portal as well. Two signs also advertised HAMILTON-BROWN SHOES and the name of the local business that sold them—____ & KAY, FREDERICKSBURG, IND. Below that sign was one for J. T. FULL WEIGHT PLUG TOBACCO. The bottom of that sign told users to SAVE THE TAGS. Signs for PYLE’S PEARLINE FOR EASY [WASHING?] were posted inside the bridge and on the right side of the portal. Another ad inside the bridge advertised ARM & HAMMER SODA.
The sign above the center post advertised KEMP’S BALSAM, BEST COUGH CURE. Signs on the post advertised DUTCH JAVA COFFEE and LION COFFEE.
Advertisements in the interior on the far side of the bridge included ARBUCKLES COFFEE, AHLBRAND BUGGIES (built in Seymour, Indiana) and CHEW J. T. PLUG (tobacco). On the far portal post, the advertisement with the boot and star included ST. LOUIS and ROBERTS JOHNSON_____. This was probably the Roberts, Johnson & Rand Shoe Co. of St. Louis. They sold “Star Brand” shoes and sometimes used a red star in their advertising. The lettering at the top of that sign appears to be A & J ARNOLD — FREDERICKSBURG. The bottom advertisement on that post was for SQUARE DEAL PLUG, “YOUR MONEY’S WORTH EVERY TIME.”
This photograph was taken by Penn of Salem, Indiana.
From the collection of Mary Pat Kroger.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
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The message on the back side of this postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/15650367396/
Copyright 2010-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
c1910 postcard view of Main Street in Mentone, Indiana. This view was looking west from the Morgan Street intersection. The arches held light bulbs for street lighting. The first pair of arches in the background was at the Broadway Street intersection.
A sign advertising PHOTOGRAPHS hung from the building near the left edge of this scene. The 1914 Sanborn™ fire insurance map set for Mentone shows a photography business on the second floor of that building. It stood on the east side of the alley. None of the other business signs on that side of the street is readable. However, a bell tower in the distance may have been on the town hall/fire department building located at the Tucker Street intersection.
On the north side of the street in the distance was a sign advertising the SHAFER & GOODWIN BIG DRUG STORE. This was the second business west of the alley. Both the 1907 and the 1914 map sets show a drugs and paint business at this location. The owners were Charles W. Shafer and C. E. Goodwin. Directories of druggists from 1905 and 1912 listed the Shafer & Goodwin business. However, only Shafer was listed in a 1908 directory¹ of druggists. Perhaps Goodwin wasn’t a druggist.
East of the alley, the sign advertised MOTOR INN GARAGE AND MACHINE SHOP. The 1907 map set shows a gents furnishings business and a tailor sharing that building. The 1914 map set shows a millinery shop at the alley with the east half of the building vacant. Next door, a small POST OFFICE sign advertised the location of the Mentone Post Office. That building didn’t exist in 1907 and the post office was located south of Main Street on the west side of Broadway Street (next to the Central House hotel). The 1914 map set shows the post office in this concrete block building on Main Street.
Just east of the post office, above the double wooden doors, was a GOOD YEAR sign. The 1914 map set shows a garage business at that location. The building on the right edge of the postcard apparently was built in 1888. The sign advertised a TIN SHOP. The 1914 map set shows a tin and plumbing business in the building. This building was still there as of 2009.
1. Indiana Board of Pharmacy, Ninth Annual Report (Indianapolis, IN: William B. Burford, 1908). Available online at books.google.com/books?id=afjqAAAAMAAJ&printsec=front....
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/5323989585/
Copyright 2006-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
1909 postmarked postcard view of a New York Central Railroad train at the passenger station in Wabash, Indiana. This train was headed south. The “Big Four Cut” through the rock was outside this view behind the train.
The locomotive number was 7095. The names NEW YORK CENTRAL LINES and C. C. C. C. & ST. L. (the Cleveland, Cincinnati, Chicago & St. Louis Railroad) were printed on the side of the coal tender. The first car was also identified with NEW YORK CENTRAL LINES above the windows. It was also identified as UNITED STATES MAIL RAILWAY POST OFFICE car number 117. Mail clerks processed mail in these cars while en route to their destination. A mail clerk was watching the photographer from that car.
The message was written by J. Kaiser, a railroad employee who had just been assigned to this route. The message read in part, "I have ben [sic] put back to fireing [sic] this will be my run. Watch me sweat." This sounds like he was to be the fireman for the steam locomotive.
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/5197026137/
Copyright 2008-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
I made some snippet backgrounds last month. This one uses all cuts from thesome papers I received as a prize.
Using Bo Bunny & Recollections sentiment stamp
Entered into:
BYSHC Christmas in July
byshcardmakers.blogspot.com/2023/07/christmas-in-july-202...
BYSHC FB Card a Day
www.facebook.com/media/set/?set=oa.288933073595339&ty...
SSW2 using sketch 259
sweetsketchwednesday2.blogspot.com/2023/07/july-sketches-...
Double Trouble 143
doubletroublechallenge.blogspot.com/2023/07/Challenge-143...
Thing 1 Christmas
Thing 3 Santa Hat
Thing 2 - Jingle Belles
jinglebellesrock.blogspot.com/2023/07/santas-hat.html
DL.ART July
dianamlarson.blogspot.com/2023/07/dlart-july-2023-linky-c...
Scanned from a Barnett street map. My recollection was of Dixon's selling Skoda in the 1980s, but fellow Flickr member smith.rodney74 mentioned that they used to do BL and here's an old advert confirming that.
The old building on Station Road is still there, now just a hand car wash it seems.
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
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.
'Portobello ReCollection' is the fourth commission of the Portobello Road Arts Project.
This artwork transforms the 100-metre long wall at the northern end of Portobello Road into W11's own private record collection - a giant shelf of records representing the defining songs of Notting Hill, as identified through collaboration with DJs, musicians, record labels, stall holders and local historians.
Commissioned in 1984 and originally located at the first Gateway Center Station, this mural was moved to the present Gateway Center Station when the Light Rail (commonly known as the "T") was expanded.
It is done in ceramic tile, artist Romaire Bearden.
Recollections Twenty-Five Gold Tooled Bookbindings, Tribute to Bernard C. Middleton. Exhibition at UW Libraries Special Collection on loan from Frank Buxton
c1910 postcard view of the State Bank in Rensselaer, Indiana. The bank stood on the south corner of Washington and Van Rensselaer Streets. This view is looking south across that intersection. The State Bank of Rensselaer was incorporated in 1904.
The 1909 Sanborn™ fire insurance map set for Rensselaer shows a restaurant occupied the remainder of that building’s first floor. A large RESTAURANT sign hung from the balcony on Van Rensselaer Street. There was an entrance under that sign and another on Washington Street. The signs at the entrances advertised LUNCH, SHORT ORDERS and RESTAURANT. The small sign above the door next to the restaurant entrance on Washington Street isn’t quite readable. The advertising in the windows upstairs on Van Rensselaer Street included FOLTZ and CHARLES G. SPITLER. Frank Foltz and Spitler were attorneys and partners prior to 1910. The windows also advertise REAL ESTATE & LOANS and ABSTRACTS & INSURANCE.
Next door, the awning advertised the F. G. KRESLER store. The window advertising included DRY GOODS and SHOES. THE TRUST AND SAVINGS BANK was next door. This business was originally incorporated as the Jasper Savings and Trust Company in 1906. The TAILOR sign hanging above the bank probably advertises a business that’s upstairs. At least one window upstairs from the Kresler store advertised a TAILOR business. It’s not clear if a tailoring business occupied the entire second floor. There is no readable sign on the business at the right edge of this postcard, but the 1909 Sanborn™ map set shows a pool hall at that location with an opera house upstairs.
From a private collection.
Selected closeup sections of this postcard can be seen here, from left to right in the image.
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c1906 view of the Soldiers' and Sailors' Monument and Randolph County Court House in Winchester, Indiana. This view is looking southwest and predates the erection of the wrought iron fence around the monument.
From the collection of Thomas Keesling.
Copyright 2004-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
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The following additional information has been provided courtesy of David Enyart from his “Data Base of Indiana Court Houses.”
Randolph County was formed in 1818 entirely from land ceded from Wayne County. Randolph County was then expanded northward to the Indiana/Michigan state line until finally being reduced to its present manageable size. The third courthouse was constructed in 1877 and is still in use.
Details: Castle style architecture; National Historic Place
Cost: $80,090 - No fireproof vaults or central heating plan
Architect: J.C. Johnson
Plan Accepted: 4/8/1875
Paid: 3% of construction cost
Builder: A.J. Campfield
Contracted: 6/2/1875
Paid: $73,000
Accepted: 4/1/1877
J.C. Johnson, architect of the 1877 courthouse was self-taught but later became the state architect of Ohio. Johnson designed two Indiana Courthouses, this and the present Adams County Courthouse. He was also the construction architect of the 1878 Hamilton County Courthouse also built by Campfield after Edwin May was fired as the result of a disagreement with Campfield.
Both Adams and Randolph County’s Courthouses were copied from Johnson’s Defiance, Ohio Courthouse that had a front tower. The design of both Indiana Courthouses retained reinforcement for a front tower but both were built with center towers that were not sufficiently integrated with the basic structure. This led to serious structural problems with both towers. Periodic maintenance was required on this tower and ornate roof structures that did not occur in a timely manner which led to their removal in 1955. A need for roof remodeling was recognized at least as early as 1914.
When originally constructed, the 1877 Courthouse had entrances on the sides; these were removed in the early 1900’s to make room for more office space. When the roof was removed in 1955, the second floor was converted to a second and third floor and an elevator was added.
David has compiled additional information for this and the other 91 Indiana counties. Through David's generosity, all of that information can be found at the Allen County Public Library Genealogy Center. The web address is www.genealogycenter.info/search_incourthousehistories.php.
1910 postmarked postcard view of a group of girls posing on the steps in front of the Hartford City High School. Several bicycles were leaning against the building in the background. The school was located on the northwest corner at the intersection of West Van Cleve and North High Streets. The photographer was probably standing on the east side of High Street when he took this photograph. He was facing west and looking at the east façade of the building. The 1907 Sanborn™ fire insurance map set for Hartford City shows the public school on the same property a short distance northwest of the high school.
From the collection of Thomas Keesling.
The full postcard image can be seen here.
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Copyright 2004-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
1909 postmarked postcard view of Main Street in Mount Vernon, Indiana. The photographer was on the north of the Second Street intersection and looking north-northwest. There were no vehicles in the street within two blocks, only a large number of men along the sidewalk and in the street posing for the photograph.
A few business signs were visible and readable. The vertical STORE sign at the left edge was part of the FOGAS DRUG STORE sign on the building at the northwest corner of the Second Street intersection. The 1907 Sanborn™ fire insurance map set for Mount Vernon gave the address as 201 Main Street. The FURNITURE and the STINSON BARGAIN STORE signs identified businesses that occupied the next building. A 1902 state business directory¹ listed the Alles Brothers furniture store at 205 Main Street and the Stinson Brothers dry goods store at 207 Main Street. However, the 1907 map set shows a dry goods and clothing store at 205-207 Main Street, indicating the postcard probably was based on a photograph taken prior to 1907. The sign hidden behind the Stinson sign probably advertised C. W. RHEIN & CO. This was a groceries and queensware business listed in the 1902 directory at 211 Main Street. The map set shows a grocery at that address.
Farther north, between West Second and West Third Streets, the DENTIST sign appears to be just south of the alley. According to the map set, the address at this location was 215 Main Street. However, the 1902 directory listed Ellwood Smith as a dentist in practice at 217 Main Street, an address that isn’t shown in the map set. His office may have been upstairs above the bank that the map set shows on the first floor at that location. The lots on both sides of that alley are now empty.
In the next block north, an indistinct oversize pocket watch trade sign identified a jeweler’s business. This was across from the courthouse square. The map set shows a jeweler as the second business north of Third Street (303 North Main Street) and the 1902 directory listed Ike Rosenbaum as the jeweler at that address.
Across the street, on the northeast corner at Fourth Street, the building that has a four-story section was the I. O. O. F. (Independent Order of Odd Fellows) Building (402-404 Main Street). That building is no longer there. The building on the southeast corner at Third Street was the Kahn Hotel (230-232 Main Street) when the 1907 map set was prepared. The 1902 directory listed it as Kahn’s Hotel with J. L. Kahn as the proprietor. South of the hotel, the oversize pocket watch trade sign advertised a jeweler’s business. The 1902 directory listed A. A. Graham as a jeweler at 224 Main Street, but the 1907 map set doesn’t show a jeweler in that vicinity. The map set shows a tobacco shop at 224 Main Street. Those buildings are no longer there.
Near the right edge of the postcard, above the second floor windows, was a sign advertising the E. B. SCHENK HARDWARE store. The 1902 directory listed this business at 206 Main Street and the 1907 map set shows a hardware store at 206-208 Main Street. The map set shows a barbershop next door (204 Main Street) in the building with the second-floor bay window. The barber’s pole in this scene stood on the sidewalk at that address, but the 1902 directory didn’t list this address or a barber in this block. This building with the bay windows was still standing and in use as of 2012.
The map set also shows the Mount Vernon Post Office north of Schenk Hardware at 210 Main Street, but nothing in this postcard scene confirms that.
1. Johnson’s Business and Professional Directory (Washington, D. C.: Johnson Publishing Co., 1902). Available online at archive.org/details/johnsonsbusiness190203wash.
From a private collection.
The full postcard image can be seen here.
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Copyright 2005-2015 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.