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c1910 postcard view of life savers practice diving into the harbor at Michigan City, Indiana. This scene was next to the U. S. Life Saving Station and looking north along the east pier. The lighthouses on the east and west piers are visible in the distance.
From a private collection.
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.
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.
FULL CIRCLE
For my entry into the Lulubell Toys (Re)collections show, I created a triptych recreating my first experiment from 1979 where I attempted to make a mold of a Greedo figure out of a bar of soap and cast it in green crayon. I contrasted that experiment by displaying the molds and figure of my Green Man Syndrome release. A bootleg Greedo figure I made over thirty years after that first try as a child.
The show is Saturday, June 5th
from 6-9PM
Lulubell Toy Bodega
439 N. 6th Avenue, Suite 187
Tucson, AZ 85705
Portobello Road, across from the Spanish School. This large mural, called "Portobello ReCollection," by artist Natasha Mason and photographer Teresa Crawley, is made up of replicas of albums that have a connection to the local area of Notting Hill/Ladbroke Grove.
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She chokes back the tears that form in eyes, as recollections materialize and she thinks of how her life might have turned out. A road she walks alone these days, progress halted by the maze of twisting avenues that scream and shout.
Memories tease and haunt her so, she wants to stay but has to go, her world has not turned out the way she planned.
And she can run and she can hide from all the fear she holds inside, but she'll never lose the truth within her soul. She believes in right and wrong, of the melodies and songs that remind her of her youth and all her goals.
She counts the lovers in her past, resurrecting dreams that didn't last and she wipes the water pooling in her eyes. At which point did the world fall down, now her smile has turned into a frown, did the darkness of reality surprise?
Memories tease and haunt her so, so little learned so much to know, and now regret it cuts her like a knife.
Well she can run and she can hide from all the pain she feels inside, but she'll never lose the love within her heart. She believes in right from wrong, of those melodies and songs that remind her of a fresh start.
And in the mirror she's reminded.......
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Written on July 27th 2011
Photograph taken at 11:25am on July 21st 2011 in Bewl Water, off Bewlbridge Lane in Tunbridge Wells, Kent, England.
Nikon D700 82mm 1/200s f/4.5 iso560
Nikkor AF 75-300mm f/4.5-5.6. UV filter. Nikon GP1
LATITUDE: N 51d 4m 38.92s
LONGITUDE: E 0d 23m 27.46s
ALTITUDE: 87m
c1915 postcard view of the Monon Railroad Depot at Cedar Lake, Indiana. I believe this view was looking east. Many cars were parked on this side of the tracks and a large crowd had gathered at the depot. Several boats were on the lake.
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/7017543995/in...
c1910 postcard view of trolley cars and passengers at Warren, Indiana. This was the Marion, Bluffton and Eastern (M. B. & E.) interurban station. The advertising is for cigars, ice cream and soft drinks. The placards on the front of the two cars are announcing an event for [Hon?] John W. Kern. Kern had been an Indiana state senator at one time and was a vice presidential candidate on the Williams Jennings Bryan ticket in 1908. He was elected to the U. S. Senate in 1910.
From a private collection.
The full postcard image can be seen here.
apx 6" x 9"
Recollections and Recipes - Fort Leavenworth Museum Cookbook - by Army Wives, Musettes.
1971
c1910 postcard view of Main Street in Kewanna, Indiana. This scene shows the aftermath of an ice storm. All utility poles had fallen and everything was still ice-covered. This view was looking east-southeast from the intersection of Main and Toner Streets.
The three-story building at the far end of the block was the Toner Hotel. Both the 1899 and the 1920 Sanborn™ fire insurance map sets show a barber shop next to the hotel, but there isn’t any indication of that in this photo. The 1899 map set shows a bakery and grocery in the middle of the block where the BAKERY sign was in this scene. The 1920 map set shows a clothing store at that location. Next door were signs for STUDEBAKER, DEERE and KEEN KUTTER products. The 1899 map set shows a tin shop and hardware store at this location while the 1920 map set shows a bank. The KEWANNA POST OFFICE sign matches the location of the post office shown in both map sets. The window next door to the post office advertised TROUTMAN MEAT MARKET. The 1899 map set shows a meat business at this location, but the 1920 map set shows a plumbing business. The name HOWELL’S was painted above the next store entrance to the west. Both map sets show a dry goods store at this location. An apothecary trade sign stood above the sidewalk at the corner, but nothing indicated the owner’s name. Both map sets show a drugstore at this location.
Kewanna’s first post office opened in 1847.
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.
www.flickr.com/photos/hoosier_recollections/5341458505/
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.
By: Jim McCormick
Year: 1977
Medium: Lithography
Dimensions: 18x14
Collection: Lakeside Studio Collection
Object ID: L018
Pittsburgh Recollections was designed by Romare Bearden and was installed in the original Gateway Center subway station in 1984.
When construction began on extending the line in 2009, Gateway Center Station was closed. The mural was disassembled piece-by-piece and re-installed in the new station. It was an expensive project, but at the time the mural was valued at $15 million.
BOX DATE: 2004
MANUFACTURER: Mattel
DOLLS IN LINE: Quilla & Questina pack; Omma & Organza pack
MISSING ITEMS: Flower, headband
PERSONAL FUN FACT: I'm not sure when I got this skirt. I have a faint recollection of identifying it, but I forgot to document it for Flickr until I was reshooting guide photos. Anyways, this looks a lot like a mini version of Elina's skirt. These mini fairies are hard to distinguish name wise. They aren't specified on the packaging, so people just assume the names correspond with the order of the dolls in the box. So maybe this is Quilla's ensemble, not Questina's.
Last November 26, 2016 the Junior High School students had their recollection activity. The purpose of a recollection activity is to refresh and revitalize the mind and soul of the students for them to be once again in tune and further deepen with their relationship with God. This is achieved through relatable lectures and thought provoking activities that help the students reflect and contemplate on how they are making and breaking the teachings of Jesus in their lives and how they can bring that love back to their families. The activity ends with a confession and a thanks giving mass.
Last November 26, 2016 the Junior High School students had their recollection activity. The purpose of a recollection activity is to refresh and revitalize the mind and soul of the students for them to be once again in tune and further deepen with their relationship with God. This is achieved through relatable lectures and thought provoking activities that help the students reflect and contemplate on how they are making and breaking the teachings of Jesus in their lives and how they can bring that love back to their families. The activity ends with a confession and a thanks giving mass.
There used to be a castle here. Today only the stone walls remain. I remember walking with my mother as a child. I often visit here with my camera. Taken with iPhone4S.
c1910 postcard showing multiple views of Coatesville, Indiana. The views include a residential street scene, the interurban station, a downtown street scene, the school, the M. E. Church and another unidentified church.
From a private collection.
Copyright 2009-2013 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.
1907 postmarked postcard view of Garrett Indiana. The photographer was probably at the Baltimore & Ohio Railroad Shops when he took this photograph. He was looking southeast across the downtown area.
A review of the 1901 Sanborn™ fire insurance map set for Garrett shows five clear landmarks in this scene. The first was a few blocks away. It was the German Lutheran Church on the southeast corner of Keyser and Walsh Streets. The second was the public school on the northeast corner of Houston and Lee Streets. The third was the Ross Hotel on the southeast corner of Keyser and Randolph Streets. The sign on the front of the hotel advertised the ROSS HOUSE. The fourth was the Baptist Church on the southwest corner of Keyser and Cowen Streets. The fifth is at the left edge of the postcard. It was the Sargent House on the southwest corner of Quincy and Peters Streets. A barely readable sign advertised the SARGENT HOUSE on the Quincy Street side of the building below the third-floor windows. The Garrett City Mills & Elevator business was across Peters Street east of the Sargent House. Their building is visible at the left edge of this postcard just above the Sargent House. The two structures west of the Sargent House were dwellings that sat on either side of an alley. Dwellings also sat on either side of that alley at King Street. According to the Sanborn™ map set, all of the other structures along the alley were outbuildings.
Prepared by Thomas Keesling.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/5288366667/
Copyright 2005-2013 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 dated postcard view of a millinery shop and employees in Union City, Indiana. The caption under the smaller photograph reads, “Established 1896.” The caption under the larger photograph reads, “It’s now 1909.” The back side of the postcard included an announcement of the "Winter Millinery Opening." The business name was identified as Oak Street Millinery and Margaret Walden was identified as the proprietor. A 1908 Randolph County directory listed Miss M. B. Walden in the “Millinery” business category with a 223-225 Oak Street address. The 1911 Sanborn™ fire insurance map set for Union City shows a residence and a millinery business at those addresses. The location is the southwest corner at the alley between Union and Columbia streets.
Most of the following information relates to earlier unidentified millinery shops at or near the location of Ms. Walden’s business when this postcard was produced. Some of the information may be unrelated to Ms. Walden’s business. Some of the evidence may identify the location of the business in 1896.
The 1890 Sanborn™ map set shows a grocery in the building at the alley (223 Oak Street) and a millinery business next door to the west (225 Oak Street). Both buildings were two-story wood frame structures and the building at the alley had an exterior stairway to the second floor on the east side of the building (along the alley). Both buildings were vacant when a newer map set was published in June 1896. The 1901 map set shows a millinery business in the building at the alley (with the exterior stairway) while the building next door was vacant. The 1911 map set shows the two-story brick structure (with an iron-clad bay window) that is presented in the postcard scene. The map set identified the east portion as a dwelling and the west portion as a millinery business. This building is still standing at that corner and the bay window is still part of the building. The details on the building next door to the west in the postcard scene seem to match those on the building that is there today. The 1911 map set shows that building next door with its own bay window.
The 1890 map set also shows a millinery shop around the corner, south on the east side of Columbia Street. The 1896 map set actually shows two side-by-side buildings occupied by one larger, or maybe two different, millinery businesses at that location. Those were wood frame buildings and the 1901 map set shows they were being removed. A new brick building (the Wallace Block) was replacing one of them. By the time the 1911 map set was being published, brick buildings were occupying both of the millinery business locations on Columbia Street and no millinery businesses were located there.
The reflection in the millinery shop window shows part of a sign or banner across the street. The second of the two close-up sections presents that sign or banner backwards so the printing on the banner is easier to read. It advertised _____RS & SCHINDLER, ____ING SHOP. The 1908 Randolph County directory listed a blacksmith by the name of Schindler. He wasn’t listed in the business section under “Blacksmiths,” but both the 1901 and 1911 map sets show a blacksmith shop across the street from the millinery shop and a very short distance to the west at 226 Oak Street. Because the photographer was facing the Walden building at an angle, the reflection in the window would have been showing the blacksmith shop that was across the street and somewhat farther west. The blacksmith building was west of a livery business in a wood frame building when the 1901 map set was published. By the time the 1911 map set was being prepared, that larger building had been replaced by a masonry structure housing a garage for automobile repair. The map set showed the garage and the blacksmith building with the same address, 226 Oak Street. That may have been a mapping error or they were part of the same business.
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/6234382368/in...
Copyright 2011-2018 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..
apx 6" x 9"
Recollections and Recipes - Fort Leavenworth Museum Cookbook - by Army Wives, Musettes.
1971
cardstock: recollections/110/white, papertrey ink vellum
stamps: lawn fawn/love you a latte
ink: fresh ink/charcoal
other: lawn fawn/scripty thanks veneer
tsurutadesigns.blogspot.com/2015/06/lawnscaping-caffeine-...
c1908 postcard view of a crowd gathered on the street corner outside the flag-draped Rich Hotel in Fort Wayne, Indiana. The lettering in the windows reads, "Hotel Rich". The black and white sign at the right is for Berghoff Beer.
From a private collection.
The full postcard image can be seen here.
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.
c1920 postcard view of a residential street in Dugger, Indiana. The postcard does not indicate which street this was. However, the cross street in the foreground is offset where it crosses the primary street. Almost all of the town’s intersections shown on the 1915 Sanborn™ fire insurance key map are traditional four-way intersections. The notable exception is Church Street where it crosses Section Street just north of the Illinois Central Railroad. If the intersection in this scene is that intersection, then this view was looking north along Section Street. Another clue is the fact that the photographer was looking uphill. The 1943 USGS topographic map shows Section Street rising about ten feet in the block north of Church Street.
At the left edge of this scene, a young boy was sitting in the front yard. The IMPORTANT NOTICE OF REGISTRATION posted on the nearby utility pole was too far away to determine its purpose. At the top of the hill in the distance, the horse-drawn buggy was traveling north and passing a parked automobile.
From a private collection.
The full postcard image 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.
A familiar location along the road on drives to the cottage. Sometimes it calls out a challenge for me to stop and attempt a print-worthy capture. This may have met the challenge, at least well enough for a trial print. We'll see.
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c1910 postcard view of Main Street in Modoc, Indiana. This view is looking south from the vicinity of the Wine Street intersection toward the C. C. C. & St. L. (Cleveland, Cincinnati, Chicago & St. Louis) Railroad crossing. The railroad is long gone, but the first house on the left may still be standing. The second house is definitely still standing along the east side of Main Street. Although there were advertisements on the buildings beyond the track, they are unreadable and those buildings are gone.
The first building north of the track on the west side of Main Street advertised CASH FOR GRAIN on the front of the building. A Barber’s pole stood in front of the third building north of the track and the nearest building was probably on the southwest corner at Wine Street. A sign advertised GEO. R. DUTRO. However, the other two signs on the front of that building are not readable. The crown-shaped sign on the corner of that building advertised JEWEL STOVES AND RANGES, suggesting this may have been a hardware store. The 1909 Randolph County plat book¹ Shows four buildings between the track and Wine Street, but doesn’t identify what businesses occupied those buildings.
A note on the back of the postcard suggests the barber who owned the shop in this view may have been Frank Swain. The note also mentions that Citizens Bank was next door to the barbershop.
1. 1909 Plat Book of Randolph County, Indiana (Des Moines, IA: Northwest Publishing Company, 1909).
From the collection of Jeffrey Koenker.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
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Copyright 2008-2015 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.