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Removed from their VIP duties a week prior associated with the George Bush Funeral train, these units lead a freight from Eagle Pass on the Sunset Route outside of San Antonio. December 2018.
Since I was staring over, I decided to remove some old nails that were not allowing a smooth finish on the siding. It was not easy prying them out. Had to fix the damage with wall joint compound.
Teenage dollhouse addition remodel project
Simplicity dollhouse by Real Good Toys
Copyright © John G. Lidstone, all rights reserved.
It is an offence under law if you remove my copyright marking, or post this image anywhere else without my express written permission.
One thing then another... removed very slowly just to tease you!
I put this ensemble together to show off my super clingy & shiny sea foam wet look hologram print lycra spandex romper and matched it up with my black wet look mystique lycra spandex miniskirt, both custom made for me by the wonderful Ellie at coquetryclothing.com! I've finished the ensemble off with Platino Luxe Dakar 40 denier pantyhose from shapings.com over Hanes Alive Barely There support hose from onehanesplace.com and my glittery blue peep toe platform pumps from electriqueboutique.com.
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
To see more pix of me in clothes from Coquetry Clothing click this link: www.flickr.com/photos/kaceycdpix/sets/72157626739774869/
DSC_3281-18
I liked this little sock over the pitot tube on this jet fighter at the Kalamazoo air museum.
Camera Olympus Om2n
film Kentmere 100
dev Xtol 1+1 10 min 20C
Removing Shorts Since 1997 - Samsung Galaxy S8 - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
Deboxing the Ariel Deluxe Bathtub Gift Set. First the cardboard backing is removed from the box, by sliding it out like a tray. The doll and all the accessories are still attached to the backing and plastic spacers via wires, rubber bands and plastic ties. Next the doll and accessories are removed from the backing. There are still various wires attached to the bathtub and Ariel, and Ariel's head is attached to a plastic spacer with two sets of plastic ties embedded in her head. Finally all packaging restraints are removed from the contents of the set. Ariel and the rest of the items are placed lying down on the counter.
First look at the newly released Disney Animators' Collection Ariel Deluxe Bathtub Gift Set. A ''live'' image of the product was first shown in a video by StitchKingdom on June 25, 2013. To be released online and in stores on Monday, July 29, 2013. I got it a few days earlier than the official release.
The set comes in a large box that measures 15 1/2'' H x 18 1/4'' W x 9 1/2'' D. The box is covered in little drawings of Ariel's companions and the Dinglehopper, in green. Also a large drawing of the toddler Ariel in the front, and a large image of the bathtub drawn on the right and rear sides of the box.
The items contained in the box are a new version of the Animators' Ariel toddler doll, dressed in a terry cloth mermaid outfit, and many accessories. She comes with a second outfit, a nightie. It is a single layer pink satin, with light pink lace trim on the collar and the cuffs of her long sleeves. It is not as fancy as the lavendar nightie of the original toddler Rapunzel doll (Disney Store, 2010), which had a two layered skirt that was fuller in width.
The most amazing accessory is the large white plastic seashell shaped bathtub, that measures 15'' L x 8'' W x 6 1/2'' H . The inside of the tub measures 13'' L x 5 1/2'' W x 4'' D. There are four legs that are bronze colored plastic, and that are 2'' long. There is a simulated steel drain at the bottom, about 1'' in diameter, and faucet and handles about 2'' W x 2 1/2'' H.
As the Ariel doll is 15 1/2'' H, she is longer than the tub (both the inside and outside dimensions), so her head (or her feet) have to be draped over the rim of the tub. As she is posed in the box, her weight makes the tub rather unstable, so she should be moved so more of her weight is on the other side of the tub.
Other accessories include the following:
Plastic Dinglehopper (fork) that is 3'' L x 3/4'' W.
Plush Sebastian sock puppet that is 3'' L x 3'' W x 1 1/2'' H, who fits into Ariel's hand.
Four pink plastic simulated bubble clusters, 3'' L x 2 1/2'' W x 2'' H.
The Dinglehopper and bubbles can be attached to Ariel's hand with rubber bands.
The price of the set is about double that of the doll itself (soon to come out in a new version), but I think the amount and quality of the accessories, none of which are available elsewhere, makes the set worth the cost.
Newly released items from the Disney Store, purchased on July 27, 2013. The exact names and prices of these items are:
Classic King Fergus 12'' Doll ($14.95, or $10 each for 2 or more),
Disney Animators' Collection Ariel Deluxe Bathtub Gift Set ($49.95), and
The Little Mermaid Magical Moment Play Set ($29.95).
We've seen sneak peeks of all these items, but none of them are available online yet (as of July 27). This is the first time I've seen them in stores. They will all probably go online on Monday, July 29, 2013, at the same time as the Limited Edition Ariel 17'' Doll will be available for pre-order. There will also be additional Little Mermaid items for sale, such as new plush dolls.
Thanks for the comments and earlier views.
I have had to remove this picture.
Explore no.371 22 Dec 2008
I removed this page from the sketchbook. My attempt to use markers just wrecked it. I’ll try and make a similar drawing soon
Very impulsive to have cut it out, but I am impulsive from time to time..
Some old photos of Hanhn and his gorgeous sculpture.
Some of these photos were removed of the galery "Flamboyant German" before it were finished.
I love these pics, so here there are! And after viewed them I have a uncontrolable desire of take more photos of him whithout clothes and stuff.
The complete gallery in spanish here - bottomingjournal.blogspot.com.es/2011/08/erlangen-6-40-am...
And Hanhn is a Dollshe Saint with a SpiritDoll Proud Body c:
My original mini Robo "MRs-08A" made it from LEGO.
Tastes like "GUNDAM VERCHE"
Of this mechanism can be removable armor!
This picture is how the armor is removed.
GIF animation is here →
2024 Weekly Alphabet Challenge 18/52 ~ Removable
All ready for wet suits, I presume.
Thank you to everyone who pauses long enough to look at my photo. All comments and Faves are very much appreciated
Deboxing my Snow White and the Hag Doll Set. The slipcover is removed, then the hard plastic cover, leaving the dolls in clear view. They are attached to the cardboard backing, plastic supports and dolls stand by wires, rubber bands and plastic ties.
Detailed photos of my Snow White and the Hag Doll Set, the first in store release of the 2015 Disney Fairytale Designer Collection. I got it today in my local Disney Store raffle. The set is #2595 of 6000.
Snow White's in box pose is stiff, with her face pointing up too much, and her curly hair messy, especially on the right. She has the 2012 Classic Princess style body, with hard plastic legs, external hinge knee joints, and ball jointed ankles. She has golden yellow flats, matching the color of her skirt. She has a full length velvet cape with satin lining.
The Hag (or Witch) has a unique body and limbs. Similar to the DFDC Beast doll, she has an awkward stance if free standing. In fact, my doll's right leg cannot be straightened completely and her fixed ankles are bent, so her natural standing pose is stooped, making her stand about 10 inches tall. In the box pose, her feet is raised by plastic forms, so if they are removed for deboxing, her feet dangle in the air if she is reboxed. She doesn't have ankle joints, so she cannot point her toes to reach the floor of the display stand.
They did a fabulous job making the Hag an accurate representation of the animated movie character. I also like Snow White's anxious expression, which is appropriate for being next to the evil Hag. I did the best I could to make Snow's hair neater, but it is still messier than I would like. Her curly hair is heavily stiffened with hair product, so it was not easy for me to rearrange her hair using my fingers.
Snow White and the Witch Doll Set - Disney Fairytale Designer Collection
US Disney Store
Released in store 2015-09-29
Released online 2015-09-30
Purchased in store 2015-09-29
#2595 of 6000
$129.95
Item No. 6003040901262P
Rotten to the core
The Evil Queen, in her guise as the Witch, tempts Snow White with a red apple in this limited edition doll set. With finely detailed costumes, the pair are part of the Disney Fairytale Designer Collection's heroes and villains series.
Magic in the details...
Please Note: Purchase of this item is limited to 1 per Guest.
As part of the Disney Fairytale Designer Collection's heroes and villains series, Snow White and the Witch were carefully crafted by artists inspired by Disney's classic 1937 movie. Reimagined in exquisite detail, these limited edition dolls were brought to life with thoughtful attention, and uniquely capture the essence of the fairytale characters, creating a one-of-a-kind set that will be a treasured keepsake of collectors and Disney fans.
• Global Limited Edition of 6000
• Includes Certificate of Authenticity
• Snow White's red velvet cape features a satin lining
• Bodice features intricate gold embroidery with embroidered red rose, high white collar, and puff sleeves
• Golden skirt decorated with a delicate flower pattern, embroidered detailing, and jeweled accents
• Dramatic make-up
• Rooted hair and eyelashes, with red satin ribbon
• Witch's wine-colored shawl features subtle two-tone pattern, and fringed hem
• Black hooded outfit with lace overlay, and red satin lining
• Black ankle boots
• Rooted white hair
• Red apple in her hand
• Basket of green apples
• Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the names of Snow White and the Witch
• Includes special Disney Fairytale Designer Collection Gift Bag
• Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
• Plastic / polyester
• Snow White: 11 1/2'' H
• Witch: 10''
• Imported
We are looking south from what I believe was the C & O / WABASH Rwy. interlocker as the CSX scrappers are removing the stick rail from the passing siding in Peru, IN. The CSX removed most of the welded rail on the mainline themselves. Photographer unknown, out of the Jason Jordan collection.
Crews use cranes to remove the first girder of the R.H. Thomson "Ramps to Nowhere" during the weekend closure on Saturday, Oct. 18.
Construction crews were busy along the SR 520 corridor during the Oct. 17-20 weekend closure. Critical work activities included beginning stages of the demolition of the R.H. Thomson “Ramps to Nowhere” and installation of piles on Foster Island for the SR 520 West Approach Bridge North Project. Crews working on the SR 520 floating bridge installed toll gantries and crews working on the Eastside Transit and HOV Project continued permanent highway lane striping activities and paving on local streets. Find out more about the new SR 520 on our website.
The SR 520 West Approach Bridge North Project is the next construction phase of the SR 520 Program. When complete in summer 2017, WABN will be built to modern earthquake standards and connect westbound-traveling vehicles, transit/HOV, bicycles and pedestrians from the new floating bridge to the Montlake area.
PA_610 [20 points]
A 2005 model space invader which has been removed in 2007 came back in 2016 in the context of a giant re-acetivation wave. I came along to spot this one again and of course I flashed this one, another 20 points on the score.
Other views:
PA_610 (Zoom in, September 2006)
PA_610 (Street view, September 2006)
Date of invasion: 16/08/2005
DELETED Summer 2007
The other side of this overpass is invaded as well by PA_461 (invasion date: 02/02/2002)
RE-ACTIVATED February 2016
PORCELAIN ROOM FROM THE PALAIS Dubský IN BRNO
Vienna, around 1740
Ke 6201/1912
In 1700 the installation of so-called "porcelain cabinets" in Europe becomes modern. Have they been reliant on European fayences, so were these ones replaced over time by Chinese export goods and from 1700 on also by Japanese porcelains. The Porcelain Room from the Brno Palais Dubsky is one of the first room amenities with European porcelain.
Based on the attached above the pillar mirror Emblem of Czobor of Szent-Mihály, the decor of the room can be traced back to the years after 1724. Back then acquired Countess Maria Antonia of Czobor, lady on Göding, née Princess of Liechtenstein, the subsequent Palais Dubsky in Brno (Brno, today Czech Republic). From this time also stem the porcelains of the Vienna Porcelain Manufactory Du Paquier (1718-44).
Investigations on the integrated wall paneling of the room as well as the fact that the chimney already in Brno had been bricked without smoke outlet and therefore was not heatable, however, have shown that the facilities originally must have been manufactured for a different, right now yet unknown location and only later was adjusted to the smaller dimensions in Brno Palais. However, unclear remains to this day the time gap between the early, emerged before 1730 Vienna porcelains and the earliest in the forties datable ornamentation of the wall panels and a part of the furniture.
1745 the palace passes into the possession of Johann Georg von Piati from which it inherits his son Emanuel Piati of Tirnowitz 1762. The coat of arms of this family was originally painted with oil paint over that of Czobor and only in 1912 it was removed on the occasion of the acquisition of the room by the museum. From the time of the Piati, around 1790, also stems the decor of the room with paintings and the wall clock signed by Brno master watchmaker Sebastian Kurz.
Its current name the palace obtained finally on the ocassion of the wedding of Emanuela of Piati, the daughter of Johann Georg, with Franz Dubsky of Trebomyslic in 1805. As is apparent from later made additions by porcelains of Herend (Hungary) Porcelain Factory (founded in 1839) and by dated with 1847 pieces from the Vienna Porcelain Manufactory, must have been carried out around 1850 a larger restoration and new adaptation of the room. Back then most probably also emerged the seating furnitures as well as the console table of long wall and the canapé table.
PORZELLANZIMMER AUS DEM PALAIS DUBSKY IN BRÜNN
Wien, um 1740
Ke 6201/1912
Um 1700 wird das Einrichten so genannter „Porzellan-Cabinette“ in Europa modern. War man zuerst auf europäische Fayencen angewiesen, so wurden diese mit der Zeit durch chinesische Exportware und ab 1700 auch durch japanische Porzellane ersetzt. Das Porzellanzimmer aus dem Brünner Palais Dubsky ist eine der ersten Zimmerausstattungen mit europäischem Porzellan.
Anhand des über dem Pfeilerspiegel angebrachten Wappens der Czobor von Szent-Mihály lässt sich die Ausstattung des Zimmers bis in die Jahre nach 1724 zurückverfolgen. Damals erwarb Gräfin Maria Antonia von Czobor, Frau auf Göding, geb. Fürstin von Liechtenstein, das nachmalige Palais Dubsky in Brünn (Brno, heute: Tschechische Republik). Aus dieser Zeit stammen auch die Porzellane der Wiener Manufaktur Du Paquier (1718–44).
Untersuchungen an der wandfesten Vertäfelung des Raumes sowie die Tatsache, dass der Kamin bereits in Brünn ohne Rauchabzug gemauert und daher nicht beheizbar war, haben jedoch gezeigt, dass die Ausstattung ursprünglich für einen anderen, heute noch unbekannten Ort verfertigt worden sein muss und erst später den kleineren Dimensionen im Brünner Palais angepasst wurde. Unklar bleibt aber bis heute die zeitliche Diskrepanz zwischen den frühen, vor 1730 entstandenen Wiener Porzellanen und der frühestens in die vierziger Jahre datierbaren Ornamentik der Wandvertäfelungen und eines Teils des Mobiliars.
1745 geht das Palais in den Besitz des Johann Georg von Piati über, von dem es sein Sohn Emanuel Piati von Tirnowitz 1762 erbt. Das Wappen dieser Familie war ursprünglich mit Ölfarbe über jenes der Czobor gemalt und erst 1912 anlässlich der Erwerbung des Zimmers durch das Museum entfernt worden. Aus der Zeit der Piati, um 1790, stammt auch die Ausstattung des Zimmers mit Bildern und der vom Brünner Uhrmachermeister Sebastian Kurz signierten Wanduhr.
Seinen heutigen Namen erhielt das Palais schließlich anlässlich der Hochzeit von Emanuela von Piati, der Tochter Johann Georgs, mit Franz Dubsky von Trebomyslic im Jahr 1805. Wie aus später vorgenommenen Ergänzungen durch Porzellane der Herender Porzellanfabrik (gegründet 1839) und durch 1847 datierte Stücke aus der Wiener Porzellanmanufaktur hervorgeht, muss um 1850 eine größere Restaurierung und Neuadaptierung des Zimmers erfolgt sein. Damals entstanden höchstwahrscheinlich auch die Sitzmöbel ebenso wie der Konsoltisch der Längswand und der Kanapeetisch.
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.