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J'ai fait cette photo à côté du cégep. Il y avait au dessus des étudiants sur une gallerie. J'avais peur qu'ils me voient aha.
I made this photo, just next to a college. I was afraid that students would see me...
Avro 534 Baby
“Mon Repos” – Bert Hinkler’s house
This building once sat over 16,000 kilometres away amongst the oak trees of Thornhill Estate in Sholing, Southampton, England.
Built in 1925, it was named “Mon Repos” after the Bundaberg beach where the young Bert Hinkler tested his homemade gliders.
Bert Hinkler shared “Mon Repos” with his partner Nance Jarvis from 1925 until his death in 1933.
Close to Bert’s workplace, the AV Roe Experimental Works at Hamble, “Mon Repos” became a haven for his many friends and colleagues from the aviation industry.
Bert planned most of his record-breaking solo flights in the living room. He used the secluded fields around the original site to carry out tests on the “Ibis”, the amphibious aircraft he designed and built with Roland Bound in 1929.
After Bert died, Nance continued to live in the house until 1952 when she emigrated to South Africa. It then became the property of the Southampton City Council and home to a number of families. In 1982 “Mon Repos” was listed for demolition to make way for a block of retirement units.
Bundaberg resident and long-time Hinkler admirer Lex Rowland became concerned that such an historic building might be destroyed. In response to a national advertisement for projects to support the Australian bicentenary celebrations Lex came up with a plan to relocate the house to Bundaberg, Hinkler’s birthplace, and create a museum in Hinkler’s honour.
Such an undertaking had only been attempted once before in Australia’s history, the relocation of Captain Cook’s cottage from England to Melbourne in 1934. However, community support for the proposal showed this was a building of immense national interest.
With only weeks remaining to meet the Southampton City Council’s demolition deadlines, the Bundaberg Bicentennial Committee appointed a subcommittee to plan the relocation.
In May 1983 the three-man dismantling team set off for the United Kingdom to effect the brick by brick pull down of “Mon Repos” house. A month later, the house was shipped to Australia in two 20 tonne containers.
Here in the grounds of the newly-created Bundaberg Botanic Gardens “Mon Repos” was painstakingly rebuilt under the control of Site Manager, A E Bent, and the Rotary Club of East Bundaberg with S C Lohse and J A Rowland assisting.
Hinkler House Memorial Museum opened on 16 June 1984. The adjoining Hinkler Hall of Aviation opened on 8 December 2008.
Hinkler House Memorial Museum gratefully acknowledges the support of the Committee and the loyal group of friends and volunteers who made the project possible. [Ref: Plaque at Mon Repos]
*Squadron Leader H J L Hinkler, AFC DSM.
Herbert John Louis (Bert) Hinkler, chief test pilot at the Hamble Experimental Establishment of A V Roe & Co, and world-renowned long distance aviator and inventor.
His pioneering solo flights in light aeroplanes included England to Australia (1928) and Canada to England, via Brazil and West Africa (1931).
Bert Hinkler was born at Bundaberg, Queensland, on 8 December 1892, and lost his life in an aircraft crash on Mount Pratomagno, Italy, on 7 January 1933, while on a flight to Australia. [Ref: Plaque in Botanic Garden]
In 1933 Hinkler left Heathrow on 7 January in his Puss Moth, on a flight to Australia and disappeared. The crashed plane and Hinkler’s body were found on the northern slopes of Pratomagno in the Apennines between Florence and Arezzo, Italy, on 27 April. He had survived the crash and died outside the wreckage. On Mussolini’s orders he was buried in Florence with full military honours. [Ref: Australian Dictionary of Biography, Volume 9, (MUP) 1983 article by E P Wixted]
HINKLER’S DARING EXPLOITS
The following brief account of Lieutenant Bert Hinkler's career appeared in the March issue of the “Aircraft," published in Sydney:-
From England, unheralded, after an absence of seven years, Mr Bert Hinkler landed in Sydney on March 18. With him is the 35 hp (Green) Avro "Baby''— G-EACQ — in which he last year made the brilliant non-stop flight of 650 miles from London to Turin, and which, a few weeks later, and without overhaul, he piloted to second place in the London Aerial Derby.
These two achievements should have brought Australia's leading newspaper men scurrying down to the wharf as soon as his uncommon (but now familiar) name appeared in the “Ascanius” passenger-list. One would have thought so, at any rate. But Hinkler, apparently, is destined to be "without honour in his own country." At the time of writing he has been back six days and no reference to his presence in our midst has yet been published in any Australian paper. He expects to leave Sydney at the end of the month, or early in April, but before returning to his wife in England he will call upon his parents in Bundaberg, Queensland, and say, "Bertie's come home from the war!”
Of diminutive build, the young Queenslander is a veritable dynamo of energy and of almost inexhaustible resource. Whether it be a flight from Australia to New Zealand, a non-stop to Melbourne or Brisbane or any other stunt. On Friday, March 18, as soon as the "Ascanius" had docked, he made a bee-line for Union House, introduced himself, to the Avro agents (A A & E C Ltd), announced that the "Baby" was on board and asked for workshop accommodation at Mascot, which was readily given. Informed that the Royal Agricultural Show would open on the following Monday and that the Avro people would exhibit, he hastened back to the wharf, located the case, got it out of the hold and carted down to Mascot the same afternoon. During the weekend he entirely reassembled the historic machine and bright and early on opening day had the "Baby" on view at the A A & E Co's stand. There the writer found him, chatting with Messrs Nigel Love and W E ("Billy") Hart [both pioneer aviators].
“For sheer perserverance” remarked the last-named member of the party, “Bert is hard to beat. I remember him calling at my office in Sydney about nine or ten years ago, when I was doing a little flying on my own. He had made a special journey all the way from Bundaberg, where he had been experimenting with gliders, and literally begged me to give him a job. Eventually I got "Wizard” Stone [A B Stone, American aviator] to take him as a mechanic. They were together for some time.”
Hinkler said: "I just made my way to England and prowled around the drome at Kingston, sticky-beaking into this, that and the other, until at last Tom Sopwith realised that it would be less trouble to find me a job in his factory than to hunt me off the premises day after day. So he signed me on as a mechanic.”
On the outbreak of war, youth and inches notwithstanding, he was accepted by the RNAS — chiefly on Mr Sopwith's strong recommendation—and September 1914 found him a full-fledged second-class air-mechanic (2/ a day) attached to the Coast Defence Station at Whitley Bay, Northumberland. While there the first Zeppelin ever sighted by a British aeroplane was seen over the coast, and Hinkler enjoys the distinction of being the Observer in an 80-Gnome "Bristol” that was sent up to attack her. The raider immediately headed for the Fatherland, chased by the "Bristol' until some thirty miles out to sea when her pursuer lost their bearings in a cloudbank. Hinkler on this occasion was armed with nothing more formidable than an old rifle and a couple of signalling rockets.
Transferred to France early in l9l6, he took part in the first long-distance air raids on German towns along the Saar Valley: later, from the Dunkirk base, he was engaged in several night bombing raids, on a Handley Page 0/400. Next (on D H 4's) came a series of day-bombing excursions, the objective being a chain of enemy aerodromes scattered throughout Belgium.
In his leisure he patented the Hinkler Double Lewis Gun and got it generally adopted by No 5 Squadron, RNAS. It is noteworthy that his CO was a brother Australian, Wing-Commander S J Goble, now a member of the Commonwealth Air Council and Air Board.
Mr Hinkler obtained his pilot's commission in 1917, while in France and was posted to No 28 Squadron, RAF ('Camels'), stationed in Italy, where he remained until the Armistice.
Last year, suffering acutely from what he describes as "airman's itch”, he procured the “Baby” and fitted it with “a few little gadgets” of his own – notably the movable needle jet for carburettor adjustment, the Hinkler Compass and the Hinkler Altitude-Recorder.
Then, having increased the petrol capacity from 10 gallons to 25, he one day astonished and delighted the entire flying world by making the record (and hitherto unattempted) non-stop flight from London to Turin — now also a matter of history. This accomplished he flew, on to Rome and then back to London, "dropping in" quite casually and unexpectedly in time for the Avro people to feature his "Baby” as star attraction of the Aeronautical Exhibition at the Olympia.
While this exhibition was in progress he suddenly decided to enter his machine for the Aerial Derby (a circuit of 200 miles) for which race he took it straight from the Olympia. The engine had already run for 50 hours without attention, but there was no time for tuning before the Derby. In this contest it was, of course, necessary to run the little "Green" full out. He attained second place in 2 hours 45 minutes, beaten for the premier position by Captain Hammersley, also on an Avro "Baby"— but a brand new one. This performance speaks extremely well for the reliability of the 35 hp engine and has proven a revelation to many flying experts, particularly on the point of petrol consumption, his average on the London-Turin flight being 33 miles to the gallon.
The hero of these exploits is to be guest of honour of the New South Wales Section of the Australian Aero Club, who will entertain him to a banquet at the Hotel Australia.
[Ref: Bundaberg Mail Tuesday 12-4-1921]
Sensation douce et apaisante
Je suis absorbé par cette scène
J'aspire à ce repos
Transporté hors de ma quotidienneté
Loin du tumulte de la vie
Lové dans une bulle de réconfort
Les valeurs indiennes traditionnelles de la famille sont fortement respectées, bien que dans les milieux urbains et même ruraux, le modèle de la famille change pour de divers raisons: migration, globalisation, changement de mœurs, ... Cependant, la « joint-familly » est encore très présente dans les campagnes, les petites villes et parfois chez des riches familles d'industriels dans les grandes villes. On peut donc trouver ainsi parfois plus de vingt personnes vivant sous un même toit.
Selon la tradition dans la plupart des communautés, les fils, à leur mariage, restaient vivre près de leurs parents, prenant petit à petit la relève pour subvenir aux besoins de la maison. La relation entre frères était des plus codées selon la place dans la fratrie. Les épouses qui étaient sous les ordres de leur belle-mère dans les premières années suivant le mariage prenaient leur place et exerçaient leur autorité dans la maisonnée. La tradition n'étant pas figée, tous les modèles étaient possibles : cuisines séparées ou cuisine commune, maison mitoyenne, etc.
Au sein du foyer, l'entraide était de rigueur : la charge des vieux parents était partagée entre tous. Ils étaient intégrés à la vie quotidienne pour accomplir des petits travaux ou services relevant de l'économie domestique : par exemple, raconter des histoires aux enfants ou éplucher les légumes pour la préparation des repas.
Orazio Lomi Gentileschi (1563-1639)
Repos pendant la fuite en Ègypte, 1626-1628
Sur la route, en face d'un mur de briques en ruine, repose la Sainte Famille fuyant Hérode: Josef est épuisé endormi tandis que Marie allaite l'enfant. Dans la description de misère mais aussi de dignité et humble acceptation d'un destin lourd Gentileschi combine réalisme caravagesque avec le sens de la beauté de sa Toscane natale.
Orazio Lomi Gentileschi (1563-1639)
Ruhe auf der Flucht nach Ägypten, um 1626-1628
Auf der Straße, vor einer bröckelnden Ziegelmauer, rastet die vor Herodes geflohene heilige Familie: Josef ist erschöpft eingeschlafen während Maria das Kind stillt. Bei der Schilderung von Elend aber auch Würde und demütiger Hinnahme eines schweren Schicksals vereint Gentileschie caravaggesken Realismus mit dem Schönheitssinn seiner toskanischen Heimat.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Hawker 800XP 5N JMA? at Broughton/Harwarden (EGNR) North Wales, a long term resident here (almost 4 years), according to personnel in the FBO is a repossession.