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Air Vice-Marshal David Stubbs, who is Air Secretary, at the unveiling of memorial in Uckfield to Eugene Seghers DFC
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
They suffered the death in the resistance against injustice and violence!
Special complexes
Resistance Fighters
Memorial for Members of the Resistance
A towering cross made of rolled steel profiles and a stone block remind resistance fighters who were murdered by the Nazis. The stone bears the names of Klaus Bonhoeffer, Hans John, Richard Kuenzer, Carl Adolf Marks, Wilhelm zur Nieden, Friedrich Justus Perels, Rüdiger Schleicher and Hans Ludwig Sierks. They were involved in the failed assassination attempt on Adolf Hitler on July 20, 1944 and imprisoned in Lehrter Street. In the night of 22 April 23 to 23 April, 1945 they were killed by a command of the SS in a nearby park complex. Beyond that is remembered to Dietrich Bonhoeffer and Hans von Dohnanyi who were killed in the concentration camps Flossenbürg and Sachsenhausen, as well as to Justus Delbrück who experienced the end of the war but shortly afterwards died in Russian captivity.
In the immediate vicinity of this memorial a tablet indicates a mass grave of 64 partly unknown people who were killed around the cemetery in the last days of World War II.
Academy of Arts
For a small, bounded by low hedges area the Academy of Arts has acquired the rights to use. Here members of the Academy are buried, among others, the graphic artist and painter René Graetz, the writer Anna Seghers, the poet Erich Arendt. Here lies also Lin Jaldati - this is the stage name of a born in Amsterdam Jew who managed to survive in three concentration camps; after the liberation she was successful as a dancer and a singer of Jewish songs.
Sie erlitten den Tod im Widerstand gegen Unrecht und Gewalt!
Besondere Anlagen
Widerstandskämpfer
Gedenkstätte für Widerstandskämpfer
Ein hochaufragendes Kreuz aus Walzstahlprofilen und ein Steinquader erinnern an Widerstandskämpfer, die von den Nationalsozialisten ermordet wurden. Der Stein trägt die Namen von Klaus Bonhoeffer, Hans John, Richard Kuenzer, Carl Adolf Marks, Wilhelm zur Nieden, Friedrich Justus Perels, Rüdiger Schleicher und Hans Ludwig Sierks. Sie waren am missglückten Attentat auf Adolf Hitler am 20. Juli 1944 beteiligt und in der Lehrter Straße inhaftiert worden. In der Nacht vom 22. zum 23. April 1945 wurden sie von einem Kommando der SS in einer nahe gelegenen Parkanlage umgebracht. Erinnert wird darüber hinaus an Dietrich Bonhoeffer und Hans von Dohnanyi, die in den Konzentrationslagern Flossenbürg bzw. Sachsenhausen getötet wurden, sowie an Justus Delbrück, der das Kriegsende erlebte, aber wenig später in russischer Haft starb.
In unmittelbarer Nähe dieser Gedenkstätte weist eine Schrifttafel auf ein Massengrab von 64 zum Teil Unbekannten hin, die in den letzten Tagen des Zweiten Weltkrieges in der Umgebung des Friedhofs ums Leben kamen.
Akademie der Künste[Bearbeiten | Quelltext bearbeiten]
Für einen kleinen, von niedrigen Hecken begrenzten Bereich hat die Akademie der Künste die Nutzungsrechte erworben. Hier sind Mitglieder der Akademie begraben, unter anderen der Grafiker und Maler René Graetz, die Schriftstellerin Anna Seghers, der Lyriker Erich Arendt. Hier ruht auch Lin Jaldati – dies ist der Künstlername einer in Amsterdam geborenen Jüdin, der es gelang, in drei Konzentrationslagern zu überleben; nach der Befreiung war sie als Tänzerin und als Sängerin jüdischer Lieder erfolgreich.
de.wikipedia.org/wiki/Friedhof_der_Dorotheenst%C3%A4dtisc...
Strigno, alluvione 4 novembre 1966, torrente Chieppena
Foto Luigi Zambiasi
Archivio Luigi Zambiasi
zamlui0472
Dopo il Regolatore, ecco la Nuova Società: più pulita, quadrata, efficiente, ben disposta. Una trasformazione necessaria?
Visita del Presidente del Pefc Internazionale, Bill Street, alla segheria De Infanti, certificata Pefc e situata nel comune di Ravascletto, ai piedi del Monte Zoncolan.
Grote Markt no 1 : Le Roy d'Espagne (Dutch: Den Coninck van Spaignien), House of the Corporation of Bakers, built in 1696. Originally, the three bays to the right of the entrance formed an independent house, (Saint-Jacques) accessible by a door located rue au Beurre. The very dilapidated building was completely rebuilt in 1901–1902. It is decorated with busts of Saint Aubert (patron saint of bakers) and Charles II of Spain.
no 2–3 : La Brouette (Dutch: Den Cruywagen), House of the Corporation of Greasers since the 15th century, built in stone in 1644. The facade partly resisted the bombardment of 1695 and was rebuilt in 1697 under the direction of Jean Cosyn. Decorated by the statue of Saint Giles (patron saint of greasers), it was restored in 1912. The left door opened into a now disappeared alleyway that led onto rue au Beurre.
no 4 : Le Sac (Dutch: Den Sack), House of the Corporation of Carpenters, whose tools decorate the facade since the 15th century. Built in stone in 1644, partly spared by the bombardment, it was rebuilt by the carpenter Antoine Pastorana in 1697. This house was restored in 1912 by the architect Jean Seghers. Currently, "The House of the Belgian Master Chocolatiers" is located in this house.
no 5 : La Louve (Dutch: De Wolf), House of the Oath of Archers, built in 1690 by Pierre Herbosch. In 1696, the facade was rebuilt with a horizontal cornice, surmounted by a base where a statue was placed of a Phoenix rising from the ashes, symbol of the reconstruction of the city after the bombardment. The decorated pediment of Apollo was restored in 1890–1892 by the architect of the city of Brussels, Victor Jamaer, according to the original drawings. The bas-relief represents Romulus and Remus suckling the she-wolf.
no 6 : Le Cornet (Dutch: De Hoorn), House of the Corporation of Boatmen since the 15th century, rebuilt in 1697 by Antoine Pastorana who drew its gable in the shape of ship stern. The sculptures are by Pierre van Dievoet, and by a contract passed on April 3, 1697, the deans of the Trade of Boatmen entrusted to Pierre van Dievoet the execution of the whole sculpting of the facade. Restored from 1899 to 1902.
no 7 : Le Renard (Dutch: De Vos), House of the Corporation of Haberdashers since the 15th century, rebuilt in 1699. It contains bas-reliefs above the ground floor, allegorical sculptures of the four continents, and at the top, a now disappeared statue of Saint Nicholas, patron of haberdashers.
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
Belgium.
Hiking around Gaasbeek castle.
en.wikipedia.org/wiki/Gaasbeek_Castle
Gaasbeek Castle lies at the heart of an extensive park (49 hectare) that was laid out in the seventeenth century already. It has both impressive avenues and narrow winding paths. It probably has the tallest beech trees in Belgium!
As you walk you will come across several historical buildings that are connected to the Castle: the Chapel of St Gertrude with the altarpiece by Gerard Seghers, the baroque pavilion with its unique stucco ceiling, the neo-Gothic barn, the octagonal pavilion or gunpowder magazine, the classicistic triumphal arc that was constructed in honour of Napoleon, and the former porter's house (currently Graaf van Egmond brasserie). The domain also has three large lakes.
Grote Markt no 1 : Le Roy d'Espagne (Dutch: Den Coninck van Spaignien), House of the Corporation of Bakers, built in 1696. Originally, the three bays to the right of the entrance formed an independent house, (Saint-Jacques) accessible by a door located rue au Beurre. The very dilapidated building was completely rebuilt in 1901–1902. It is decorated with busts of Saint Aubert (patron saint of bakers) and Charles II of Spain.
no 2–3 : La Brouette (Dutch: Den Cruywagen), House of the Corporation of Greasers since the 15th century, built in stone in 1644. The facade partly resisted the bombardment of 1695 and was rebuilt in 1697 under the direction of Jean Cosyn. Decorated by the statue of Saint Giles (patron saint of greasers), it was restored in 1912. The left door opened into a now disappeared alleyway that led onto rue au Beurre.
no 4 : Le Sac (Dutch: Den Sack), House of the Corporation of Carpenters, whose tools decorate the facade since the 15th century. Built in stone in 1644, partly spared by the bombardment, it was rebuilt by the carpenter Antoine Pastorana in 1697. This house was restored in 1912 by the architect Jean Seghers. Currently, "The House of the Belgian Master Chocolatiers" is located in this house.
no 5 : La Louve (Dutch: De Wolf), House of the Oath of Archers, built in 1690 by Pierre Herbosch. In 1696, the facade was rebuilt with a horizontal cornice, surmounted by a base where a statue was placed of a Phoenix rising from the ashes, symbol of the reconstruction of the city after the bombardment. The decorated pediment of Apollo was restored in 1890–1892 by the architect of the city of Brussels, Victor Jamaer, according to the original drawings. The bas-relief represents Romulus and Remus suckling the she-wolf.
no 6 : Le Cornet (Dutch: De Hoorn), House of the Corporation of Boatmen since the 15th century, rebuilt in 1697 by Antoine Pastorana who drew its gable in the shape of ship stern. The sculptures are by Pierre van Dievoet, and by a contract passed on April 3, 1697, the deans of the Trade of Boatmen entrusted to Pierre van Dievoet the execution of the whole sculpting of the facade. Restored from 1899 to 1902.
no 7 : Le Renard (Dutch: De Vos), House of the Corporation of Haberdashers since the 15th century, rebuilt in 1699. It contains bas-reliefs above the ground floor, allegorical sculptures of the four continents, and at the top, a now disappeared statue of Saint Nicholas, patron of haberdashers.
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
This, the most famous painting by Vermeer, was part of the Amsterdam sale of 1696, no. 31: "The town of Delft in perspective, to be seen from the south, by J. van der Meer of Delft; fl 200."
Topographic views of cities had become a tradition by the time Vermeer painted his famous canvas. Hendrik Vroom was the author of two such works depicting Delft, but they are more archaic because they followed the traditional panoramic approach that we remember from the two cityscapes by Hercules Seghers at the Berlin museum. The latter artist was one of the first to make use of the inverted Galilean telescope to transcribe the preliminary prints and their proportions (more than twice as high as wide) into the more conventional format of his paintings.
Vermeer executed his View of Delft on the spot, but the optical instrument pointed toward the city and providing the artist with the aspect translated onto canvas, which we admire for its conciseness and special structure, was not the camera obscura but the inverted telescope. It is only the latter that condenses the panoramic view of a given sector, diminishes the figures of the foreground to a smaller than normal magnification, emphasizes the foreground as we see it in the picture, and by the same token makes the remainder of the composition recede into space. The image thus obtained provides us with optical effects that, without being unique in Dutch seventeenth-century painting, as often claimed, convey a cityscape that is united in the composition and enveloped atmospherically into glowing light.
We admire the town, but it is not a profile view of a township, but a painting, an idealized representation of Delft, with its main characteristics simplified and then cast into the framework of a harbor mirroring selected reflections in the water, and a rich, full sky with magnificent cloud formations looming over it. This is chronologically the last painting by Vermeer that was executed in rich, full pigmentation, with color accents put in with a fully loaded brush. The artist outdid himself in a rendition of his hometown, which stands as a truly great interpretation of nature.
de droite à gauche:
n° 1 : Le Roy d'Espagne, Maison de la Corporation des Boulangers, construite en 1696 à l'origine les trois travées à droite de l'entrée constituaient une maison indépendante, (Saint-Jacques) accessible par une porte située rue au Beurre. Le bâtiment très altéré fut entièrement reconstruit en 1901-1902. Il est orné de bustes de St Aubert (patron des boulangers) et de Charles II d'Espagne.
n° 2-3 : La Brouette, Maison de la Corporation des Graissiers depuis le xve siècle, construite en pierre en 1644, la façade résiste en partie au bombardement et est reconstruite en 1697 sous la direction de Jean Cosyn. Décorée par la statue de saint Gilles (patron des graissiers), elle est restaurée en 1912, la porte de gauche s'ouvrait sur une ruelle aujourd'hui disparue qui donnait rue au Beurre.
n° 4 : Le Sac, Maison de la Corporation des Ébénistes, dont les outils décorent la façade, depuis le xve siècle,construite en pierre en 1644 en partie épargnée par le bombardement elle est reconstruite par l'architecte ébéniste Antoine Pastorana en 1697. Les sculpteurs en sont : Pierre van Dievoet et Laurent Merkaert. La partie inférieure du Sac, avec l'enseigne sculptée (1644) ne fut pas démolie lors du bombardement et c'est à partir du troisième étage que débute la reconstruction par l'architecte Antoine Pastorana en 1697. C'est donc à partir de cet étage que commencent les sculptures de van Dievoet et Merkaert : un gâble très orné, des torchères et des vases aux angles, au sommet un globe sur lequel est placé un compas et sur le plein cintre des fenêtres, de lourdes guirlandes de fleurs et de fruits et une coquille, la frise du troisième étage est composée de cartouches dont trois rehaussées de têtes d'anges. Il s'agit d'un gâble typiquement bruxellois. Cette maison fut restaurée en 1912 par l'architecte Jean Seghers et les cariatides actuelles sont l’œuvre du sculpteur Edouard Marchant (1852). Actuellement, "La Maison des Maitres Chocolatiers Belges" est installée dans cette maison chargée d'histoire.
n° 5 : La Louve, Maison du Serment des Archers construite en 1690 par Pierre Herbosch, en 1696 la façade est reconstruite avec une corniche horizontale, surmontée d'un socle où est placé un Phénix renaissant de ses cendres et surgissant des flammes, symbole de la reconstruction de la ville après le bombardement. Le fronton décoré d'un Apollon suivant les dessins d'origine est rétablis en 1890-1892 par l'architecte de la ville de Bruxelles, Victor Jamaer, le bas-relief représente Romulus et Rémus allaités par la Louve.
n° 6 : Le Cornet, Maison de la Corporation des Bateliers depuis le xve siècle, reconstruite en 1697 par Antoine Pastorana qui dessine son pignon en forme de poupe de navire. Les sculptures sont de Pierre van Dievoet, et par contrat passé le 3 avril 1697, les doyens du Métier des Bateliers confièrent à Pierre van Dievoet l'exécution de toute la sculpture de la façade. Restaurée de 1899 à 1902.
n° 7 : Le Renard, Maison de la Corporation des Merciers depuis le xve siècle, reconstruite en 1699 bas-reliefs au-dessus du rez-de-chaussée, allégories des quatre continents, au sommet statue de saint Nicolas, patron des merciers. (Wikipedia)
St. Charles Borromeo Church (Dutch: Sint-Carolus Borromeuskerk) is a church in central Antwerp, located on the Hendrik Conscience square. It was built in 1626 as the Jesuit church of Antwerp, which was closed in 1773. It was rededicated in 1779 to Saint Charles Borromeo. The church was formerly known for 39 ceiling pieces by Rubens that were lost in a fire when lightning struck the church on 18 July 1718.
The church was inspired by the Church of the Gesu, the mother church of the Society of Jesus, a Roman Catholic religious order also known as the Jesuits. The church was built next to the Huis van Aecken, bought from the heirs of Erasmus II Schetz. It was the first church in the world to be dedicated to the Jesuit founder, Ignatius Loyola.
In 1617-1618 Rubens painted two altarpieces. He was also commissioned to paint the ceiling pieces, for which he made the designs while the execution was done mostly by pupils, including Anthony van Dyck. A contract was drawn up in 1620 by Jacobus Tirinus and the paintings were delivered a year later in time for the consecration. Rubens received 7,000 guilders for his works in the church, and though the lavish decorations including sculptures and other artwork were well received, Tirinus was dismissed in 1625 for going beyond his budget.
In 1718 the vault of the nave, including Rubens' ceiling paintings, was destroyed by fire. Jan Pieter van Baurscheidt the Elder restored the damaged parts according to the original plan, but replaced the original coffers with wide transverse arches. In 1773 the Society of Jesus was suppressed and the building was confiscated. It reopened in 1779, renamed St.-Carolus Borromeuskerk, after Charles Borromeo.
Since 1803 the St.-Carolus Borromeuskerk has been in use as a parish church. During the Dutch reign preceding Belgium's independence in 1830 the baroque interior was sobered to make it a Protestant church.
A restoration campaign in the 1980s brought back the churches baroque splendor. Besides works by Rubens the interior displays paintings by Gerard Seghers, Daniel Seghers, and Cornelis Schut.
On 30 August 2009 fire broke out again, but none of the important artworks were damage
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
Grote Markt no 1 : Le Roy d'Espagne (Dutch: Den Coninck van Spaignien), House of the Corporation of Bakers, built in 1696. Originally, the three bays to the right of the entrance formed an independent house, (Saint-Jacques) accessible by a door located rue au Beurre. The very dilapidated building was completely rebuilt in 1901–1902. It is decorated with busts of Saint Aubert (patron saint of bakers) and Charles II of Spain.
no 2–3 : La Brouette (Dutch: Den Cruywagen), House of the Corporation of Greasers since the 15th century, built in stone in 1644. The facade partly resisted the bombardment of 1695 and was rebuilt in 1697 under the direction of Jean Cosyn. Decorated by the statue of Saint Giles (patron saint of greasers), it was restored in 1912. The left door opened into a now disappeared alleyway that led onto rue au Beurre.
no 4 : Le Sac (Dutch: Den Sack), House of the Corporation of Carpenters, whose tools decorate the facade since the 15th century. Built in stone in 1644, partly spared by the bombardment, it was rebuilt by the carpenter Antoine Pastorana in 1697. This house was restored in 1912 by the architect Jean Seghers. Currently, "The House of the Belgian Master Chocolatiers" is located in this house.
no 5 : La Louve (Dutch: De Wolf), House of the Oath of Archers, built in 1690 by Pierre Herbosch. In 1696, the facade was rebuilt with a horizontal cornice, surmounted by a base where a statue was placed of a Phoenix rising from the ashes, symbol of the reconstruction of the city after the bombardment. The decorated pediment of Apollo was restored in 1890–1892 by the architect of the city of Brussels, Victor Jamaer, according to the original drawings. The bas-relief represents Romulus and Remus suckling the she-wolf.
no 6 : Le Cornet (Dutch: De Hoorn), House of the Corporation of Boatmen since the 15th century, rebuilt in 1697 by Antoine Pastorana who drew its gable in the shape of ship stern. The sculptures are by Pierre van Dievoet, and by a contract passed on April 3, 1697, the deans of the Trade of Boatmen entrusted to Pierre van Dievoet the execution of the whole sculpting of the facade. Restored from 1899 to 1902.
no 7 : Le Renard (Dutch: De Vos), House of the Corporation of Haberdashers since the 15th century, rebuilt in 1699. It contains bas-reliefs above the ground floor, allegorical sculptures of the four continents, and at the top, a now disappeared statue of Saint Nicholas, patron of haberdashers.
Vajont.
[testo tratto da www.vajont.net]
La frana che si staccò alle ore 22.39 dalle pendici settentrionali del monte Toc precipitando nel bacino artificiale sottostante aveva dimensioni gigantesche. Una massa compatta di oltre 270 milioni di metri cubi di rocce e detriti furono trasportati a valle in un attimo, accompagnati da un'enorme boato. Tutta la costa del Toc, larga quasi tre chilometri, costituita da boschi, campi coltivati ed abitazioni, affondò nel bacino sottostante, provocando una gran scossa di terremoto. Il lago sembrò sparire, e al suo posto comparve una enorme nuvola bianca, una massa d'acqua dinamica alta più di 100 metri, contenente massi dal peso di diverse tonnellate. Gli elettrodotti austriaci, in corto-circuito, prima di esser divelti dai tralicci illuminarono a giorno la valle e quindi lasciarono nella più completa oscurità i paesi vicini.
La forza d'urto della massa franata creò due ondate. La prima, a monte, fu spinta ad est verso il centro della vallata del Vajont che in quel punto si allarga. Questo consentì all'onda di abbassare il suo livello e di risparmiare, per pochi metri, l'abitato di Erto. Purtroppo spazzò via le frazioni più basse lungo le rive del lago, quali Frasègn, Le Spesse, Cristo, Pineda, Ceva, Prada, Marzana e San Martino.
La seconda ondata si riversò verso valle superando lo sbarramento artificiale, innalzandosi sopra di esso fino ad investire, ma senza grosse conseguenze, le case più basse del paese di Casso. Il collegamento viario eseguito sul coronamento della diga venne divelto, così come la palazzina di cemento, a due piani, della centrale di controllo ed il cantiere degli operai. L'ondata, forte di più di 50 milioni di metri cubi, scavalcò la diga precipitando a piombo nella vallata sottostante con una velocità impressionante. La stretta gola del Vajont la compresse ulteriormente, facendole acquisire maggior energia.
Allo sbocco della valle l'onda era alta 70 metri e produsse un vento sempre più intenso, che portava con se, in leggera sospensione, una nuvola nebulizzata di goccioline. Tra un crescendo di rumori e sensazioni che diventavano certezze terribili, le persone si resero conto di ciò che stava per accadere, ma non poterono più scappare. Il greto del Piave fu raschiato dall'onda che si abbatté con inaudita violenza su Longarone. Case, chiese, porticati, alberghi, osterie, monumenti, statue, piazze e strade furono sommerse dall'acqua, che le sradicò fino alle fondamenta. Della stazione ferroviaria non rimasero che lunghi tratti di binari piegati come fuscelli. Quando l'onda perse il suo slancio andandosi ad infrangere contro la montagna, iniziò un lento riflusso verso valle: una azione non meno distruttiva, che scavò in senso opposto alla direzione di spinta.
Altre frazioni del circondario furono distrutte, totalmente o parzialmente: Rivalta, Pirago, Faè e Villanova nel comune di Longarone, Codissago nel comune di Castellavazzo. A Pirago restò miracolosamente in piedi solo il campanile della chiesa; la villa Malcolm venne spazzata via con le sue segherie. Il Piave, diventato una enorme massa d'acqua silenziosa, tornò al suo flusso normale solo dopo una decina di ore.
St. Charles Borromeo Church (Dutch: Sint-Carolus Borromeuskerk) is a church in central Antwerp, located on the Hendrik Conscience square. It was built in 1626 as the Jesuit church of Antwerp, which was closed in 1773. It was rededicated in 1779 to Saint Charles Borromeo. The church was formerly known for 39 ceiling pieces by Rubens that were lost in a fire when lightning struck the church on 18 July 1718.
The church was inspired by the Church of the Gesu, the mother church of the Society of Jesus, a Roman Catholic religious order also known as the Jesuits. The church was built next to the Huis van Aecken, bought from the heirs of Erasmus II Schetz. It was the first church in the world to be dedicated to the Jesuit founder, Ignatius Loyola.
In 1617-1618 Rubens painted two altarpieces. He was also commissioned to paint the ceiling pieces, for which he made the designs while the execution was done mostly by pupils, including Anthony van Dyck. A contract was drawn up in 1620 by Jacobus Tirinus and the paintings were delivered a year later in time for the consecration. Rubens received 7,000 guilders for his works in the church, and though the lavish decorations including sculptures and other artwork were well received, Tirinus was dismissed in 1625 for going beyond his budget.
In 1718 the vault of the nave, including Rubens' ceiling paintings, was destroyed by fire. Jan Pieter van Baurscheidt the Elder restored the damaged parts according to the original plan, but replaced the original coffers with wide transverse arches. In 1773 the Society of Jesus was suppressed and the building was confiscated. It reopened in 1779, renamed St.-Carolus Borromeuskerk, after Charles Borromeo.
Since 1803 the St.-Carolus Borromeuskerk has been in use as a parish church. During the Dutch reign preceding Belgium's independence in 1830 the baroque interior was sobered to make it a Protestant church.
A restoration campaign in the 1980s brought back the churches baroque splendor. Besides works by Rubens the interior displays paintings by Gerard Seghers, Daniel Seghers, and Cornelis Schut.
On 30 August 2009 fire broke out again, but none of the important artworks were damage
Kodachrome 35mm Film. The mount indicates that it is from 1963-1964. Circus Elephant with balloons near the Circus Train. The Royal American Shows existed from the 1920s to the 1990s. The Circus moto was World’s Largest Midway. PHOTO/Carroll Seghers II, 1924-2004. J. S. Dorton Arena in the background is located at 1026 Blue Ridge Rd., in the Raleigh, North Carolina state fairgrounds complex
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
Gerard Seghers, 1591-1651, oil on canvas.
I am always in awe of painters/painting where such dramatic lighting is captured. I love the details and expressions on their faces.
Toscana. Lucca. Fabbriche di Vallico.
Quota ingresso 490 metri slm
Dislivello 230 metri
Calate 14
Verticale max 13 metri.
Materiale: 2 corde da 30 metri.
Navetta: si
Itinerario di accesso. Percorrendo la statale 445 che da Lucca si dirige verso Castelnuovo di Garfagnana svoltare al bivio a sinistra per il paese di Fabbriche di Vallico, che si trova nella valle del fiume Turrite cava. Dopo avere imboccato questa strada , si passeranno alcune strette gallerie, fiancheggiando un lago artificiale, in cima al quale si trova un ristorante. Dopo altri due KM si incontrano, a sinistra, una cartiera, una segheria, dopo la segheria un rettilineo e un ponte con uno spiazzo a destra accanto a delle case in rifacimento. Qui si lasciano le auto prima della navetta. Nel punto dove si lasciano le auto si trova uscita dalla forra.
Per raggiungere l' ingresso della forra si dovrà proseguire, con la macchina, per circa un KM, fino al cartello che segnala il paese di Fabbriche di Vallico. Subito dopo il cartello che segna l' inizio del paese, una strada stretta, a destra, in salita conduce a Fabbriche di Sotto ( 3 KM ), nel centro del paesino di Fabbriche di Sotto, una deviazione a destra, in forte discesa, conduce al cimitero del paese, vicino all'ingresso del torrente, dove si lasciano le auto.
There are many coves and bays to explore throughout Bali and Lombok. This is just around the corner from Segher Beach (AKA Secrets or Cigars) which is a fun surfing spot. The coconuts are delicious, Bintangs are cold, water is warm and the sunsets are beautiful.
**Press "L" to view in the Lightbox**
Visita del Presidente del Pefc Internazionale, Bill Street, all'IFA, azienda specializzata nella realizzazione di sedie in legno certificato Pefc.
Pierre Seghers: Le livre d'or de la poésie française contemporaine, de 1940 à 1960
volume 1
Bibliothèque Marabout
Editions Gérard - Verviers, Belgique, 1969
couverture: création de Klaus Grunewald
Daniel Seghers (1590-1661) and Erasmus Il Quellin (1607-78) - Garland of flowers with Madonna and Child, c1644
mio padre aveva una segheria e l'odore del legno tagliato di fresco mi è rimasto nella memoria olfattiva
my father had a sawmill and I remember the fragrance of wood just cut
The Golden Compass
The manuscript room is dominated by a large painting by Gerard Seghers ( Antwerp, 1591 - Antwerp 1651 ). He was a painter, art collector and dealer. He mainly produced genre paintings, large religious and allegorical pieces. His first works are influenced by Caravaggio, whose work he got to know during an Italy trip. Later, he chose a more idealised treatment with chiaroscuro, the close-up technique and exaggerated expression. After 1630, the light in his works becomes more evenly spread and his paintings show architectural motifs, clouds and landscape elements.
Museum Plantin – Moretus: www.museumplantinmoretus.be/en
Gerard Seghers - Adoration by the Shepherds - before 1649
Start of the story: www.flickr.com/photos/38700906@N02/51302173511/in/datepos...
De manuscriptenzaal wordt gedomineerd door een groot schilderij van Gerard Seghers ( Antwerpen, 1591 – Antwerpen 1651 ). Hij was een schilder, kunstverzamelaar en –handelaar. Hij maakte voornamelijk genrestukken, grote religieuze en allegorische stukken. Zijn eerste werken staan onder invloed van Caravaggio, wiens werk hij leerde kennen tijdens een Italië-reis. Later kiest hij voor een meer geïdealiseerde behandeling met clair-obscur, de close-uptechniek en een overdreven expressie. Na 1630 wordt het licht in zijn werken gelijkmatiger verspreid, tonen zijn schilderijen architecturale motieven, wolken en landschapselementen.
Museum Plantin – Moretus: www.museumplantinmoretus.be/nl
Gerard Seghers – " – vóór 1649
Het verhaal van de Gulden passer begint hier: www.flickr.com/photos/38700906@N02/51302173511/in/datepos...
Le Compas d'or
La salle des manuscrits est dominée par un grand tableau de Gerard Seghers (Anvers, 1591 - Anvers 1651). Il était peintre, collectionneur et marchand d'art. Il a principalement produit des peintures de genre, de grandes pièces religieuses et allégoriques. Ses premières œuvres sont influencées par Caravage, dont il a appris à connaître le travail lors d'un voyage en Italie. Plus tard, il choisit un traitement plus idéalisé avec le clair-obscur, la technique du gros plan et l'expression exagérée. Après 1630, la lumière dans ses œuvres devient plus homogène et ses peintures présentent des motifs architecturaux, des nuages et des éléments de paysage.
Musée Plantin – Moretus: www.museumplantinmoretus.be/fr
Gerard Seghers - L'adoration par les bergers - avant 1649
L'histoire du Compas d'or commence ici : www.flickr.com/photos/38700906@N02/51302173511/in/datepos...
Domenica 29 dicembre 2013 ore 16
Segheria Veneziana, Sega di Terragnolo
presentazione del volume
La montagna dal cuore di perla
di Marco Lando, Sara Maino, Michelangelo Spagnolli
Edizioni Osiride 2013
mainosara.wordpress.com/2013/12/21/la-montagna-dal-cuore-...
Foto Luca Fornasa
Frédéric Boyer: Pierre de Ronsard
Pierre Seghers éditeur - Paris, 1958
collection "Poètes d'huer et d'aujourd'hui", n° 1
Dictionnaire des mots rares et précieux
Editions 10 /18 - Paris, 2003
Domaine français, dirigé par Jean-Claude Zylberstein, n° 2782
© Editions Seghers, 1965
couverture: photo Dominike Duplaa
The city in the country
The Kanaal Site of an old malting complex along the Albert Canal in Wijnegem near Antwerp Belgium is found to be the ideal setting for new living concepts. The former industrial context, with its cavernous and labyrinthine spaces, proves to be a surprisingly apt situation for apartments and lofts that are all different from each other and commercial space for the firm of Axel Vervoordt, a renowned design and antique dealer. They are situated in the former silo's of 10 storeys high by Seghers and Beel architects. Cube apartments by Bogdan and Van Broeck Architects; the remodelled former warehouses by Coussée and Goris Architects.