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Very Old machine it is one of the effects of the English colonization of Egypt
Are currently in one of the old houses whos owned by one of the very poor Egyptians in a very very poor area.
The most IMPORTANT ISSUE is that no one knows its there and no one knows the value of this ...ARCHEOLOGICAL...MACHINE...
...UNTIL NOW !!!
...IMAGINE THAT ...?!?!?!
Brazos Bend State Park
The coypu (from the Mapudungun, koypu) or nutria (Myocastor coypus), is a large, herbivorous, semiaquatic rodent and the only member of the family Myocastoridae. Originally native to temperate South America, it has since been introduced to North America, Europe, Asia, and Africa, primarily by fur ranchers. Although it is still valued for its fur in some regions, its destructive feeding and burrowing behaviors make this invasive species a pest throughout most of its range. Thank you Wikipedia
27 April 2021, Woman selling tilapia on the market in Abengourou, Côte d'Ivoire. Tilapia represents a source of affordable and safe supply of animal protein in Côte d'Ivoire.
FISH4ACP aims to stimulate sustainable growth of the tilapia sector to create jobs and provide an income for the rural population. FISH4CP is an initiative of the African, Caribbean and Pacific Group of States (OACPS) implemented by FAO with funding from the European Union (EU) and the German Federal Ministry for Economic Cooperation and Cooperation and Development (BMZ).
More on FISH4ACP Côte d’Ivoire: www.fao.org/in-action/fish-4-acp/where-we-work/africa/cot...
Project: GCP /GLO/028/EC
Photo: ©FAO/Sia Kambou
Farmer Anton Roets measures irrigation at Goue Akker Farm, which supplies milk to the Nestlé factory in Mossel Bay, South Africa.
magneticpic.posterous.com/911-9-years-later
Caption :Anti-Abortionist rally near Ground Zero displaying the photo of a dismembered fetus.
united |yoōˈnītid| |juˈnaɪd1d|
adjective
joined together politically, for a common purpose, or by common feelings.
I had always thought I was a veteran, a hardened and at times even a bit cynical newsman, until that September eleven.
Years of travel to disaster areas and war zones did not prevent me to get deeply touched and traumatized by the events of nine years ago right in the heart of the city I call home.
When the twin towers were brought down I spent over four uninterrupted weeks in the area of what soon came to be known as “Ground Zero”, working for a television network.
We witnessed and reported the stupor, the incredulity and the sheer pain at first and later on, as the days passed by, the human strength, the heroism and civic values of the American people.
One of the things that helped me most in surviving emotionally such a horrible experience was the sense of togetherness and unity I could perceive around me, all the time.
While from the destroyed buildings noxious fumes kept smoldering up to the heavens for many days and the streets were covered in dust, shattered glass, burned papers and even human remains, we were all doing our jobs in unison.
From us in the press to the police and the fire brigades, whose heroism was truly relentless, to the many doctors who rushed to the scene, to sanitation workers with their unpleasant and most difficult task of cleaning up the mess, to the many NYC citizens, cheering to the rescue vehicles passing by and offering their time and labor in many supportive activities.
It was a truly horrible moment in American history, and we all silently understood it, deep inside ourselves. At the same time, I think it was one of the highest peaks, at least in my lifetime, of social union, as, in spite of the dreadful situation, we were all strongly focused towards common goals and feeling truly blessed for living in this country.
As the years went by, a lot of things in America, the world and even inside my soul have changed.
Although I sometimes returned to ground zero, to report about the commemorative events that take places there every September eleven, to this day I don’t particularly enjoy going south of Canal street since my month-long permanence in that area nine years ago. Whenever I do, memories suddenly become too vivid and I even have flashbacks, I smell the deadly smell again, I hear the sirens, and I have distressing feelings of total, unrecoverable loss that leave me quite unsettled.
This morning I woke up really early, feeling a little under the weather (or perhaps just a day older). I decided not to go to ground zero and instead pay my respect, have my moment of silence, in private.
Then, all of the sudden, I changed my mind and a little later I found myself emerging from a subway station in that area I unfortunately know so well.
I witnessed two main events, a city block away from each other: a rally in favor of the controversial Mosque, which is to be built nearby, and a rally by radical anti-abortionists. I took a few shots of both events and, despite my absolute respect, unobtrusiveness and a police press pass around my neck, I managed to be shoved rather impolitely in my chest, while I was taking a shot, by a Lieutenant screaming “and next time I’ll take your camera from you”.
Soon I had enough.
I don’t even want to attempt a judgment about what I saw. I’ll just say that my visit to ground zero didn’t allow me see much unity or civic values today. I think, had it not be for the massive police presence, most of the people there, some them screaming “Allah Akbar” in a megaphone, others kneeling to Jesus Christ in front the poster of a dismembered fetus, would have gladly tried to slash each others throat.
Pamukkale; was added to the UNESCO World Cultural Heritage list because of the glorious and beautiful white travertines and the historical values of Hierapolis Ancient City. For the cottony view offers a unique taste, Pamukkale called as the 8th wonder of the world. Pamukkale is in Denizli which was situated at the western part of the Turkey. A magnificent Pamukkale and mysterious Ancient City Hierapolis waiting for visitors with it's unique travertines, ancient Roman theatre, ancient pool, thermal hot springs, monumental tomb of St.Philippe who is descipe of Jesus, most magnificent Necropolis of Anatolia, earthquake tracks which was caused to collapse the ancient city
Hierapolis (Greek: Ἱεράπολις 'holy city') was the ancient Greek city on top of hot springs located in south western Turkey near Denizli.
Hierapolis is a UNESCO World Heritage Site. The hot springs there have been used as a spa since the 2nd century BCE, and people came to soothe their ailments, with many of them retiring or dying here. The large necropolis is filled with sarcophagi, including the Sarcophagus of Marcus Aurelius Ammianos.
The great baths were constructed with huge stone blocks without the use of cement, and consisted of various closed or open sections linked together. There are deep niches in the inner section of the bath, library, gymnasium and other closed or open locations. The complex, which was constructed in the 2nd century BCE, constitutes a good example of vault type architecture. The complex is now an archaeological museum
West Adams Heights
“Nowadays we scarcely notice the high stone gates which mark the entrances on Hobart, Harvard, and Oxford streets, south of Washington Boulevard. For one thing, the traffic is too heavy, too swift; and then, again, the gates have been obscured by intrusions of shops and stores. At the base of the stone pillars appears the inscription “West Adams Heights.” There was a time when these entranceways were formidable and haughty, for they marked the ways to one of the first elite residential areas in Los Angeles. . . In the unplanned early-day chaos of Los Angeles, West Adams Heights was obviously something very special, an island in an ocean of bungalows—approachable, but withdrawn and reclusive—one of the few surviving examples of planned urban elegance of the turn of the century.”
- Carey McWilliams, “The Evolution of Sugar Hill,” Script, March, 1949: 30.
Today West Adams Heights is still obviously something special. The past sixty years, however, have not been kind. In 1963 the Santa Monica Freeway cut through the heart of West Adams Heights, dividing the neighborhood, obscuring its continuity. In the 1970’s the city paved over the red brick streets and removed the ornate street lighting. After the neighborhood’s zoning was changed to a higher density, overzealous developers claimed several mansions for apartment buildings. Despite these challenges, however, “The Heights,” as the area was once known, has managed to regain some of its former elegance.
The West Adams Heights tract was laid out in 1902, in what was then a wheat field on the western edge of town. Although the freeway now creates an artificial barrier, the original neighborhood boundaries were Adams Boulevard, La Salle Ave, Washington Boulevard, and Western Avenue. Costly improvements were integrated into the development, such as 75-food wide boulevards (which were some of the first contoured streets not to follow the city grid), lots elevated from the sidewalk, ornate street lighting, and large granite monuments with red-brass electroliers at the entrance to every street. These upgrades increased the lot values, which helped ensure the tract would be an enclave for the elite.
One early real estate ad characterized the neighborhood stating: “West Adams Heights needs no introduction to the public: it is already recognized as being far superior to any other tract. Its high and slightly location, its beautiful view of the city and mountains make t a property unequaled by any other in the city.”
The early residents’ were required to sign a detailed restrictive covenant. This hand-written document required property owners to build a “first-class residence,” of at least two stories, costing no less than two-thousand dollars (at a time when a respectable home could be built for a quarter of that amount, including the land), and built no less than thirty-five feet from the property’s primary boundary. Common in early twentieth century, another clause excluded residents from selling or leasing their properties to non-Caucasians.
By the mid 1930’s, however, most of the restrictions had expired. Between 1938 and 1945 many prominent African-Americans began to make “The Heights” their home. According to Carey McWilliams, West Adams Heights became known “Far and wide as the famous Sugar Hill section of Los Angeles,” and enjoyed a clear preeminence over Washington’s smart Le Droit Park, St. Louis’s Enright Street, West Philadelphia, Chicago’s Westchester, and Harlem’s fabulous Sugar Hill.
West Adams Heights, now also known as Sugar Hill, played a major role in the Civil Rights movement in Los Angeles. In 1938 Norman Houston, president of the Golden State Mutual Life Insurance Company, and an African-American, purchased a home at 2211 South Hobart Boulevard. Legal Action from eight homeowners quickly ensued. During that period, other prominent African-Americans began to make Sugar Hill their home – including actress Hattie McDaniels, dentists John and Vada Summerville, actress Louise Beavers, band leader Johnny Otis, and performers Pearl Baily and Ethel Waters, and many more. On December 6, 1945, the “Sugar Hill Cases” were heard before Judge Thurmond Clark, in LA Superior Court. He made history by become the first judge in America to use the 14th Amendment to disallow the enforcement of covenant race restrictions. The Los Angeles Sentinel quoted Judge Clark: “This court is of the opinion that it is time that [African-Americans] are accorded, without reservations and evasions, the full rights guaranteed them under the 14th Amendment.” Gradually, over the last century people of nearly ever background have made historic West Adams their home.
The northern end of West Adams Heights is now protected as part of the Harvard Heights Historic Preservation Overlay Zone (HPOZ). The Historic West Adams area of Los Angeles (which includes West Adams Heights) boasts the highest concentration of turn-of-the-century homes west of the Mississippi, as well as the highest concentration of National Historic Landmarks, National Register of Historic Places, National Historic Districts, State Historic Landmarks, Los Angeles Cultural-Historic Monuments, and Historic Preservation Overlay Zones in the city. The entirety of West Adams Heights should be nominated as a National Register Historic District, for the quality of homes, the prominence of the architects, notoriety of the people who lived in the neighborhood, and the role it played in civil rights.
Perhaps a quote adapted from a fireplace mantle in the Frederick Rindge mansion best symbolizes the optimism which exists in West Adams: “California Shall be Ours as Long as the Stars Remain.”
19 – James G & Rose Ganahl Donovan Residence – 2179 W 20th St, Moved from 2202 S Western Ave – 1903 – Robert Brown Young
James Donovan began as an apprentice to a watch maker in Aurora, IL, working his way up to Lead Mechanic and an eventual partner in the company, before branching into jewelry on his own. Accompanied by his sister in 1894 he came to Los Angeles for a month’s long vacation. At the end he decided to stay one more week – then three more months – and then founded to stay. He began Donovan & Seaman’s Co on Spring St, near Temple, when it was the heart of the LA’s shopping district. He later moved the store to 3rd & Spring St, then 7th & Broadway. When he built his residence, he chose a prominent location, placing it directly in front of the Berkeley Square gates, on the southeast corner of Western Ave and 22nd St. The home was designed by R B Young in a Transitional Victorian/Craftsman style, leaning more toward the Victorian. Young was a prolific architect in Los Angeles, designing many homes and office buildings, including the Vickery-Brunswig Building, San Fernando Building and Clifton’s Brookdale. The house was moved to its present location in 1929 as Western Ave transitioned to a commercial thoroughfare and the street was widened.
20 – Paul W Hoffmann Residence – 1926 S Western Ave – 1904
Charles Albert Rockwell was a partner in the building firm Martin & Rockwell, and through his company built several houses in West Adams Heights, on Western Avenue, including: 1926, 1962 and 2020 S Western Ave. He himself lived at 1962 S Western Ave before moving down the street to 2020 S Western Ave. This Transitional Craftsman/Victorian house he sold to Paul Hoffmann, dealing in loans and real estate. While most of the houses along the commercial corridors have vanished, this house and a few others, have managed to survive mostly intact.
21 – Ellis Doughl and Alphonso Barmann Residence – 1934 S Western Ave – 1905
A 1905 property permit to the building firm Pool & Jones suggests this is one of the few properties in West Adams Heights built on spec (speculation of a perspective buyer). The home was purchased by Ellis Doughl – who may or may not have lived on the property. In 1911 Newton H Foster, a junior clerk for the Santa Fe, appears to be renting the property, and in 1912 the property is sold to F Barmann for $7,500. The 1915 City Directory shows Alphonso (Gen Contr), Herbert (Mach), Natalie (Tchr) and Walter (Mach) Barmann at the property. They had moved from their house on the other side of the Heights at 2047 La Salle Ave. Alphanso Barmann was given the general contract for construction of the 10 story Higgins Building in 1909. The house is Transitional Craftsman/Victorian with strong Colonial influences.
22 – Hans B & Ethyleen Nielsen Residence – 2010 S Western Ave – 1911
Built in the “Elizabethan Style” common at the time, this large Transitional Craftsman/Victorian incorporates half timbering and pebble-dash stucco into the design. It appears to have been built for Hans B and Ethyleen Nielsen.
23 – The Santa Monica Freeway – 21st to 22nd Streets – Originally called the Olympic Freeway – 1964
Like a river cutting through the heart of West Adams Heights, the Olympic Freeway as it was first called claimed approximately one-third of the homes, and some of the most significant. The entire block between 21st and 22nd Streets, on Western, Harvard, Hobart and LaSalle were demolished for the project. The prestigious “Harvard Circle” part of West Adams Heights was completely wiped off the map, with only vague and cryptic references left in newspapers and books. This canyon creates a permanent barrier in a once cohesive neighborhood. Plans for the Olympic Freeway were laid out in the 1947, coincidentally occurring a year after racial covenants were determined to be illegal and African-Americans gained the rights to live in the neighborhood. For almost 20 years, until the freeway’s completion in 1964, black leaders called on the city and the State of California to move the path of the freeway to Washington, Venice or Pico, to spare West Adams Heights, or Sugar Hill as it was becoming known. However, the commission overseeing the project ignored them. Even Mayor Bowron participated in efforts to spare Berkeley Square and West Adams Heights, but members of the commission were unmoved. In the early 1960’s the construction equipment arrived, the houses were removed, and one of LA’s most prestigious enclaves was divided.
24 – Kate A Kelley Residence – 2205 S Hobart Blvd – 1905 – Sumner P Hunt and Arthur Wesley Eager
The architecture team of Hunt & Eager designed this home for Kate A Kelley, the widow of John Kelley. She lived there with her sister Jennie MacKay. By 1915 the house was owned by Abram C Denman, Jr., th vice president and general manager of the Southern California Iron and Steele Company. As a boarding house run by the Agape Mission, the house has fallen on hard times, with stucco, an enclosed porch and aluminum windows. But with some time, money and love, the house could be restored.
25 – John & Gertrude D Kahn and Norman O & Edythe Houston Residence – 2211 S Hobart Blvd – 1911 – Milwaukee Building Company
The Kahn-Houston Residence is arguably one of the most important houses in West Adams Heights. It deserves to be a National Register of Historic places. Unfortunately, at this time (2014) its fate is uncertain. The Agape Mission, which has run an illegal boarding house from the property and from 2205 S Hobart, has recently been closed and both properties appear to be in receivership. This house is so important to the historic fabric of the community because it was the home of Norman O Houston, President of the Golden State Mutual – an insurance company for black Americans who could not obtain insurance from white-owned companies at an affordable price. See the Wikipedia article: en.wikipedia.org/wiki/Norman_O._Houston In 1938 Houston (then Vice-President) purchased the home. Wealthy white owners of the neighborhood prevented him from living in his home by re-establishing the “West Adams Heights Improvement Association,” and attempting to codify the rule preventing non-Caucasians from owning or renting property. In 1945 Norman Houston and the other black property owners won the right in court to legally live in the neighborhood. The house had been originally built for John Kahn, an early pioneer to Los Angeles who first came to Oakland, CA, around 1889 with his brother and opened a dry goods store. John moved to Los Angeles 3 years later and opened a large store in the ground floor of the Nadeau Hotel at 1st & Spring. Around 1897 he sold the enterprise and in 1899 incorporated with Jakob Beck to form Kahn-Beck, manufacturing food stuff, including: “All kinds of candy, macaroni and pastas of all kinds.” The company then grew into one of the largest biscuit making companies as the Kahn-Beck Cracker Company, or Kahn Beck Biscuit Company, and Angelus Biscuit Company. John Kahn passed in 1919. The house built in 1911 by the Milwaukee Building Company is in an avant-garde Spanish/Prairie style.
26 – James D & May C Smith and Louise Beavers-Moore & LeRoy C Moore Residence – 2219 S Hobart Blvd – 1904 – Frank M Tyler
For his first home in West Adams Heights, pioneer real estate developer Richard D Richards commissioned Frank M Tyler to build a 16-room English-styled mansion in 1904. Richards sold the property to James D Smith two years later, moving to another Tyler mansion at 2237 S Hobart Blvd and then to 2208 S Western Ave, where the Richards family lived until 1925. James Smith was proprietor of the James Smith & Co, a clothing store of the finest “ready-made” Franklin Brand clothing for men, established in 1902. For years the company operated from the Bryson Block, before relocating to the more fashionable Broadway. In the early 1940’s Louise Beavers joined Norman Houston (2211 S Hobart Ave) and Hattie McDaniel (2203 S Harvard Blvd) in the Heights. Louise Beavers was a talented actress, acclaimed for her role in Imitation of Life as Delilah. en.wikipedia.org/wiki/Louise_Beavers Louise was married to her second husband, LeRoy C Moore in 1952. LeRoy was a well-known interior decorator. Together the two lived at this house until Louise’s death in October, 1962, and LeRoy’s death four months later in February, 1963. At first glass the Smith-Beavers Residence appears to be completely remodeled, but comparing it to original renderings little has changed. The front left dormer is missing and at some point someone thought it would be a good idea to cover the house in Sears siding (the original siding is probably underneath). But other than having been divided, the house’s integrity remains intact.
27 – Ellen H (Mrs. Melville Morton) Johnston and Curtis & Ellen Williams Residence (Demolished) – 2237 S Hobart Blvd – 1906 – Frank M Tyler
The second residence in West Adams Heights built for Richard D and Cynthia J Richards, in 1906, has been replaced with a 1950’s apartment building. The first Richards home was located at 2219 S Hobart Blvd (the Smith-Beavers Residence). They lived at this house less than two years before relocating to 2208 S Western Ave, where the couple lived out their lives. This home was sold to Ellen H Johnston (Mrs Melville Morton). Melville Morton Johnston may have died April 3, 1892. If I’ve researched the correct person, he was originally from Clifton, Stanton Island, New York. (I mean, how many men named Melville Morton Johnston can there be? Right?) In 1911 Mrs. Johnson sold the house to Curtis Williams. Curtis died at the home in 1959, at the age of 89. Curtis Williams was a pioneering lumberman who came to Los Angeles in 1895. He was born in Oakland and reared in San Diego. He was an early member of the Los Angeles Country Club, the Jonathan Club, and University Club. The house was a rustic Transitional Victorian/Craftsman, having both elements, designed by Frank M. Tyler. It was a perfectly balanced house, whose presence looks more like it would have been designed by John Austin.
28 – Benjamin Johnson Residence – 2241 S Hobart Blvd – 1909 – G A Howard, Jr.
In 1909 Benjamin Johnson commissioned G A Howard to build this charming Transitional Craftsman/Victorian in an English Style. The cost in 1909 was a mere $10,000. As president of the Los Angeles Public Market Co (a company owned by Pacific Electric), he could well afford the cost – as well as a domestic, cook and chauffeur. What he could not afford, however, was a scandal involving his under-aged rebel daughter Estelle. In 1914, on a return trip from finishing school in Washington, DC, after a brief visit to her grandfather in Chicago. For eluded reasons, she was hastily married to Mr. Terrance Ryan. To employ his new son-in-law, Mr. Johnson purchased a produce company and gave Mr. Ryan a position and a promise of a bungalow. This appears not to have been enough, and the Johnsons were forced to petition the courts for the divorce of their daughter and Mr. Ryan on grounds he could not provide. The Johnsons must have been scandalized when the entire affair was laid out in the Los Angeles Times society pages.
29 – John Newton & Annie Berdella Evans Russell Jr. Residence – 2263 S Hobart Blvd – 1906
Above the portico of this residence is the address “2249” S Hobart Blvd, however its legal address (according to the tax assessor’s maps) is actually 2263 S Hobart. The confusion is understandable. The property sits on three lots from what would have been 2249 (where the house actually sits) to the actual address of 2263 (which is the furthest lot south from the house). At this time the architect is unknown, but shows the adept hand of someone like Robert D. Farquar, who designed the John and Dora Haynes mansion on Figueroa in a similar style (demolished), or B. Cooper Corbett, responsible for the magnificent Denker Mansion on Adams Blvd. The house is an Italian Villa, in a Florentine style, years before the practice of designing thematic houses became popular in Los Angeles. This was the home of John Newton Russell, Jr., an insurance man. He was raised mostly in Waco, TX, before moving to Los Angeles with his father, also in the insurance business. Russell ran the Colorado branches of the Frederick Rindge’s Conservative Life Company, before the 1906 San Francisco earthquake. When the company was absorbed into Pacific Mutual, and moved to Los Angeles, Russell was recalled from Colorado to run the “Home Office.” Mr. Russell continued his success in the insurance industry, just as his wife enjoyed great social success. In 1942, their son, John Henry Russell, established the John Newton Russell Memorial Award, as a tribute to his father and mentor, recognizing the accomplishments and contributions of made by an individual in the insurance industry. This is the highest honor awarded by the National Association of Insurance and Financial Advisors (NAIFA), given each year. NAIFA is one of the nation’s oldest and largest associations representing professionals in the insurance and financial industries.
Grocery Outlet & Jo-Ann Fabrics Hanover, PA. Former Value City Department Store and Amelia's Grocery Outlet.
Data Value Hub
“How can Artificial Intelligence enable growth for SMEs”? Looking forward to hearing presentation on this topic for local SME's. datavaluehub.com/about-us/
Two of the 31 000 schoolchildren in Peru who are learning about healthy eating in an enjoyable way through Nestlé’s “Crecer Bien” programme. Crecer Bien is a Nutritional Education Programme at Public Schools that contributes to reducing
malnutrition levels through an educational strategy that introduces nutritional and hygiene habits as pivots in children’s education.
台北市自來水博物館Taipei City,Taipei Water Park
Camera Model : Canon EOS 7D
Shooting Mode : Aperture-Priority AE
Tv( Shutter Speed ) : 1/10
Av( Aperture Value ) : 2.8
Metering Mode : Center-Weighted Average Metering
ISO Speed : 200
Lens : EF-S17-55mm f/2.8 IS USM
Focal Length : 43.0mm
Flash Type : External E-TTL
E-TTL II flash metering : Evaluative flash metering
Shutter curtain sync : 1st-curtain sync
White Balance Mode : Auto
AF Mode : One-Shot AF
AF area select mode : Manual selection
Picture Style : Neutral
Sharpness : 7
Contrast : -4
Saturation : -4
Color tone : 2
影像品質 : RAW(Canon DPP)直轉JPEG檔
無後製Non-HDR No Photoshop
版權所有不得轉載 © All rights reserved
Please don't use this image on websites, blogs or other media
without my explicit permission.
In the news this week it was revealed that some supermarkets were selling the new Harry Potter for less than the wholesale price. So much so that some independant booksellers will be buying them from Tesco to sell in their shops.
They are going to rather disappointed when they see the new cover.
The Škoda Rapid Convertible
(cabriolet) was remarkable value for money when sold in the UK in the Mid-1980s. Converted for Škoda (UK) from standard cars by Ludgate Designs in Kent, the (now rare) convertible was considerably cheaper than other new soft-topped cars on the market. It was a good drive, too. Autocar described the car as "the poor man's Porsche", and they are now sought after vehicles. This - probably the best one surviving - was taking part in this years SALT Rally, and was snapped at the Three Swans Hotel, Market Harborough.
The SALT Rally 2012 (SALT SIX) was held around Market Harborough. The SALT Rallies are for vehicles built in the Cold War period, and the events tour Cold-War related venues. Most of the participating vehicles come from the Soviet Bloc, but there is no political element, implied or actual in the SALT ethos.
Visit the Communist Classic Cars Panorama!
Camera: Nikon F5
Lens: Nikkor 28-80mm zoom
Film: Kodak Ektar 100
Henry van de Velde (1863-1957)
Writing Desk Presented at the XIVth Secession Exhibition, 1900
Brussels, 1898
Execution: unknown
Solid ash; brass
Henry van de Velde (1863-1957)
Schreibtisch, präsentiert auf der XIV. Secessionsausstellung 1900
Brüssel, 1898
Ausführung: unbekannt
Eschenholz: massiv; Messing
H 2039/1954, Widmung zum Andenken an den Präsidenten des Vereines der Museumsfreunde
dedication in memory of the president of the Association of Friends of the Museum, Dr. Felix Freiherr von Oppenheimer
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.
Record number: landon allen .A43 A653 1897
Author: Allen, Grant, 1848-1899
Title: At market value
Imprint: London: Chatto & Windus, 1897
Extent: 175 x 120 mm.
Rights info: No known restrictions on access
Repository: Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario Canada, M5S 1A5, library.utoronto.ca/fisher
May 13, 2015 | The Role of Philanthropy in Shared Value, featuring FSG's Mark Kramer, Walmart Foundation's Kathleen McLaughlin, and Ford Foundation's Darren Walker.
Some of the values artists value. Croudsourced values, part of *For the Love of it*, Artquest, London 2013