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Fernseh Abenteuer / Heft-Reihe
Neuer Tessloff Verlag
(Hamburg / Deutschland; 1960-1964)
Copyright: Sreen Gems Inc. / USA 1961
Reprint: from Rin Tin Tin and Rusty (Dell, 1957 series) #25 (June-July 1958)
ex libris MTP
A hiking trail in Svalbard.
As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.
Die Abenteuer des Mister Rox / Buch-Reihe
Heinz Rox-Schulz / Himmel und Hölle Indien
Umschlag und Einband: E. Dickmann
Bertelsmann Verlag / Deutschland 1957
ex libris MTP
de.wikipedia.org/wiki/Heinz_Rox-Schulz
www.sr.de/sr/home/der_sr/so_wurden_wir_was_wir_sind/gesch...
Fernseh Abenteuer / Heft-Reihe
Neuer Tessloff Verlag
(Hamburg / Deutschland; 1960-1964)
Copyright: Generla Mills, Inc. / USA 1962
ex libris MTP
Fernseh Abenteuer / Heft-Reihe
Neuer Tessloff Verlag
(Hamburg / Deutschland; 1960-1964)
Copyright: Sreen Gems Inc. / USA 1961
Reprint: from Rin Tin Tin and Rusty (Dell, 1957 series) #23 (February-March 1958)
ex libris MTP
Reger Verkehr von China nach Vietnam und zurück. Oft werden die Waren mit LKWs zur Grenze gebracht, dann per Hand über die Grenze, um dann auf der anderen Seite wieder auf LKWs verladen zu werden
finished this whimsical drawing with a multitude of colored pencils. i tried to use just one brand - Pablos, but then started grabbing others for the perfect color.
Das Land der Abenteuer by Rita Berman
jan 04, 2025
i chose this drawing partly because of the black sky already printed on the page! let's hear it for more black backgrounds.
i thought the rest of the page would be an easy and simple coloring.
BUT THOSE CLOUDS! holy cow, they were SO hard, involved way too much erasing, standing on the porch looking at storm clouds in the sky, more erasing and finally just cussing loudly and saying "WHATEVER"
special thanks to @ZucchiniKitty for inspiration for the hot air balloon colors.
media: colored pencils: Caran d'ache Pablo, Faber Castell Polychromos, Holbein, Caran d'ache Luminance, Derwent Lightfast — purples.
Hnihuy white gel pens
Pentel Hybrid gold gel pen
Dick Blick studio blender pencil
Derwent drawing Chinese White
Fernseh-Abenteuer / Heft-Reihe
Neuer Tessloff Verlag
(Hamburg / Deutschland; 1964)
Copyright: ZIV-United Artists, Inc. / USA 1962
ex libris MTP
German collectors card in the series 'Vom Werden deutscher Filmkunst - Der Tonfilm', album no. 11, image no. 87. Photo: Itala-Film / Ross Verlag. Gustav Fröhlich in Abenteuer eines jungen Herrn in Polen/Love and Alarum (Gustav Fröhlich, 1934).
Smart German actor Gustav Fröhlich (1902-1987) played Freder Fredersen in the classic Metropolis (1927) and became a popular star in light comedies. After the war he tried to escape from the standard roles of a charming gentleman with the part of a doomed painter in Die Sünderin (1951), but the effort went down in a scandal.
Gustav Friedrich Fröhlich was born an illegitimate child in Hannover, Germany in 1902. His father, Gustav König, was a well-known engineer, and his mother Hedwig Therese Sophie Fröhlich, the daughter of a worker. Gustav was raised by foster parents. His foster family moved around western Germany a lot while he was growing up, living in cities like Wiesbaden and Wurzburg. He studied at the Homuth Realgymnasium Friedenau in Berlin. During World War I the young Gustav volunteered for a duty in occupied Brussels as supervisioner of the press. In 1919 he started his career as a trainee at a newspaper, but he spent his spare time as a emcee at local variety shows. He also wrote two issues of a dime novel, Heinz Brandt, der Fremdenlegionär/Heinz Brandt, the Foreign Legionnaire. After some entrances at a vaudeville theater under the stage name Gustav Geef he took acting lessons in Heilbronn. In the next few years he appeared on different minor German stages. In Berlin he played from 1923 till 1925 at the Volksbühne am Bülowplatz under the direction of Erwin Piscator. Later he appeared as The Prince of Homburg at the Deutsche Theater under the direction of Max Reinhardt. His film debut was a small role in a Dutch-German film produced in Germany, De bruut/Ein neues Leben/The Brute (Theo Frenkel, 1922) with Erna Morena and Adolphe Engers. He then played a secondary role as composer Franz Liszt in Paganini (Heinz Goldberg, 1923) featuring Conrad Veidt. The following years, he played in such films as Friesenblut (1925) opposite Jenny Jugo. Then Fröhlich landed his breakthrough role as Freder Fredersen in Metropolis (Fritz Lang, 1927) by chance. He was only scheduled to play one of the workmen but four weeks after the beginning he was discovered on the set by Thea von Harbou, Fritz Lang's wife. Lang immediately cast him in the lead because of his striking good looks. A new star was born.
After Metropolis, Gustav Fröhlich was typecast as the fresh-faced, naive 'boy next door' in such silent films as Die elf Teufel/The Eleven Devils (Zoltan Korda, Carl Boese, 1927) with Evelyn Holt, Heimkehr/Homecoming (Joe May, 1928) opposite Lars Hanson, and Asphalt (Joe May, 1929), in which he played a honest policeman who is seduced by a crook (Betty Amann).
In 1930, Fröhlich was called to Hollywood by Warner Brothers to do German versions of American sound films, such as Die heilige Flamme/The Holy Flames (William Dieterle (as Wilhelm Dieterle), Berthold Viertel, 1931) and Kismet (William Dieterle, 1931), both with Dita Parlo. Back in Germany, he soon was subscribed for Max Ophüls’ musical comedy Die verliebte Firma/The Company's in Love (1931) next to Lien Deyers, and for Robert Siodmak's crime drama Voruntersuchung/Inquest (1931) with Albert Bassermann. He often worked with director Géza von Bolváry. Between 1931 and 1933 they made six films together. These include Ich will nicht wissen, wer du bist/I Do Not Want to Know Who You Are (Géza von Bolváry, 1932) with Liane Haid, and Was Frauen träumen/What Women Dream (Géza von Bolváry, 1933), which was co-written by Billy Wilder. Fröhlich often played smart gentlemen in lighthearted musicals and romances. Because of his carefree attendance, Fröhlich was seldom allowed to play other characters. One of his greatest successes was his part of the helpful and likable policeman in Oberwachtmeister Schwenke (Carl Froelich, 1935). He also directed films like Rakoczy-Marsch/Rakoczy march (Gustav Fröhlich, Steve Sekely, 1933), Abenteuer eines jungen Herrn in Polen/Love and Alarm (1934), and after the war Wege im Zwielicht/Paths in Twilight (1948), Der Bagnosträfling/The Prisoner (1949) with Paul Dahlke, and the crime drama Die Lüge/The Lie (1950) with Otto Gebühr.
Between 1931 and 1935 Gustav Fröhlich was married with Hungarian Opera star and actress Gitta Alpár. When she was pregnant form their daughter Julika, he left her. According to Alpár, because she was Jewish and he did not want to hurt his career in Nazi Germany. After the war, Fröhlich tried a reconciliation with Gitta Alpár but she never forgave him. Reportedly this gave him a tough time at old-age. From 1936 till 1938 he lived together with actress Lída Baarová, his costar in Barcarole (Gerhard Lamprecht, 1935) and Leutnant Bobby, der Teufelskerl/A Devil of a Fellow (Georg Jacoby, 1935). After losing Lída to Joseph Goebbels, Froelich had a quarrel with him. There is an urban legend that the quarrel culminated in a slap in the face of the powerful and feared Propaganda-Minister. Allegedly, Froehlich was banned from playing his trade for two years (1941-1943). Lída Baarová later denied this in her memoirs. In 1937, he rented his house in Berchtesgaden to Adolph Hitler's architect, Albert Speer. In 1941 Fröhlich remarried with Maria Hajek. Since 1941 he had to serve for the Wehrmacht, interrupted by film engagements like Der Grosse König/The Great King (Veit Harlan, 1942) starring Otto Gebühr as Prussian king Friedrich the Second.
Gustav Fröhlich was seldom involved in Nazi Propaganda films, a fact that helped him to establish a new film career after World War II. He tried to escape from standard roles of the charming gentleman by playing a doomed painter in Die Sünderin/The Sinner (Willi Forst, 1951). The effort went down in the chaos of a scandal because of the film's open treatment of several taboos such as suicide and euthanasia, plus a brief nude performance by Hildegard Knef. He went on to play leads in light entertainment films including Haus des Lebens/House of Life (Karl Hartl, 1952) with Cornell Borchers, and Die kleine Stadt will schlafen gehen/The Little Town Will Go to Sleep (Hans H. König, 1954) with Jester Naefe. He remained a busy actor after the war but his roles changed from leading men to supporting parts as he got older. From the 1960s on, he had only a few TV film entrances including a part in the comedy Laubenkolonie/Allotment area (Heribert Wenk, Bertold Sakmann, 1968) with Paul Dahlke. He was more active in the theatre, a.o. for the Renaissance-Theater in Berlin and the Schauspielhaus in Zürich. In 1973 he was honoured with the Filmband in Gold, the German Film Award for Lifetime Achievements. Ten years later, he published his autobiography Waren das Zeiten - Mein Film-Heldenleben/Those Were Times - My Life as a Film Hero (1983). His last public appearance was in 1986, when Giorgio Moroder presented his revised version of Metropolis. From 1956 on, Gustav Fröhlich lived in Lugano, Switzerland. There he died in 1987 of a complication after surgery, at age 85. His wife Maria Hajek had passed away earlier that same year.
Sources: Lara Goeke (The Gustav Fröhlich Fan Page), Bruce Eder (AllMovie), Thomas Staedeli (Cyranos), Wikipedia (English and German), and IMDb.
For more cards of this series, check out our album Vom Werden Deutscher Filmkunst.
Fernseh Abenteuer / Heft-Reihe
Neuer Tessloff Verlag
(Hamburg / Deutschland; 1960-1964)
Copyright: Roy Rogers Frontiers, Inc. / USA 1963
Reprint: from Roy Rogers and Trigger (Dell, 1955 series) #136 (March-April 1960)
ex libris MTP
31.10.2024
Inizia così una nuova avventura nel bernese, con l'obbiettivo finale di portare a casa dei risultati con i Domino BLS, che a breve andranno nel dimenticatoio, quando nel viaggio in treno sfogliando un paio di circolari, capito completamente per caso in un treno del giorno stesso, che avrebbe percorso i suoi ultimissimi chilometri.
Infatti l'RBDe 566237 con relativa carrozza ribassata Jumbo, una B e l'ABt con aggiunta un altra Jumbo in coda, avrebbero percorso Spiez - Interlaken questa mattina prima di proseguire alla rottamazione.
Non ci penso 2 volte a cambiare programma e dirigermi in tempo lì, anche se purtroppo dando uno sguardo fuori dal finestrino, vedo soltanto un brutto cielo grigio che si distende per l'infinito, senza un minimo esito di sole.
A qui però mancano ancora 2 ore e decido di provare, finchè arrivato a Spiez il cielo incomincia a contribuire con dei piccoli squarci tra le nuvole e qualche raggio qua e la che penetra illuminando parzialmente le colline.
Aspetto 1 ora e un quarto circa nel punto prescelto, con ansia che il sole uscisse, ma per tutto il tempo nulla...
Arriva l'orario in cui il treno doveva giungere, e dal momento che sento fischiare la motrice per le sue ultime volte con un avvicinarsi lentamente, il cielo mi si apre sopra la testa offrendomi la luce giusta per illuminare la testa del treno.
Un colpo di gioia immenso trasmesso al macchinista con saluti continui e salti di gioia, per quanto la foto non sia perfetta, per me porta un grande valore! Addio e grazie per i tuoi oltre 40 anni di servizio svolto eccezionalmente e come dice la destinazione "Fahrt in den Ruhestand".
31.10.2024
Und so begann ein neues Abenteuer im Kanton Bern, mit dem Ziel, mit den BLS-Dominos ein paar Ergebnisse nach Hause zu bringen, die bald vergessen sein würden, als ich auf der Zugfahrt beim Blättern in ein paar Rundschreiben ganz zufällig einen Zug entdeckte, der an diesem Tag seine allerletzten Kilometer fahren würde.
Tatsächlich würde RBDe 566237 mit seinem Jumbo-Tiefladewagen, einem B und ABt mit einem weiteren Jumbo am Heck, heute Morgen auf der Strecke Spiez - Interlaken verkehren, bevor er weiter zum Schrottplatz fährt.
Ich denke nicht lange darüber nach, meine Pläne zu ändern und mich pünktlich auf den Weg zu machen, obwohl ich beim Blick aus dem Fenster leider nur einen hässlichen grauen Himmel sehe, der sich ewig hinzieht, ohne den geringsten Hauch von Sonne.
Aber es sind noch zwei Stunden Zeit und ich beschließe, es zu versuchen, bis ich in Spiez ankomme und der Himmel mit kleinen Wolkenlücken und ein paar Strahlen, die hier und da durchdringen und die Hügel teilweise beleuchten, dazu beiträgt.
Ich warte etwa eineinviertel Stunden an der gewählten Stelle und warte darauf, dass die Sonne herauskommt, aber die ganze Zeit über ist nichts zu sehen...
Der Zeitpunkt der Ankunft des Zuges war gekommen, und in dem Moment, in dem ich den Pfiff der Lokomotive zum letzten Mal hörte, als sie sich langsam näherte, öffnete sich der Himmel über meinem Kopf und bot mir das richtige Licht, um die Spitze des Zuges zu beleuchten.
Ein riesiger Freudenausbruch, der sich durch ständiges Winken und Freudensprünge auf den Lokführer übertrug. Obwohl das Foto nicht perfekt ist, hat es für mich einen großen Wert!
Auf Wiedersehen und vielen Dank für Ihre mehr als 40 Jahre hervorragenden Dienste und, wie das Reiseziel sagt, 'Fahrt in den Ruhestand'.
German postcard by Ross Verlag, no. 32/6. Photo: A. Schmoll, Berlin / Henny Porten-Froehlich-Produktion. Henny Porten and Memo Benassi in the German silent film Das Abenteuer der Sibylle Brant/The Adventures of Sybil Brent (Carl Froehlich, 1925).
Das Abenteuer der Sibylle Brant aka Das Abenteuer der Sibylle Brandt was filmed at the Zoo-Atelier film studio at the
Hardenbergstraße in Berlin. Zoo-Atelier was founded in 1919 and situated in former exhibition halls, transformed into a studio by the furniture manufacturer Markiewicz. As the Cinegraph Lexicon mentions, among its first clients was Goron-Films, for which Friedrich Wilhelm Murnau at the Zoo-Atelier (and the Cserépy-Atelier in Leipziger Strasse) staged the films Der Januskopf and der Gang in der Nacht. From 1921 the studio was rented by the Europäische Film-Allianz (E.F.A.) GmbH, run by film producers Paul Davidson (früher PAGU), Carl Bratz, and Adolf Zukor (Famous Players-Lasky). They soon turned it into one of the best equipped and most favored studios of the early 1920s in Europe. In the following years at the Zoo-Atelier famous film by German directors were shot here: Ernst Lubitsch's Das Weib des Pharao (1921 and Die Flamme (1922), Richard Oswald's Carlos und Elisabeth (1923/24), Joe May's Tragödie der Liebe (1922/23, also at the May-Atelier) and Nju (1924, also at Staaken), Peter Paul Felner's Der Kaufmann von Venedig (1923) and Das goldene Kalb (1924), and Carl Froelich's films Mutter und Kind (1924) and Das Abenteuer der Sibylle Brant (1925). The four latter titles were with famous Weimar star Henny Porten, who with her Henny Porten-Froelich Produktion was one of the regular clients of the studio. When Zukor backed out of the studio in 1924, EFA was overtaken by Cob-Film. The following year, when the rent contract with Zoo-Atelier expired, the company built its own EFA-Atelier at Cicerostraße. That was the end of the Zoo-Atelier.
Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.
Fernseh Abenteuer / Heft-Reihe
Neuer Tessloff Verlag
(Hamburg / Deutschland; 1960-1964)
Copyright: Norbert Productions, Inc. / USA 1962
Reprint: from Four Color (Dell, 1942 series) #785 - Circus Boy (April 1957)
ex libris MTP
Reger Verkehr von China nach Vietnam und zurück. Oft werden die Waren mit LKWs zur Grenze gebracht, dann per Hand über die Grenze, um dann auf der anderen Seite wieder auf LKWs verladen zu werden
German postcard by Ross Verlag, no. 32/5. Photo: A. Schmoll, Berlin / Henny Porten-Froehlich-Produktion. Henny Porten in Das Abenteuer der Sibylle Brant/The Adventures of Sybil Brent (Carl Froehlich, 1925). The man could be Rudolf Biebrach, who played Sibylle's father in the film.
Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.
Fernseh Abenteuer / Heft-Reihe
Neuer Tessloff Verlag
(Hamburg / Deutschland; 1960-1964)
Copyright: ZIV-United Artists, Inc. / USA 1961
Reprint: from Sea Hunt (Dell, 1960 series) #9 (April-June 1961)
ex libris MTP
German postcard by Ross Verlag, no. 32/4. Photo: A. Schmoll, Berlin / Henny Porten-Froehlich-Produktion. Henny Porten in Das Abenteuer der Sibylle Brant/The Adventures of Sybil Brent (Carl Froehlich, 1925). The man could be A.E. Licho, who plays a theatre director.
Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.
German postcard by Ross Verlag, no. 32/2. Photo: A. Schmoll, Berlin / Henny Porten-Froehlich-Produktion. Henny Porten in Das Abenteuer der Sibylle Brant/The Adventures of Sybil Brent (Carl Froehlich, 1925).
Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.
German postcard by Ross Verlag, no. 32/3. Photo: A. Schmoll, Berlin / Henny Porten-Froehlich-Produktion. Henny Porten in Das Abenteuer der Sibylle Brant/The Adventures of Sybil Brent (Carl Froehlich, 1925).
Sturdy and blond Henny Porten (1890-1960) was one of Germany's most important and popular film actresses of the silent cinema. She became the quintessence of German womanhood, ladylike yet kindhearted and a not a little petit bourgeois. She was also the producer of many of her own films.