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De 302270 komt tijdens zijn videoschouw werkzaamheden door Echt rijden en is onderweg richting Sittard.
La gatta Berta era uno stupendo gattone
che mi guardava con trepidazione adagiata là sul lettone.
Ciao Berta
Typical houses, Ílhavo, Portugal
This houses are decorated with wooden lists painted in white and bright colors, love it!
French postcard. S 150 A-2.
Berta Nelson (?-?), originally Berta Katzenelson, was a Russian opera singer, who from 1913 onward had career as actress in Italian silent cinema at Itala Film and even had her own company Nelson Film.
In an Italian article of 1916, Nelson was told to have won beauty contests at a young age and became an acclaimed soprano, praised not only for her voice but also for her presence. She was a disciple of the famous Russian opera singer Feodor Chaliapin. Nelson interpreted Manon and Werther by Massenet, and several Puccini operas, gaining praise in Russia, the Netherlands, Germany, etc. In December 1911/ January 1912 for instance, Nelson performed with the local Italian Opera company at the Arts & Sciences building in The Hague. Performed was e.g. Verdi's Trovatore and Puccini's La Bohème and Tosca.
As occurred with many Russian stage stars, life imitated theater, so due to his passion for her, a young man from a high-placed family committed an unheard romantic deed. Dutch newspapers wrote in 1913 about a law case in which Nelson was defended against slander by Il Giornale d'Italia. The story was that of a Neapolitan impresario, madly in love with Nelson, but also a cashier, who had robbed the cash to pay for his extravagant spending to please his beloved, la Nelson. The journalist was condemned to 10 months of prison and the editor to a huge fine, but a court of appeal overruled this and settled the matter with (lower) fines.
In 1912 Nelson started at the Turinese company Itala Film, first in the aviation drama Come una sorella (Vincenzo Denizot, 1912), in which a scorned beloved (Lydia Quaranta), as a nurse, takes care of her ex, a crashed pilot (Giovanni Casaleggio), while the man's posh mistress (Nelson) dumps him. In Vittoria o morte! (Denizot, 1913), a sensational, daring spy story, Nelson had the lead. She pursues a spy who has stolen important papers from her father. Taking an airplane, she manages to get aboard the ocean liner the spy is on, but a fire breaks out on the ship and the spy binds her and flees. With the help of a wealthy American, she manages to steal back the papers and new pursuits by car and plane follow. Both films were found within the Desmet Collection of the EYE Filmmuseum and can be seen on the Desmet playlist on Youtube and on the Museo Nazionale del Cinema playlist on Vimeo.
Other films at Itala were L'ombra del male (Gino Zaccaria, 1913), Per un bacio a Ninì (1913), and Il bacio della zingara (1913). At Itala, Nelson's co-actors were Italia Almirante Manzini, Amerigo Manzini, Giovanni Casaleggio and Bonaventura Ibanez. After an intermission of two years, Nelson returned to the screen in 1916 at the Roman Cines company with two films with the ape Jack: L'impronta della piccola mano (Enrique Santos, 1916). about an ape trained to steal, and Jack cuor di leone (Santos, 1917). In 1917 Nelson acted as Elena opposite Vittoria Lepanto as Berta in the Dario Niccodemi adaptation L'Ombra by Mario Caserini, much praised by the Italian press at the time, and opposite Augusto Poggioli in L'uomo in frak (Nino Oxilia, 1917). Also, Nelson had a small part in Malombra (Carmine Gallone, 1917), starring Lyda Borelli. In 1919 Nelson moved to the Film d'Arte Italiana, where she starred in Fiamma simbolica by Eugenio Perego (released in 1920), a film about revenge symbolized by a burning flame. Ugo Gracci had the male lead. This film was also found and restored by the EYE Filmmuseum.
After La casa della felicità (Ugo Gracci, 1919) Gracci's first film as director, Fascino d'oro (Eugenio De Liguoro, 1919), and Chi l'ha ucciso? (Mario Gambardella or Alberto Sannia, 1919), Nelson founded her own film company Nelson Film. She made four films with Nelson Film: Come io vi amo (Ivo Illuminati, 1921), Sélika (Illuminati, 1921), La dama errante (Aleksandr Uralsky, 1922), a film with many Russian actors, and Ali spezzate (Luigi Maggi, 1923). La dama errante was about a a gravely ill lady who after losing her betrothed refuses to be cured and starts to get visions, but are they all dreams? Ali spezzate, about a pharmacist's daughter who flees an arranged marriage, was already filmed in 1920, and thus must have been the first Nelson Film production, but was only released in 1923. It was Nelson's last film. La dama errante and Ali spezzate were restored by the Cineteca Nazionale in Rome.
Sources: IMDB, DELPHER, Vittorio Martinelli, Il cinema muto italiano, sempreinpenombra.com/2013/10/03/berta-nelson-due-o-tre-co...
French postcard. Ed. M.T. & C. (Maurice Tesson). S.129/1.
Berta Nelson (?-?), originally Berta Katzenelson, was a Russian opera singer, who from 1913 onward had career as actress in Italian silent cinema at Itala Film and even had her own company Nelson Film.
In an Italian article of 1916, Nelson was told to have won beauty contests at a young age and became an acclaimed soprano, praised not only for her voice but also for her presence. She was a disciple of the famous Russian opera singer Feodor Chaliapin. Nelson interpreted Manon and Werther by Massenet, and several Puccini operas, gaining praise in Russia, the Netherlands, Germany, etc. In December 1911/ January 1912 for instance, Nelson performed with the local Italian Opera company at the Arts & Sciences building in The Hague. Performed was e.g. Verdi's Trovatore and Puccini's La Bohème and Tosca.
As occurred with many Russian stage stars, life imitated theater, so due to his passion for her, a young man from a high-placed family committed an unheard romantic deed. Dutch newspapers wrote in 1913 about a law case in which Nelson was defended against slander by Il Giornale d'Italia. The story was that of a Neapolitan impresario, madly in love with Nelson, but also a cashier, who had robbed the cash to pay for his extravagant spending to please his beloved, la Nelson. The journalist was condemned to 10 months of prison and the editor to a huge fine, but a court of appeal overruled this and settled the matter with (lower) fines.
In 1912 Nelson started at the Turinese company Itala Film, first in the aviation drama Come una sorella (Vincenzo Denizot, 1912), in which a scorned beloved (Lydia Quaranta), as a nurse, takes care of her ex, a crashed pilot (Giovanni Casaleggio), while the man's posh mistress (Nelson) dumps him. In Vittoria o morte! (Denizot, 1913), a sensational, daring spy story, Nelson had the lead. She pursues a spy who has stolen important papers from her father. Taking an airplane, she manages to get aboard the ocean liner the spy is on, but a fire breaks out on the ship and the spy binds her and flees. With the help of a wealthy American, she manages to steal back the papers and new pursuits by car and plane follow. Both films were found within the Desmet Collection of the EYE Filmmuseum and can be seen on the Desmet playlist on Youtube and on the Museo Nazionale del Cinema playlist on Vimeo.
Other films at Itala were L'ombra del male (Gino Zaccaria, 1913), Per un bacio a Ninì (1913), and Il bacio della zingara (1913). At Itala, Nelson's co-actors were Italia Almirante Manzini, Amerigo Manzini, Giovanni Casaleggio and Bonaventura Ibanez. After an intermission of two years, Nelson returned to the screen in 1916 at the Roman Cines company with two films with the ape Jack: L'impronta della piccola mano (Enrique Santos, 1916). about an ape trained to steal, and Jack cuor di leone (Santos, 1917). In 1917 Nelson acted as Elena opposite Vittoria Lepanto as Berta in the Dario Niccodemi adaptation L'Ombra by Mario Caserini, much praised by the Italian press at the time, and opposite Augusto Poggioli in L'uomo in frak (Nino Oxilia, 1917). Also, Nelson had a small part in Malombra (Carmine Gallone, 1917), starring Lyda Borelli. In 1919 Nelson moved to the Film d'Arte Italiana, where she starred in Fiamma simbolica by Eugenio Perego (released in 1920), a film about revenge symbolized by a burning flame. Ugo Gracci had the male lead. This film was also found and restored by the EYE Filmmuseum.
After La casa della felicità (Ugo Gracci, 1919) Gracci's first film as director, Fascino d'oro (Eugenio De Liguoro, 1919), and Chi l'ha ucciso? (Mario Gambardella or Alberto Sannia, 1919), Nelson founded her own film company Nelson Film. She made four films with Nelson Film: Come io vi amo (Ivo Illuminati, 1921), Sélika (Illuminati, 1921), La dama errante (Aleksandr Uralsky, 1922), a film with many Russian actors, and Ali spezzate (Luigi Maggi, 1923). La dama errante was about a a gravely ill lady who after losing her betrothed refuses to be cured and starts to get visions, but are they all dreams? Ali spezzate, about a pharmacist's daughter who flees an arranged marriage, was already filmed in 1920, and thus must have been the first Nelson Film production, but was only released in 1923. It was Nelson's last film. La dama errante and Ali spezzate were restored by the Cineteca Nazionale in Rome.
Scattata durante una manifestazione " mestieri di un tempo " " Berta " è in costume tradizionale Trentino..
A Rino Gaetano !!!!
Fiabe amare di un cantastorie
Autore di canzoni graffianti e appassionate, paladino del Sud e degli sfruttati, nemico giurato di tutti i politici, Rino Gaetano è uno dei songwriter di culto della scena italiana. Ha cantato un'Italia grottesca negli anni della tensione e delle P38. Dopo la sua morte, le sue canzoni sono state riscoperte negli anni e saccheggiate senza ritegno. Ma la denuncia sociale celata dietro l'ironia delle sue filastrocche resta ancora attualissima
No correspondence.
These baths were located next to Camp Möllendorf in the Hirtzenstein sector, along the Silberbach stream.
Also called Leopoldsbad, all that remains today is the remains of a fountain that marks the spot in the bend of a path.
Sans correspondance.
Ces bains étaient situés à coté du Camp Möllendorf dans le secteur du Hirtzenstein, le long du ruisseau Silberbach.
Appelé également Leopoldsbad, il ne reste aujourd'hui que les restes d'une fontaine qui marque l'endroit dans le coude d'un chemin.