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Pub, former townhall / Pulheim / Rhein-Erft-Kreis / North Rhine-Westphalia / Germany
Album of Germany (the west): www.flickr.com/photos/tabliniumcarlson/albums/72157713209...
I haven't worn this pendant for years, but it's finding a new role now as a photo prop. I like it because it has a matte finish, so I don't keep seeing myself or my camera in it. Definitely a bonus. :)
For this week's Macro Mondays group theme, Gold or Silver. For scale, the pendant is about 1¼" across at its widest point.
On August 21st, 2005 a pair of 6900 series CN/WC SD40-3s is cruising through Slinger Junction with a CN northbound.
In the years following the Canadian Nationals takeover of the Wisconsin Central, these GCFX/Alstom remanufactured SD40s were responsible for ending the careers of quite a few WC SD45s. ~~ A Jeff Hampton Photograph ©
it's lunch time, you've been on the phone all morning, you're tired and hungry, you put your hat and shades on and bout two steps away from stepping out for a long needed break and a bite to eat, then the phone rings, it's your boss...what do you do?
I took a selfie and sat back down...
This photo shows a number of chess pawns lined accprding to their size. It is a free and easy allegory (or maybe a harsh truth) referring to some professional career. And what is your opinion? Feel free to express it in the comment section under this photo. And don't forget to give it a little star.
If money were no object and I could work in dresses, I'd wear this beautiful grey sheath on a day when I was due to out for the evening directly from the office.
She enjoys the beach so much, Merry thinks she will try selling sea shells down by the sea shore.
This is Prima Dolly Marigold, one of my older Blythe dolls. I usually reach for a new girl when it's photo time, so she is one of many who don't get as much exposure as I wish they did. Her sunny coloring is perfect for this "sea shore" theme in the Blythe a Day group.
Located between village Liepa and the primeval valley of River Gauja.
Lode clay deposit was discovered in 1953 by the geologist J.Slienis. Ten years later industrial extraction of clay for brick-making was started. The clay-pit became world famous when the geologist V.Kuršs in 1970 first time in the history of the world discovered well preserved fossils of Upper Devonian armoured fish and Strunius kurshi fish. Still nowhere else fish fossils in such good condition have been discovered; part of the fossils can be viewed in the expositions and funds of Latvian Museum of Natural History. Nowadays clay is extracted by the company „Lode“ which produces finishing, oven-chimney, and construction bricks, as well as other clay items. The Lode armoured fish deposit is a protected nature monument.
Information taken from www.entergauja.com/
Over 50 years ago as a young farm teenager, baling hay, milking cows and cleaning out hog sheds by hand guided my career decisions more than almost anything. In this photo, the past and the present of farming lie side by side. Round bales replaced the back breaking work of loading and unloading bales on a hay trailer. Few windmills in Minnesota still pump water and the old graineries have been largely replaced by newer methods of drying crops.
Located between village Liepa and the primeval valley of River Gauja.
Lode clay deposit was discovered in 1953 by the geologist J.Slienis. Ten years later industrial extraction of clay for brick-making was started. The clay-pit became world famous when the geologist V.Kuršs in 1970 first time in the history of the world discovered well preserved fossils of Upper Devonian armoured fish and Strunius kurshi fish. Still nowhere else fish fossils in such good condition have been discovered; part of the fossils can be viewed in the expositions and funds of Latvian Museum of Natural History. Nowadays clay is extracted by the company „Lode“ which produces finishing, oven-chimney, and construction bricks, as well as other clay items. The Lode armoured fish deposit is a protected nature monument.
Information taken from www.entergauja.com/
VINTAGE BUBBLE CUT BLONDE (1962) WEARING CAREER GIRL (1963-1964) #Barbie #BarbieDoll #BarbieStyle #BarbieCollector #doll #dollcollector #dollphotography #toy #toycollector #toyphotography #careergirl #barbievintage #fashiondoll #fashionphoto #vintage #vintagefashiondoll #orginalvintage #vintagestyle
"All right lads, today we have a very special guest to talk about the exciting career possibilities of being a bounty hunter. Now let's give a warm Stormtrooper High welcome to Mr. Boba Fett!"
(inspired by Mr. 8 Skeins of Danger's photos of Boba!) :D
(Just found out this was explored on April 27, currently ranked at #393! Woo Hoo!
Thanks from me, Boba Fett, and the Stormtroopers!) :D
Apollo Career Center in Lima, Ohio. These Ford Crown Victoria's are training cars and have been worn from years of sitting outside.
I love the Lady Golfer, and Pilot/Flight Attendant?! And the Packaging?! Do my eyes deceive me or are they boxed???
These new fashion separates are so damn cute. Images were found on the Walmart website. Unfortunately I don't know when these will be available(Hopefully soon)
Checking the Barbie aisle I found a lone palentologist Barbie. Beyond being beautiful she is a triumph in the Barbie career verse for finding a way to best include pink while still being a realistic depiction of the chosen career. Great job, Babs! Now, if only you could shrink the heads to a normal size again.
Trumbull County Career & Technical Center 1 - 1985 Carpenter International - Retired; Trumbull County Career & Technical Center - Warren, Ohio. Bus was last used during the 2014-2015 school year. It must have been sitting in the bus garage before being pulled out and parked in the grass. One of several Carpenters once in the fleet.
Austrian postcard by Kellner Postkarten, Wien (Vienna), no. 422. Photo: Jupiter-Film Ges.M.B.H. Bruce Low in Geld aus der Luft/Money from the air (Géza von Cziffra, 1954).
Bruce Low (1913-1990) was a Dutch schlager and gospel singer and actor who had an impressive career in West Germany and Austria.
Bruce Low was born Ernst Gottfried Bielke on a coffee plantation in Paramaribo, Surinam - then part of The Netherlands in 1913. He spent his childhood in Surinam together with his three sisters and brother. Their father, Hermann Moritz Bielke, worked as a missionary with the Herrnhuter Brüdergemeine. Their mother Lydia née Reusch was born in Hong Kong, her father came from Württemberg and was also a missionary. From 1921, Bruce attended grammar school in Zeist, the Netherlands, played tenor saxophone in the school jazz band and was a member of the local church choir. After his final exams in 1932, he studied sports at the Deutsche Hochschule für Leibesübungen (DHfL) in Berlin. But a serious injury while trampolining put an end to his studies as a sports teacher. Instead, he took singing lessons from the singing teacher Jacques Stückgold at the Hochschule für Musik. Low continued his studies in the Netherlands and also sang in a chamber choir. His performing career only took shape after the war. He organised shows for the Americans in the Netherlands, contracted music groups, was an emcee and sang spiritual songs, also for the radio. As a result, he was hired in 1949 for a show with African folk songs in Vienna. He appeared in front of the audience dressed as a black man with blackface in the Al Johnson manner and received an offer for a recording contract. His first records contained Western-style cowboy songs, such as '(Ghost) Riders in the Sky' and 'Heimweh nach Virginia'. In 1950, the man with the sonorous bass voice had his first success in Germany with 'Leise rauscht es am Missouri''. In 1953, more hits followed, such as 'So viel Wind und keine Sege'(So Much Wind and No Sail)" and his legendary 'Tabak und Rum' (Tobacco and Rum). Two years later, 'Das alte Haus von Rocky Docky', the cover version of 'This Ole House' became a box office hit. In 1956 he took third place in the newly created German Hit Parade with "Wenn die Sonne scheint in Texas" and climbed to second place with "Und es weht der Wind". His interpretation of the legendary hit "Es hängt ein Pferdehalfter an der Wand", a cover version of Carson Robison's song 'There's a Bridle Hangin' on the Wall', with which the Dutch band Kilima Hawaiians had already caused a furore in Germany in 1953, became his greatest success.
In 1958 Bruce Low took part in the preliminaries for the Eurovision Song Contest in the Netherlands, with 'Neem Dat Maar Aan Van Mij' but came in 10th. Bruce Low also made several guest appearances as a singer in the popular German-language musical entertainment films of the 1950s and 1960s, for example in Königin der Arena/Queen of the Arena (Rolf Meyer, 1952) with Maria Litto and Hans Söhnker, Wenn am Sonntagabend die Dorfmusik spielt/When The Village Music Plays on Sunday Nights (Rudolf Schündler, 1953) starring Rudolf Prack, or the operetta adaptation Blume von Hawaii/The Flower of Hawaii (Géza von Cziffra, 1953) starring Maria Litto. He also performed his hit songs in several Schlager films. As an actor he appeared in the successful drama Die endlose Nacht/The Endless Night (Will Tremper, 1963) a wounderful one-night-at-the-airport film with Karin Hübner and Harald Leipnitz. He later also appeared in two other films by Tremper, the comedy Sperrbezirk/Sperrbezirk, the business of immorality (Will Tremper, 1966) with Harald Leipnitz and Mir hat es immer Spaß gemacht/How Did a Nice Girl Like You Get Into This Business? (Will Tremper, 1970) starring Playboy bunny Barbi Benton and Broderick Crawford. After the stage musical 'Kiss me Kate' in the German translation by Marcel Prawy became an extraordinary success in the Wiener Volksoper, Prawy went to work on the Leonard Bernstein musical 'Wonderful Town' (1956), also in the Wiener Volksoper. Bruce Low played the lead role of Bob Baker as Olive Moorefield's partner.
The advancing rock and roll wave seemed to end his career, so Bruce Low started writing articles for the Munich magazine Jasmin under the pseudonym Thomas Gallauner. At the "Karl May Festival in Berlin he portrayed Old Shatterhand in 'Winnetou' (1966) and 'Der Schatz im Silbersee' (1968), alongside Gustavo Rojo as Winnetou. At the beginning of the 1970s, his voice was in demand again and he performed mainly new, partly traditional gospels. With songs such as 'Noah' (1971), 'Das Kartenspiel' (1974) and 'Die Legende von Babylon' (1978), he hit the charts once more. He appeared as a guest in several television broadcasts and was asked as a presenter for circus broadcasts. He also had several appearances in the ZDF quiz show Der große Preis. He returned to the cinemas in several films by Rainer Werner Fassbinder. First, he played in the TV two-parter Welt am Draht/World on a Wire (Rainer Werner Fassbinder, 1973) and later in the films Faustrecht der Freiheit/Fox and His Friends (Rainer Werner Fassbinder, 1975) and Die Ehe der Maria Braun/The Wedding of Maria Braun (Rainer Werner Fassbinder, 1979) starring Hanna Schygulla. In 1976 he participated again in the preliminaries of the Eurovision Song Contest, now in West Germany, with the song 'Der Jahrmarkt unserer Eitelkeit' (The Fair of Our Vanity). However, he only reached 9th place among twelve participants and the Les Humphries Singers participated for Germany with "Sing Sang Song and reached 12th place. In the 1980s it became quieter again around the singer. Two years before his death, he published his memoirs under the title: 'Es hängt ein Pferdehalfter an der Wand - das Lied meines Lebens'. In 1990, Bruce Lowe died after a long illness at the age of 76 in a Munich hospital. At his own request, the artist, who was married to his wife Marion, had his body cremated and scattered in a meadow in the Netherlands.
Sources: Stephanie D'Heil (Steffi-Line - German), Wikipedia (Dutch and German), and IMDb.
And, please check out our blog European Film Star Postcards.
My write up on photographing the new Cosmopolitan of Las Vegas here
On the weekend of November 20-21, 2010, I was invited to photograph the new Cosmopolitan of Las Vegas prior to their opening December 15, 2010 in Las Vegas NV.
This set of images represents my efforts that weekend to showcase this newest resort property opening up on the Las Vegas Strip. Thanks to David Scherer from The Cosmopolitan of Las Vegas for showing me around, to Miiko Mentz at Katalyst Films for helping to arrange the shoot, and to my wife for modeling for me.
To learn more about The Cosmpolitan of Las Vegas, check out their website here or their Facebook page here.
nikon d5300 nikkor 50mm 1.4g
f/1.4
iso 800
1/50
Monument to Vladimir Semyonovich Vysotsky. Moscow.
Vladimir Semyonovich Vysotsky (Russian: Влади́мир Семёнович Высо́цкий; IPA: [vlɐˈdʲimʲɪr sʲɪˈmʲɵnəvʲɪtɕ vɨˈsotskʲɪj]; 25 January 1938 – 25 July 1980) was a Russian singer-songwriter, poet, and actor whose career had an immense and enduring effect on Soviet and Russian culture... from wiki
I made my barbie a career girl outfit!:) I love the outfit, but I'm not about to pay big cash for something I can make!lol I made it specifically for my childhood bubblecut:) she's inlove with her new treds! She's ready to get a job!lol I wish!lol
Apollo Career Center in Lima, Ohio. These Ford Crown Victoria's are training cars and have been worn from years of sitting outside.
Two Volvo B9TL Wright Eclipse Gemini 2 buses that were originally new to London operations are pictured on Princes Street in Edinburgh with rather different roles now.
Leading the duo is McGill's Eastern Scottish operated Bright Bus Tours CKZ 35 - 2908 - Previously BF60 UUJ - Iain Murray - which had previously spent time in 2022 working for Xplore Dundee before becoming part of the Bright Bus fleet. It wears McGill's take on the Bright Bus orange livery which was only ever applied to the six of these that joined the operation.
Behind is Lothian Buses operated LXZ 5409 - 1024 - Previously BF60 VHR - still with all its roof present and working a service on route 4 towards Fairmilehead. It wears Lothian's Fleet Of The Future livery. So two buses with near-identical starts in life that turned into very different diverging career paths to then just end up seeing each other again anyway lol.
Date Taken: February 21st, 2024
Device Used: iPhone 12 Pro Max
Date Uploaded: October 31st, 2025
Upload Number: 1849
Interested in seeing some bus videos? You'll find buses both real and virtual on my YouTube channel, as well as other cool bus-themed stuff too! - www.youtube.com/@ZZ9sTransport
© ZZ9's Transport Photography (ZZ9 Productions). All Rights Reserved. Modification, redistribution, reuploading and the like is prohibited without prior written permission from myself.
German postcard by Ross Verlag, no. 3413/1. Photo: Defina / Defu. Lya Mara in Heut tanzt Mariett (Friedrich Zelnik, 1928).
Lya Mara (1897 - 1960?) was one of the biggest stars of the German silent cinema. Her stardom was even the subject of a novel, which was published in 100 episodes between 1927 and 1928. Her career virtually ended after the arrival of sound film.
Lya Mara was born as Aleksandra Gudowiczóna in a Polish family in Riga, Russian Empire (now Latvia) in 1893 or 1897. She was the daughter of a civil servant and went to a Catholic boarding school. As a young girl, she wanted to become a chemist, like Marie Curie, the then famous French woman scientist who was also Polish-born, but instead, Lya went to the ballet school of Riga. One year later, she was already a solo dancer and in the following years, she danced for the Riga State theatre and became astonishingly famous. This success was crowned with her promotion to prima ballerina in 1913. Just before World War I, Lya moved with her family to Warsaw. Credited as Mia Mara, she played her first small part in the short silent comedy Wsciekly rywal/The Rival (Aleksander Hertz, 1916), and soon thereafter she played another part in Bestia/The Polish Dancer (Aleksander Hertz, 1917). Star of this film was another Polish actress, Pola Negri, who would make an extraordinary career in Germany and Hollywood. Negri left for Berlin, and soon Lya Mara would follow her steps. Newspaper articles and pictures of Mara had appeared in Berlin newspapers, and she was spotted by the young and energetic actor-director-producer Friedrich Zelnik (later credited as Frederic Zelnik). He summoned her to Berlin. After some screen tests, she signed a contract that obligated her for a total of seven pictures with Zelnik. Among their first films were Das Geschlecht der Schelme/The sex of the Scoundrel (Alfred Halm, 1917) opposite Zelnik himself, Halkas Gelöbnis/Halka's Vow (Alfred Halm, 1918) opposite Hans Albers, Die Rose von Dschiandur/The Rose of Dschiandur (Alfred Halm, 1918) again opposite Zelnik, and Die Serenyi (Alfred Halm, 1918) opposite Conrad Veidt.
Friedrich Zelnik and Lya Mara married in 1918. Zelnik promoted her to a major star in Germany. Among the following films, he directed and produced with her were Manon (1919), Charlotte Corday (1919), and Anna Karenina (1919) with Johannes Riemann. From 1920 on, Zelnik's film production company was named Zelnik-Mara-Film GmbH. Lya starred in lightweight fare like Die Ehe der Fürstin Demidoff/The Marriage of Princess Demidoff (1921), and Das Mädel vom Picadilly/The Girl from Picadilly (1921), in which she either played noble ladies or naïve girls from the countryside. From 1924 on, she only made two Zelnik films a year, among them immensely successful operettas like Die Försterchristel/The Bohemian Dancer (1926), An der schönen blauen Donau/The Beautiful Blue Danube (1926), and Das tanzende Wien/Dancing Vienna (1927), often with Harry Liedtke or Alfred Abel as her screen partner. Lya Mara perfectly embodied the Viennese Girl, and she enjoyed great popularity all over Europe. Her stardom also was the subject of a novel, 'Lya. Der Herzensroman einer Kinokönigin' (Lya, The Heart Novel of a Cinema Queen), which was published in 100 episodes between 1927 and 1928. Lya Mara and her husband became real celebrities and received at their home many known artists. Her popularity was further cemented by hundreds of her photographs issued as postcards, chocolate and cigarettes trade cards.
A serious car accident at the end of the 1920s interrupted Lya Mara's career. There was an immensely huge sympathy from the audience, but somehow she could not adapt her acting to the sound cinema, introduced in Germany in 1929. While Friedrich Zelnik became the first director in Germany who post-synchronised foreign films, Lya Mara's only film from the sound era is Jeder fragt nach Erika/Everyone Asks for Erika (Friedrich Zelnik, 1931). In 1932, just before Adolf Hitler took over the power in Germany, Lya Mara and Friedrich Zelnik went into exile in London. There is no record of her acting there, although her husband continued to direct and produce films in England and The Netherlands until 1939. Friedrich Zelnik died in London in 1950, and since then all traces of his wife were lost for a long time. Lya Mara probably spent her last years with her sister in Switzerland and most sources indicate that she died there in 1960 at the age of 62. However, 'Ms. Sherlock' Marlene Pilaete discovered the correct facts: "Some passionate historians have found mention of her death in local newspapers. How lucky we are to have such people making research. For example, the Nouvelle Revue de Lausanne mentions on the 6th of November 1969 in its obituary page "Alexandra Zelnik-Gudowicz, 76 years old". At the time, nobody knew that she had been a famous movie star. Please note that, if she was 76 years old when she passed away, it seems that she was born in 1893 and not 1897. Maybe another case of 'rejuvenation'… It wouldn’t be the first time… especially regarding actresses." So, Lya Mara settled down in Lausanne, Switzerland in 1966. She passed away in that city on 1 November 1969 and she was buried in the cemetery of Bois-de-Vaux. Her grave has been disaffected in 2007.
Sources: Marlene Pilaete (La Collectionneuse - French), Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Installed in the 1920s after a major renovation, the triptych of stained glass chancel windows were created by Melbourne stained glass manufacturer Brooks, Robinson and Company Glass Merchants, who dominated the market in stained glass in Melbourne during the 1920s, 1930s and 1940s.
Across the bottom of the three are written "Behold a voice cut of a cloud saying this is my beloved Son in whom I am well pleased. Hear ye Him", which is taken from the book of Matthew.
The left hand window shows Moses clutching the tablets on which are inscribed the Ten Commandments. The right window features Saint Peter, one of the Twelve Apostles of Jesus, holding his Gospel book. The central window of the triptych features Jesus descending from heaven. Alpha and Omega appear in the quatrefoil windows above Moses and Saint Peter, whilst "Father, Son and Holy Ghost" appear in the quinfoil window above the central lancet window of Jesus.
Blackwood reredos beneath the triptych, dating from 1939, feature a mosaic of the last supper also created by stained glass and church outfitters Brooks, Robinson and Company. A similar one may be found at St. Matthews Church of England in High Street, Prahran.
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne's St Paul's Cathedral's stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne's Spring Street, in St John's Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
"Špalek's department store"
Built 1911 by architect Vladimír Fultner for the textile merchant Václav J. Špalek. Fultner (ne Vaclav) was born in 1887 in Hradec and began his career building for his uncle. His promising career was cut short when he was conscripted into the armed forces; He died in a military hospital in Zagreb 2 October 1918, as the empire was collapsing.
Businessman Václav J. Špalek was the owner of a house on a plot of land on the corner of Velké náměstí and Klicperova Street, which burned down in July 1910. Špalek approached architect Vladimír Fultner with a request for a new design. Due to the narrow original medieval plot, Fultner decided to orient the main façade of the new building not to the square, but to Klicperova Street. The side two-tower façade was then directed to the square, significantly exceeding the surrounding buildings. Fultner's design was criticized both by the Hradec branch of the Club for Old Prague and by architect Jan Kotěra, who considered the proportions of the building to be disproportionate. The mayor of the town, František Ulrich, supported Fultner's proposal, but in the second version of the design from 1911, selected objections were addressed: for example, some vertical elements (corner gable) were removed and the façade acquired a more horizontal character. The new architectural design also contained fewer decorative elements, which was based not only on public criticism, but also on Fultner's inclination towards sober modernism
declared a cultural monument in 1958
It is interesting that although the house has been referred to as a department store since its inception, it has always been primarily a residential building, where only its premises on the ground floor and first floor were used for commerce.
Klicperova 141 facing Velké náměstí
Hradec Králové, Czech Republic
Career in your crosshairs
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