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Arrival London took over the contract for route 48 (Walthamstow Central - London Bridge) from Stagecoach from Saturday 25th February; the route is now operated from Ash Grove Garage in South Hackney which is along the route.
Originally earmarked for conventional hybrid buses, it has now been decided that the route will be converted to New Routemaster operation with a scratch fleet of vehicles redeployed from other routes. Five have already been reallocated from route 38, rendered surplus by a frequency reduction, and one of these, LT 238 is seen in Hackney Road approaching the Cambridge Heath Station stop on Tuesday 14th March. A proposal to withdraw route 73 between Oxford Circus and Victoria in the Summer and reduce the overall frequency is expected to release around fifteen more, and until these become available Arriva is using a temporary allocation of diesel Wright Gemini 2-bodied VDL-DB300s.
(Apologies for the blurring, the photo was taken in poor light but i wanted to include it for topicality).
A contract which governs the conditions of engagement of Bilbo Baggins in the role of a Burglar for Thorin Oakenshield.
This prop replica is created by Daniel Reeve, the same man responsible for the original contract as seen in The Hobbit: An Unexpected Journey.
Marisol Argueta de Barillas (Confirmed), Head of Regional Strategies, Latin America; Member of the Executive Committee, World Economic Forum and Marcos Jorge de Lima, Minister of Industry, Foreign Trade and Services of Brazil at the World Economic Forum on Latin America 2018 in Sao Paulo, Brazil. Copyright by World Economic Forum / Benedikt von Loebell
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
More commercialization has seen a rapid increase in the business. Contracts are an important part in a business since it structures the working of the business with parties at large. It becomes very important to take care of all the nuances of the contract and it is highly recommended to take the help of professionals for drafting. Read more: bit.ly/3bGTPND
I walking home from the market on the morning of National Day when I saw Kalo gazing out from along the corridor.
Kalo is a foreign worker from Bangladesh, contracted to work as a block cleaner in my housing estate, charged with the responsibility of sweeping and washing three HDB flats and their immediate surroundings.
Kalo earns S$600 per month for his work, all of which gets sent back to his parents and younger sister in Bangladesh. When I enquired in suprise, he said that his food and necessities are bought with money he earns from selling discarded stuff he finds around the housing blocks to the garung guni, by which he could get up to S$150 on good months. Sometimes, residents, which he endearingly addresses as "uncle and auntie", make gifts of food to him. The S$600 ends up as 25,000 BDT (Bangladeshi Taka) for his family back home, which he says is "very good".
I asked, "Can you recognise the people here (in my block)?"
Kalo smiled and replied, "Yes. Many."
"Can you recognise me?" my curiousity piqued, as I cannot recall seeing Kalo before.
"Yes, can." he laughed and nodded.
Kalo is 23 going on 24, and is the third of four sons, all working here in Singapore. He likes cricket (a game of which incidentally was what he was looking at in the distance when I met him), badminton, draughts and football, the last of which is his favorite activity.
"So Kalo, is it good or bad, here in Singapore?" I gestured with a thumbs-up, thumbs-down sign.
"Good." he answered with a wide smile.
Amara glances at the black business card then at the door. “This is it.” She casually rings the door bell then knocks. “Mr. Mendle, it’s Dr. Dubois from Ashagi. I’d like to discuss the contract if you have time?”
Hector Mendle hears the bell and is grabbing a shirt to put on when the knock and voice come. He opens the door, his shirt opened. "Of course." he lets her come in. "Forgive my state of dress. I often relax as it gets later in the evening." if she looks down she will also notice that he is barefoot.
Amara chuckles, letting herself stroll in casually. “Please don’t mind me. I understand how late it is, but you weren’t at the docks according to Barry." She seemed to smile approvingly of the open shirt and informal dress, her sly grim complimented only by the gentle whisking of her tails. “I wanted to go over the pricing and minor details of your contract with us.”
Hector Mendle nods and leads her into his office. Instead of sitting behind the massive antique desk that could only belong to the boss, he sits in one of the chairs in front of it. It's almost midnight. Formality went out the window hours ago. "Of course. What were you wanting to talk about? Can I get you some coffee, tea? Hell, dinner? Bertha, my secretary keeps the fridge stocked." he chuckles. "She seems to think I live here." he says dryly. But Bertha knows him .... and that is why the fridge is stocked.
Amara waved off the polite offer, following him to the next available chair. “Thank you, but I’ve eaten enough for the day. I can understand the sentiment though; we have foldable couches and such in the lounge for employees taking the longer night shifts.” She carefully crossed her legs as she took out the datapad with the contract. “Considering the location I can be blunt. Most of your work will seem legal in method, but I have more use for your more direct methods of dealing with trouble. How much will such services run?”
Hector Mendle chuckles and motions behind her at the futon couch. He avoids sleeping there all night. He has promises to keep and he keeps them religiously. Then he listens and nods, licking his lips slowly. Since you're asking, I will assume you delved some into my past." he assumes she has *and* has put two and two together where few bother to. But he likes that. "That doubles my fee, I'm afraid. The risks ...." he shrugs. "I do hope you understand. Much of that kind of work I prefer to do alone or with very carefully selected partners."
Hector Mendle adds, "Much of that is covered under 'expenses'"
Amara nods. “Yes, I understand hence why I’m asking for the proper figure.” She grinned after replying, scrolling down to the suggested section of the contract. “It’s not pleasant nor cheap work that I’m asking of you after all. However the more contacts we have, the better for us. It’s not like you don’t know enough about our branch’s work…” That last sentence was dropped with a mild distaste in the tone; Amara was still not pleased the former spouse had been talking.
Hector Mendle nods and sighs. "Not all of us can resist pillow talk, Doctor." he says, almost in Allura's defense. "I was not blameless int he relationship, although Ashagi was not my intended target when I married." he confesses. "And since I do know ... I suppose it wouldn't be the worse decision on Ashagi's part to keep this particular 'law dawg' on a leash, even if it isn't a short one." While he wants the job, he also suspects that keeping him in sight is also part of the plan.
Amara ’s grin widens. “I’m glad you understand, Mr. Mendle. We don’t typically consider this with the spouse or lover of every employee, but you are an exception given your occupation. The branch is responsible for more of Ashagi’s critical ground work; the wrong soul with enough knowledge can cripple that market niche in a second.” She was protecting patents in the end.
Hector Mendle nods. "I was a bit surprised at Allura's …loose lips." he shrugs, not feeling catty. He never had. "But I learned enough and researched a bit more. And frankly .... I'd want me on the payroll also." he means forward a bit. "That being said, I can also be an asset to the company even though I believe jeans are meant to be worn." he admits his scientific knowledge is nill. Or near it. He loves his research, she'll find out if it ever comes down to it. "You can use me to quieten people. Negotiate with them. I am subtle and not ..." he shrugs slightly. "Prone to emotional outbursts usually." he thinks of Lana and how easily she would be to set to explode.
Amara picked up the stylus attached to the pad and started to sign and initial where it was needed. “Good, good. It’s hard to find employees and contractors that don’t leak something to their lovers or close friends. We have to be very particular about our screenings, but that’s not always the case with the ASF.” She sighed at the reference to Lana. “You may need to work with the ASF and the captain from time to time however which is why I wanted things to be very clear.” She’d offer the sighed contract to him. “Here you are.”
Hector Mendle watches her sign and nods. "I am professional when I must be professional." he tells her. "I think you know I could have antagonized the good captain into attacking me, very possibly breaking or destroying many things in this morning’s shipment." he tells her and he believes he could. "I am a lawyer. That's actually part of my job. To find chinks and manipulate them."
Amara leaned forward, her right elbow resting on her folded knee. “And that’s what’s scary about you,” she mused. “Lana’s one whose buttons are easy to push, but it takes a specific hand to actually get her riled up…and an even more cunning hand to know when to avoid provocation.” She was suggesting more there than just Lana of course; pissing off Ashagi was something even the lawyer should be wise enough not to do.
Hector Mendle meets her eyes and smiles. "I pick my battle. Lana is an easy mark. Real sharks.... I am very careful with. I like my limbs exactly where they are...." he understands. Completely.
Amara smiled, showing off more of her fangs rather than the normal looking teeth in the front. “Good. Glad we are clear.” She started to stand up slowly, the chair creaking at the release of weight. “Well thank you for your time even if it was after hours.”
Hector Mendle stands with her and offers her his hand. If she takes it he will give it a more secure squeeze than normal and hold it. "Thank *you*, Doctor." he says with a sincere smile. His strength. Her teeth. It was exciting just to think about. "I always love precise negotiations" in other words .. it is a pleasure to be threatened by someone as lovely as she is. Hey…the boy is charming. Ya have to give him that much.
Amara barely noticed the grip, but given that this was her right cybernetic arm, he might notice the hand felt more artificial than natural. Her natural left hand came to rest on top of his, the warmth likely a reassurance that she was human. “I like to get to the more direct points of endeavors such as this one, Mr. Mendle. It’s one of the reasons I’m in the position I’m in.” Charms aside, she sounded proud yet mildly manipulative in her suggestion of her work ethics.
Hector Mendle smirks. The warmth of one hand and the unnatural feel of the other suggested cybernetics. Well, she did work at Ashagi. "I like direct." he tells her, looking her up and down, as if assessing her, which is exactly what he is doing. "You come to me correct, and I'll give you the same." his hand still holds hers if she will allow.
Publisher Gary Durr and Associate Editor Kristin Brooks discuss the day's strategies at the new Contract Pharma booth.
Return to Contract Pharma
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Promise Land Dr overpass
Hwy. 70 East - Hwy. 7 North
5
County:
Garland County
Length:
5.8 Miles
Location:
Log Mile 0 - 5.816
Work Began:
December 2019
Est. Completion:
Mid 2022
ARDOT Job Number:
R60140
RE Office:
64
Contractor:
McGeorge Contracting Co., Inc.
Contract Amount:
$75.2 Million
Description:
The pupose of this project is to construct approximately 5.816 miles of new location on Highway 5 in Garland County.
Alternative rock band DIE MANNEQUIN from Toronto, Ontario performed a sold out show at RIOT FEST 2015 Music Festival in Toronto. In picture: CAROLINE "CARE FAILURE" KAWA,KEVVY MENTAL,KEITH HEPPLER,J.C. SANDOVAL
A contract which governs the conditions of engagement of Bilbo Baggins in the role of a Burglar for Thorin Oakenshield.
This prop replica is created by Daniel Reeve, the same man responsible for the original contract as seen in The Hobbit: An Unexpected Journey.
For more and various sample purchase contracts visit: www.samplecontracts.org/purchase-contracts.html
Waiting on Platform E of St Andrew Square Bus Station is AEC Monocoach B578A. This one of a large order delivered to Scottish Omnibuses (SMT) between 1956 and early 1957 - the year the bus station opened. Most were allocated to depot 'A: Edinburgh but each outer depot had at least one in their allocations.
Between 1929 and 1965 SMT buses ran in 4 different liveries, first green, then blue till 1950, then green and finally to this smart dark green, known as 'Lothian Green' in 1965. As the fleet of monocoaches built up so the pre-war fleet of Regals and Tigers disappeared - most sold to building contractors. B578 is an Alexander 41 seat dual purpose version - slightly more comfortable though noisier than the Park Royal version, and continued in service for 22 years - proving the longevity of these fine vehicles.