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SÜDAFRIKA (South-Africa) , nahe dem Blyde-River Canyon, Pilgrim's Rest .
Pilgrim’s Rest wurde 1873 im damaligen Transvaal gegründet, nachdem man in der Pilgrim’s Creek alluviales Gold entdeckt hatte. In den 1880er Jahren waren die alluvialen Goldvorräte erschöpft, so dass ein Bergwerk errichtet wurde, das 1895 von den neugegründeten Transvaal Gold Mining Estates übernommen wurde.
Die Stadt ist seit 1986 als Nationaldenkmal ausgewiesen und steht seit 2004 auf der Kandidatenliste für das UNESCO-Welterbe. Als Sehenswürdigkeit gilt der Friedhof aus der Gründerzeit der Stadt, auf dem zahlreiche Goldgräber beerdigt wurden, meist sogenannte Uitlanders.
Wenn man den Friedhof in Pilgrims' Rest besucht, findet man das Räubergrab, das rechts von den meisten anderen Gräbern liegt. Es liegt auch in Nord-Süd-Richtung, im Gegensatz zu allen anderen, die in Ost-West-Richtung liegen.
Die Legende besagt seit jeher, dass das Räubergrab das Grab eines Diebes unter den Baggern im Bergbaulager war, der beim Diebstahl im Zelt eines anderen Mannes erwischt wurde. Er wurde offenbar gelyncht und starb dann.
If one visits the cemetery in Pilgrims’ Rest one finds the Robber’s Grave which lies to the right of most of the other graves. It also lies North/South as opposed to all the others lying East/West.
The legend at large has always maintained that the Robber’s Grave was the grave of a thief amongst the diggers in the mining camp who was caught pilfering in another man’s tent. He was apparently lynched and then died.
SÜDAFRIKA (South-Africa) , nahe dem Blyde-River Canyon, Pilgrim's Rest .
Pilgrim’s Rest wurde 1873 im damaligen Transvaal gegründet, nachdem man in der Pilgrim’s Creek alluviales Gold entdeckt hatte. In den 1880er Jahren waren die alluvialen Goldvorräte erschöpft, so dass ein Bergwerk errichtet wurde, das 1895 von den neugegründeten Transvaal Gold Mining Estates übernommen wurde.
Die Stadt ist seit 1986 als Nationaldenkmal ausgewiesen und steht seit 2004 auf der Kandidatenliste für das UNESCO-Welterbe. Als Sehenswürdigkeit gilt der Friedhof aus der Gründerzeit der Stadt, auf dem zahlreiche Goldgräber beerdigt wurden, meist sogenannte Uitlanders.
Wenn man den Friedhof in Pilgrims' Rest besucht, findet man das Räubergrab, das rechts von den meisten anderen Gräbern liegt. Es liegt auch in Nord-Süd-Richtung, im Gegensatz zu allen anderen, die in Ost-West-Richtung liegen.
Die Legende besagt seit jeher, dass das Räubergrab das Grab eines Diebes unter den Baggern im Bergbaulager war, der beim Diebstahl im Zelt eines anderen Mannes erwischt wurde. Er wurde offenbar gelyncht und starb dann.
If one visits the cemetery in Pilgrims’ Rest one finds the Robber’s Grave which lies to the right of most of the other graves. It also lies North/South as opposed to all the others lying East/West.
The legend at large has always maintained that the Robber’s Grave was the grave of a thief amongst the diggers in the mining camp who was caught pilfering in another man’s tent. He was apparently lynched and then died.
SÜDAFRIKA (South-Africa) , nahe dem Blyde-River Canyon, Pilgrim's Rest .
Pilgrim’s Rest wurde 1873 im damaligen Transvaal gegründet, nachdem man in der Pilgrim’s Creek alluviales Gold entdeckt hatte. In den 1880er Jahren waren die alluvialen Goldvorräte erschöpft, so dass ein Bergwerk errichtet wurde, das 1895 von den neugegründeten Transvaal Gold Mining Estates übernommen wurde.
Die Stadt ist seit 1986 als Nationaldenkmal ausgewiesen und steht seit 2004 auf der Kandidatenliste für das UNESCO-Welterbe. Als Sehenswürdigkeit gilt der Friedhof aus der Gründerzeit der Stadt, auf dem zahlreiche Goldgräber beerdigt wurden, meist sogenannte Uitlanders.
Wenn man den Friedhof in Pilgrims' Rest besucht, findet man das Räubergrab, das rechts von den meisten anderen Gräbern liegt. Es liegt auch in Nord-Süd-Richtung, im Gegensatz zu allen anderen, die in Ost-West-Richtung liegen.
Die Legende besagt seit jeher, dass das Räubergrab das Grab eines Diebes unter den Baggern im Bergbaulager war, der beim Diebstahl im Zelt eines anderen Mannes erwischt wurde. Er wurde offenbar gelyncht und starb dann.
If one visits the cemetery in Pilgrims’ Rest one finds the Robber’s Grave which lies to the right of most of the other graves. It also lies North/South as opposed to all the others lying East/West.
The legend at large has always maintained that the Robber’s Grave was the grave of a thief amongst the diggers in the mining camp who was caught pilfering in another man’s tent. He was apparently lynched and then died.
The bike in front of the window on the 1st floor, the thieves have a hard time ;-)
Sicherer Platz
Das Fahrrad vor dem Fenster im 1.OG, da kommen die Diebe schlecht dran ;-)
Look who seemed to feel quite guilty when I surprised them in the pantry ! I don't know what they were looking for, the honey maybe ? It seems as if this was carefully planned as they even brought their own ladder !
Ich möchte diesen starken Text, den ich von einem unbekanntem russichen Autor gelesen habe hier gerne zur Verfügung stellen:
Seien Sie nicht zu faul, bis zum Ende zu lesen. Für mich ist es ein starker Text...
Ich bin Russe, ein Bürger Russlands, ich spreche Russisch, ich denke auf Russisch.
Und ich strapaziere meinen russischen Verstand und verstehe nicht: Wozu brauche ich Cherson?
Früher war es von Russland besetzt, aber ich habe es nicht gebraucht. Russland hat es verlassen, aber ich bereue es nicht, denn ich habe es nicht gebraucht. Ich habe mit Cherson nichts gewonnen und ohne Cherson nichts verloren.
Und das Gleiche gilt für Charkiw. Und dasselbe gilt für Kiew. Odessa. Mit Donezk. Mit Luhansk. Mit der Krim. Sie sagen mir: Es sollte UNSER, russisch sein. Aber ich verstehe nicht, was OUR zum Beispiel in Bezug auf eine ganze Millionenstadt bedeutet.
...Es gibt nichts, was ich mir von der Ukraine wünsche, was ich nicht schon vor 2014 so einfach von ihr bekommen konnte.
In die schönen Städte zu kommen und dort spazieren zu gehen, Liebe und Freundschaft von den Einheimischen zu erfahren, die Familie zu besuchen, zu essen und zu tanzen, Museen zu besuchen, großartigen Musikern zuzuhören, Zeit in der Gesellschaft von offenen und fröhlichen Menschen zu verbringen... das habe ich immer bekommen.
Und das ist alles, was ich brauche. In diesem Sinne war die Ukraine immer "mein" Land und ich "ihres", soweit es uns beiden recht war.
Was konnte man sich noch wünschen? Ich wollte nichts. Ich habe nichts von dem bekommen, was ihr weggenommen wurde, ich hatte keinen Anspruch darauf, ich wollte es nicht, ich war dagegen.
Meine klugen russischen Landsleute haben den Ukrainern zunächst ohne mein Wissen und dann mit meinem aktiven Widerstand viel genommen: Ressourcen, Territorien, Häuser, Zeit und Geld, Dinge und Infrastruktur, Dörfer und Städte, aber das Heiligste von allem - das Leben... Soldaten, Zivilisten, Männer, Frauen, Kinder, Tiere, alle Lebewesen.
Und sie haben mir die Ukraine weggenommen. Ja, ich spüre den Verlust. Nicht als Couch-Patriot - der Verlust von Cherson, wo ich noch nicht einmal gewesen bin und nie sein werde. Aber die kleinen, greifbaren und anspruchslosen Dinge, die ich mir von diesem gastfreundlichen Land erhofft habe, sind für mich jetzt unerreichbar. Als Russe bin ich nicht reich geworden durch die Annexion der Krim, des Donbass und Cherson. Aber ich habe mich um eine ganze Ukraine verarmt.
Das ist nicht der einzige Verlust. Ich fühle einen Verlust bei etwas anderem. In der wichtigsten. Das Leben der Menschen. Ein Toter spricht keine Sprache mehr und wohnt in keiner Stadt. Sie können ihn nicht zurückbringen. Ich liebe Menschen, und man hat mir Menschen genommen, indem man sie in den Tod geschickt hat. Ich bin arm an all diesen Menschen, an jedem von ihnen, arm an einer neuen Begegnung, an einer unerfüllten Freundschaft, an einer unausgesprochenen Liebe.
Apropos unausgesprochen. Ich bin auch am Leben verarmt. Ukrainer und Krimtataren, Balten und Polen, ihre Sprachen, die ich jetzt für lange Zeit nicht mehr hören werde. Aber auch meine Sprache hat sich verarmt. Die Wörter haben begonnen, aus dem Text zu verschwinden. Diejenigen, die es so eifrig zu schützen suchten, schützen es vor Worten, die für wichtige Ereignisse und Phänomene stehen. Auch meine russische Sprache wird durch den neuen Jargon zertreten.
Es ist uns verboten, den Krieg als Krieg, als Verbrechen zu bezeichnen. - ein Verbrechen, ein Schurke ein Schurke, und Kummer eine Qual.
Und hier fühle ich mich wieder verloren. Ich fühle mich beraubt. Nicht mit Cherson, aber hier bin ich. Ich habe das Gefühl, dass sie mir das Meine wegnehmen, in meinen Mund, in meinen Geist, in meine Seele eindringen.
Es ist uns verboten, die Wahrheit zu sagen, weil sie uns diskreditiert. Aber wir haben vergessen, dass das normal ist. Dass es richtig ist. Die Wahrheit ist IMMER diskreditierend. Die Wahrheit über die Gemeinheit eines Schurken diskreditiert einen Schurken, und die Wahrheit über einen Dieb diskreditiert einen Dieb.
Ich bin verarmt durch die ganze Wahrheit. Die Wahrheit über die wichtigsten Ereignisse der Welt.
Die Diebe haben uns verboten, zu sagen, dass sie Diebe sind und stehlen, dass sie Mörder sind und töten. Was wir nicht benennen können, existiert nicht. Die Wörter haben ihre frühere Bedeutung verloren und das Gegenteil angenommen. Das Böse wird als gut bezeichnet. Grausamkeit wird Barmherzigkeit genannt. Versklavung ist Befreiung. Ich bin verarmt an Güte, Barmherzigkeit und Freiheit, an der Fähigkeit, sie zu verkünden.
.. Ich bin verarmt, was die Redefreiheit angeht.
Ich bin in all diesen Dingen verarmt. Und plötzlich war ich wieder reich, sobald ich merkte, dass es sehr einfach war, alles zurückzubekommen.
Und das Wort der Freiheit, und das Wort der Wahrheit, und das Wort der Barmherzigkeit. Und die Liebe zu den Menschen. Und ihr fröhliches Lachen.
Alles, was wir tun müssen, ist noch einmal arm zu werden, ein letztes Mal. Für jeden von uns.
Wir verarmen an unserer eigenen Angst.
in english:
Don't be too lazy to read to the end. For me it is a strong text...
I am a Russian, a citizen of Russia, I speak Russian, I think in Russian.
And I am straining my Russian mind and do not understand: why do I need Kherson?
Russia used to occupy it, but I didn`t need it. Russia left it, but I am not sorry, because I did not need it. I gained nothing with Kherson and lost nothing without it.
And the same goes for Kharkiv. And the same with Kyiv. Odessa. With Donetsk. With Luhansk. With Crimea. They tell me: it should be OUR, Russian. But I don't understand what OUR means in relation to an entire city with a population of millions, for example.
...There is nothing that I want from Ukraine that I could not get from it so easily, before 2014.
To come and walk around the beautiful cities, to get love and friendship from the locals, to visit some family, to eat and dance, to see museums, to listen to great musicians, to spend time in the company of open and cheerful people...I always got that.
And that is all I needed. In this sense, Ukraine has always been "mine" and I was "hers", as far as we both were comfortable.
What more was there to want? I wanted nothing. I got nothing of what was taken away from it, I had no claim to it, I did not want it, I was against it.
My wise Russian compatriots, first without my knowledge and then with my active opposition, took away much from the Ukrainians: resources, territories, houses, time and money, things and infrastructure, villages and towns, but most sacred of all - the lives... soldiers, civilians, men, women, children, animals, all creatures.
And they took Ukraine from me. Yes, I feel the loss. Not as a couch patriot - the loss of Kherson, where I have not even been and never will be. But that little, tangible and undemanding thing that I wanted to get from this hospitable country is out of reach for me now. As a Russian, I did not get rich from the annexation of Crimea, Donbass, and Kherson. But I have impoverished myself by an entire Ukraine.
That is not the only loss. I feel a loss in something else. In the most important one. People's lives. A dead man no longer speaks any language or inhabits any city. You can't bring him back. I love people and people have been taken from me by taking them away to death. I am impoverished for all these people, for each of them, impoverished for a new meeting, for an unfulfilled friendship, for an unspoken love.
Speaking of unspoken. I also impoverished myself on the living. Ukrainians and Crimean Tatars, Balts and Poles, their languages which I will not hear around me now for a long time. But my language has also become impoverished. Words have begun to disappear from it. Those who sought so diligently to protect it are protecting it from words that stand for important events and phenomena. My Russian language, too, is being treaded out by the new jargon.
We are forbidden to call war war, crime. - a crime, a scoundrel a scoundrel, and grief a gore.
And here I feel lost again. I feel robbed. Not with Kherson, but here I am. I feel that they are taking away mine, getting into my mouth, into my mind, into my soul.
We are forbidden to tell the truth because it discredits us. But we have forgotten that it is normal. That it is right. The truth is ALWAYS discrediting. The truth about a scoundrel's meanness discredits a scoundrel, and the truth about a thief discredits a thief.
I am impoverished by the whole truth. The truth about the most important events around.
Thieves have forbidden us to say that they are thieves and they steal, that they are murderers and they kill. What we cannot name does not exist. Words have lost their former meanings and acquired the opposite. Evil is called good. Cruelty is called mercy. Enslavement is liberation. I am impoverished in goodness, mercy and freedom, in the ability to proclaim them.
.. I am impoverished in freedom of speech.
I am impoverished in all these things. And suddenly I was rich again, as soon as I realised it was very easy to get it all back.
And the word of freedom, and the word of truth, and the word of mercy. And the love of people. And their joyful laughter.
All we have to do is to become poor one more time, one last time. For each of us.
To impoverish ourselves with our own fear.
The awkwardness of the perspective and the modernity of the image composition are fascinating.
The Stories of the True Cross are a cycle of frescoes preserved in the main chapel of the Basilica of St. Francis in Arezzo, Zuscany, Italy.
Begun by Bicci di Lorenzo, it was painted mainly by Piero della Francesca between 1452 and 1466, who made it one of the masterpieces of Renaissance painting.
Theme of this fresco
Discovery of the three crosses and verification of the Cross
Constantine's mother, Helena, had the ground on Golgotha excavated and found the cross of Jesus and those of the two thieves. Unable to understand which one Christ had been nailed to, Helena had all three placed above the body of a young man who had just died, who miraculously rose from the dead when he came into contact with the sacred relic. At that point, Helena and her entourage knelt in adoration.
Deutsch
Faszinierend die Unbeholfenheit in der Perspektive und die Modernität der Bildgestaltung !
In der Hauptchorkapelle der Kirche San Francesco hat Piero della Francesca von 1453 bis mindestens 1459, möglicherweise bis 1466, einen zehnteiligen Freskenzyklus die Legende vom Wahren Kreuz geschaffen.
Er stellt die Geschichte vom Kreuz Christi nach der Legenda aurea des Jacobus de Voragine dar, die mit dem Tod Adams beginnt und bis zum Triumphzug des Herakleios nach Jerusalem im Jahr 628 erzählt wird.
Auftraggeber war die in Arezzo lebende Familie Bacci, die das Patrozinium über diese Kapelle innehielt. Sie hatte sich mit dem Wunsch nach einem Freskengemälde zunächst an Bicci di Lorenzo gewandt, der jedoch 1452 starb.
Piero della Francesca, der zunächst „notgedrungen“ eingesprungen war, übertraf indes die Erwartungen der Auftraggeber und gestaltete ein Werk, das zu den Hauptwerken der italienischen Frührenaissance zählt.
Thema dieses Freskos
Entdeckung der drei Kreuze und Überprüfung des Kreuzes
Konstantins Mutter Helena ließ den Boden auf Golgatha ausgraben und fand das Kreuz Jesu und die Kreuze der beiden Diebe. Da sie nicht erkennen konnte, an welches Kreuz Christus genagelt worden war, ließ Helena alle drei über den Leichnam eines jungen Mannes legen, der gerade gestorben war und auf wundersame Weise von den Toten auferstand, als er mit der heiligen Reliquie in Berührung kam. An diesem Punkt knieten Helena und ihre Begleiter in Anbetung nieder.
_MG_3942_pa2
Die Forelle
In einem Bächlein helle,
da schoß in froher Eil’
die launige Forelle
vorüber wie ein Pfe il.
Ich saß an dem Gest ade
und saß in süßer Ruh’
des muntern Fisches B ade
im klaren Bächlein zu.
Ein Fischer mit der Ru te
wohl an dem Ufer stand
und sah’s mit kaltem Blu te,
wie sich das Fischlein wand .
Solang dem Wasser Helle
so dacht’ ich, nicht gebrich t,
so fängt er die Forelle
mit seiner Angel nicht.
Doch plötzlich war dem Diebe
die Zeit zu lang. Er macht
das Bächlein tückisch trüb e,
und eh’ ich es gedacht,
so zuckte seine Rute,
das Fischlein zappelt’ dran,
und ich mit regem Blute
sah die Betrogne an.
Die ihr am goldnen Q uelle
der sichern Jugend weilt,
denkt noch an die Forelle !
Seht ihr Gefahr, so eilt!
Meist fehlt ihr nur aus M angel
der Klugheit. Mädchen seht
Verführer mit der Angel!
Sonst blütet ihr zu spät.
Christian Friedrich Daniel Schubart
La trota
In un ch iaro ruscello, in allegra fretta guizzava come una freccia la capricciosa trota. Io sedevo sulla riva e in dolce
quiete guardavo il vispo pesce immerso nel limpido ruscello.
Un pescatore con la canna stava sulla riva e cercava con sa ngue freddo di catturare il pesce. Finché l’acqua resterà
limpida, pensai, costui non prenderà la trota col suo amo.
Ma d’improvviso al ladro parve di star perdendo tempo. As tutamente intorbidò il ruscello, e prima che io pensassi la
sua canna estrasse il pesciolino che si dimenava, e io col sangue in ebollizione non potei che guardare l’ingannata.
Voi che soggiornate alla dorata sorgente della sicura gioventù, pensate alla trota! Se percepite pericolo, fuggite! È p er
mancanza di giudizio che di solito cadete. Fanciulle, guardatevi dagli ami dei seduttori! Altrimenti vi accorgerete troppo
tardi di sanguinare.
Questa poesia si colloca nella tradizione moralistico-didascalica, ed è stata musicata dal quasi omonimo Franz
Schubert. Da un semplice racconto di un’avventura di pesca, scaturisce il parallelismo con i pericoli che la gioventù
(specialmente femminile) distratta può trovarsi a correre. La poesia di Schubart trovò ampio consenso presso i ceti
inferiori. Spirito ribelle con inclinazioni illuministiche secondo la moda del tempo, Schubart fu acerrimo nemico dei
Gesuiti.
The trout
In a bright stream
A moody trout
Passed by in a haste
Like an arrow.
I stood there at the bank
And watched in blissful calm
The frisky fish's bath
In this clear stream.
A fisher with the fishing rod
Stood at the bank
And watched with cold blood
How the fish moved.
I thought that as long as
The water was bright, nothing could happen,
He would not catch the fish
With his fishing rod.
But soon the time was too long
For this thief. He treacherously
Made the stream murky
And before I realized it
His fishing rod moved
The fish flounced on it
And with agitated blood.
Large manhunt initiated! A spectacular and mysterious robbery of a previously unknown painting report the international news. A valuable landscape painting was stolen last night from the private property of an English count. He had inherited the picture and kept it secret so far. It was secured with the latest light barrier technology. One wonders how the robbers could overcome all barriers. The ransom note is still expected. (Note: Or, for once, it's not about money – and the two little thieves (sister and brother) have just got their rightful inheritance back?)
/ Well, it's not a work of Turner ;-) It's a button that I painted at the age of about 15 years with this landscape – long ago – and I have found in the old button box ... The size is 0,63 inch, the eyelet for sewing is on the back. The two figures are from children's surprise eggs.
///
Kunstraub eines unbekannten William Turner. Oder: Wir haben es!
Große Fahndung eingeleitet! Einen spektakulärer und mysteriöser Raub eines bisher noch unbekannten Gemäldes melden die internationalen Nachrichten. Aus dem Privatbesitz eines englischen Grafen wurde gestern Nacht ein wertvolles Landschaftsgemälde entwendet. Dieser hatte das Bild geerbt und bisher geheim gehalten. Es war mit der neuesten Lichtschrankentechnik gesichert. Man fragt sich, wie die Räuber alle Schranken überwinden konnten. Die Lösegeldforderung wird noch erwartet. (Anmerkung: Oder es geht mal ausnahmsweise nicht um Geld – und die beiden kleinen Diebe (Schwester und Bruder) haben sich nur ihr rechtmäßiges Erbe zurückgeholt?)
/ Na gut, es ist doch kein Kunstwerk von Turner ;-) Es ist ein Knopf, den ich im Alter von ca. 15 Jahren mit dieser Landschaft bemalt habe – lange her – und den ich in der alten Knopfdose wiedergefunden habe ... Die Größe beträgt 16 mm, die Öse zum Annähen ist auf der Rückseite. Die beiden Figuren sind aus Kinder-Überraschungseiern.
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This picture has a story. If you are curious, please look here at the album:
flickr.com/photos/148614497@N06/sets/72157670476624668
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en.wikipedia.org/wiki/J._M._W._Turner
de.wikipedia.org/wiki/William_Turner
en.wikipedia.org/wiki/Art_theft
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#MacroMondays / December 04 / #ButtonsAndBows / HMM to everyone!
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#7DWF / Mondays : #FreeTheme
Looking close on Friday! #SmallFigures
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Sigma Macro / 1:2.8 / 105 mm
24.03.2010 gg. 00:40h Karl-Marx Straße 141.
Berlin Neukölln.
.
Auch im Bereich Buschkrugallee (Berlin Neukölln) kam es in der vergangenen Zeit zu vermehrten Diebstahlshandlungen aus Kraftfahrzeugen, auch hier legte sich die Polizei mit nicht weniger als 20 Beamten auf die Lauer, dabei viel ihr Augenmerk auf diese drei Polen die an der Buschkrugallee / Hannemannstraße wohl zu dämmlich waren den Tank eines LKW zufinden, 20 min brauchten sie dazu..
Zum erstaunen der Beamten brachen die drei aber kein Auto auf sondern klauten den Dieselkraftstoff des LKW`s..
Die Beamten bereiteten den Zugriff vor, an der Karl-Marx-Straße 141 erfolgte die Festnahme der drei Dieseldiebe..
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Foto zeigt:.
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Fotos: ANDREAS MARKUS
04.11.05 gg. 00:30h Wiesbadener Straße / Friedrich-Wilhelm-Platz.
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Zivilbeamte der Direktion 5 haben heute früh gegen 0 Uhr 45 drei Männer nach einem Autoeinbruch in Wilmersdorf festgenommen. Sie hatten die Verdächtigen über längere Zeit beobachtet..
Bereits gegen 22 Uhr fiel das Trio beim Auskundschaften von Pkw neuerer Bauart in der Voltastraße in Wedding auf. Die Beamten beschatteten die 22-, 31- und 36-Jährigen auf ihrer Weiterfahrt durch Mitte und Steglitz, wobei sie immer wieder "Pkw-Besichtigungen" durchführten..
Schließlich konnten die Drei, kurz nachdem sie einen "VW Passat" in der Berkaer Straße aufgebrochen und ein Navigationsgerät gestohlen hatten, in der Wiesbadener Straße angehalten und festgenommen werden. In dem " Renault Clio" der Diebe fanden die Beamten neben der Beute professionelles Einbruchswerkzeug und Funkgeräte..
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Foto zeigt: Festnahme.
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Foto: Andreas Markus
Longeant les remparts du XIIIe siècle, cette petite impasse mène à la tour des voleurs. Cette dernière n'était vraiment un lieu de villégiature à l'époque. On peut maintenant en visiter ses oubliettes d'époque avec salle de torture incluse.
Sources : Wikipedia sur Riquewihr (Multi) && A propos du musée de la tour (FR) && A propos de la tour (Multi)
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Where is home? I don’t know. Does a piece of driftwood have a home? I don’t have a definition for home anymore. For four years I tried to call this place my home. But it isn’t. It’s the place where I came back to after work. The place where I went to sleep at night. But it isn’t home. It’s the biggest shithole in the world. It’s the place where scumbags think they could take whatever they want. Locks don’t stop them. Even if the lock is too strong to brake in they find a way to get in and take whatever they want. They take what people are working hard for. They take what doesn’t belong to them. They take what belongs to me. They take what I was working hard for. Scumbags, assholes, idiots, junkies, criminals, the shallowest end of Darwins gene pool, all sorts of human garbage you don’t really want to deal with. But you have to. They are all over the place.
Police doesn’t stop them. Justice doesn’t stop them. Judges don’t stop them. They either do nothing or they want to give them a second chance. In their minds they are poor people that must have had a hard childhood. Poor people that have had bad parents. Poor people who came across the wrong people. All these sort of things you know. In their eyes they deserve a second chance. I tell you now, I am willing to give them a second chance. I am willing to give them the second chance to die, slowly, in pain and agony, if they survive my first punch right in their stupid, ugly, criminal faces.
Doing so, defending what belongs to me, defending what I was working hard for, defending what criminals taking off me, would be considered illegal. I am the victim - but the police, the justice, the judges would make me the offender. That’s because I’m working hard for making a living and that human waste needs - in the officials view - resocialisation.
I often got comments to my images that I would make this place look nicer than it is. I always refused to believe. I don’t refuse anymore!
This is Gloucester.
This is Gloucester Docks.
This is the biggest shithole I ever came across.
Hermes (Greek mythology)
Mercury (Roman mythology)
Hermes (/ˈhɜːrmiːz/; Greek: Ἑρμῆς) is the god of trade, heraldry, merchants, commerce, roads, thieves, trickery, sports, travelers, and athletes in Ancient Greek religion and mythology; the son of Zeus and the Pleiad Maia, he was the second youngest of the Olympian gods (Dionysus being the youngest).
Hermes was the emissary and messenger of the gods.[1] Hermes was also "the divine trickster"[2] and "the god of boundaries and the transgression of boundaries, ... the patron of herdsmen, thieves, graves, and heralds."[3] He is described as moving freely between the worlds of the mortal and divine, and was the conductor of souls into the afterlife.[4] He was also viewed as the protector and patron of roads and travelers.[5]
In some myths, he is a trickster and outwits other gods for his own satisfaction or for the sake of humankind. His attributes and symbols include the herma, the rooster, the tortoise, satchel or pouch, winged sandals, and winged cap. His main symbol is the Greek kerykeion or Latin caduceus, which appears in a form of two snakes wrapped around a winged staff with carvings of the other gods.[6]
In the Roman adaptation of the Greek pantheon (see interpretatio romana), Hermes is identified with the Roman god Mercury,[7] who, though inherited from the Etruscans, developed many similar characteristics such as being the patron of commerce.
(Wikipedia)
04.11.05 gg. 00:30h Wiesbadener Straße / Friedrich-Wilhelm-Platz.
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Zivilbeamte der Direktion 5 haben heute früh gegen 0 Uhr 45 drei Männer nach einem Autoeinbruch in Wilmersdorf festgenommen. Sie hatten die Verdächtigen über längere Zeit beobachtet..
Bereits gegen 22 Uhr fiel das Trio beim Auskundschaften von Pkw neuerer Bauart in der Voltastraße in Wedding auf. Die Beamten beschatteten die 22-, 31- und 36-Jährigen auf ihrer Weiterfahrt durch Mitte und Steglitz, wobei sie immer wieder "Pkw-Besichtigungen" durchführten..
Schließlich konnten die Drei, kurz nachdem sie einen "VW Passat" in der Berkaer Straße aufgebrochen und ein Navigationsgerät gestohlen hatten, in der Wiesbadener Straße angehalten und festgenommen werden. In dem " Renault Clio" der Diebe fanden die Beamten neben der Beute professionelles Einbruchswerkzeug und Funkgeräte..
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Foto zeigt: Abtransport des Festgenommenen.
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Foto: Andreas Markus
On 13 November 2015, Islamist terrorists murdered 130 people and injured 683 in Paris. 89 people were killed in the Bataclan concert hall in the 11th arrondissement alone. Emergency exits from the Bataclan lead to the Saint-Pierre Amelot passage. Many visitors were able to escape through it. Watching the events documented by a journalist living in the street is hard to bear.
One of these doors (seen here on the far left) was sprayed with the motif of the Sad Girl in 2018 by the world-famous yet unknown graffiti artist Banksy. A few months later, the so-called Banksy door was stolen. The thieves were caught a year later in Italy thanks to meticulous investigative work by the French police and the door was returned to Paris. Unfortunately, it has not returned to its original place, which is shown here. It is in a Parisian court depot because the owners of the concert hall and the city of Paris are arguing about who owns the Sad Girl on the door - the owners of the building, the city of Paris, the artist or all of us?
Paris, France 03.01.2024
www.youtube.com/watch?v=bOOwFC5LGDk
www.youtube.com/watch?v=QjI306HhIJ0
Am 13. November 2015 ermordeten islamistische Terroristen in Paris 130 Menschen und verletzten 683. Allein im Konzertsaal 'Bataclan' im 11. Arrondissement wurden 89 Menschen getötet. Notausgänge des 'Bataclan' münden auf die Passage Saint-Pierre Amelot. Durch sie konnten viele Besucher fliehen. Die von einem in der Straße wohnenden Journalisten dokumentierten Ereignisse anzuschauen, ist schwer erträglich.
Eine diese Türen (hier ganz links zu sehen) wurde 2018 von dem weltbekannten und zugleich unbekannten Graffitikünstler Banksy zum Gedenken mit dem Motiv des Traurigen Mädchens besprüht. Wenige Monate später wurde die sog. Banksy-Tür gestohlen. Die Diebe wurden aufgrund akribischer Ermittlungsarbeit der französischen Polizei ein Jahr später in Italien gefasst und die Türe nach Paris zurückgebracht. Leider ist sie nicht an ihren angestammten und hier gezeigten Platz zurückgekehrt. Sie liegt in einem Pariser Gerichtsdepot, weil die Eigentümer des Konzertsaals und die Stadt Paris darüber streiten, wem das Traurige Mädchen auf der Türe denn jetzt gehört - den Hauseigentümern, der Stadt Paris, dem Künstler oder uns allen?
Paris, Frankreich 03.01.2024
www.youtube.com/watch?v=922j32-C1oQ
www.youtube.com/watch?v=WFAdlZpNn6Y
www.arte.tv/de/videos/111740-000-A/banksy-das-bataclan-un...
Here is a nice story along Ruta 40: while driving to Belén, we saw this car and three men trying to catch a very young horse which had escaped from inside the fence where it's Mom was waiting. When we had arrived, the men tried to catch it which is hard physical work. The sand was spraying, the light shining in it. No wonder we stopped and pulled out our cameras. By the time we had got closer to the three men and the young horse, it was captured and the men seemed not pleased to see us stopping. We took no photos but kept watching, how they would pull back the horse into the fenced area. To our big surprise, they let the horse go (you can see it on the far left) and walked back to their blue car. We kept waiting that they will get their horse in a second round. However, they drove off. Only by then we realized, the horse was not their horse and they never had the intention to unite it with its Mom. Lucky us, they preferred to get off without punishing us for interrupting their business.
"Ihr sollt euch nicht Schätze sammeln auf Erden, da sie die Motten und der Rost fressen und da die Diebe nachgraben und stehlen. "
Bible Matthaeus 6:19
"Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal."
Matthew 6:19
Lissabon
Belém Tower (Portuguese: Torre de Belém, pronounced: [ˈtoʁ(ɨ) dɨ bɨˈlɐ̃ȷ̃]) or the Tower of St Vincent[1] is a fortified tower located in the civil parish of Santa Maria de Belém in the municipality of Lisbon, Portugal. It is a UNESCO World Heritage Site (along with the nearby Jerónimos Monastery)[2] because of the significant role it played in the Portuguese maritime discoveries of the era of the Age of Discoveries.[3] The tower was commissioned by King John II to be part of a defense system at the mouth of the Tagus river and a ceremonial gateway to Lisbon.[3]
The tower was built in the early 16th century and is a prominent example of the Portuguese Manueline style,[4] but it also incorporates hints of other architectural styles.[5] The structure was built from lioz limestone and is composed of a bastion and the 30 m (100 foot),[1] four storey tower. It has incorrectly been stated that the tower was built in the middle of the Tagus and now sits near the shore because the river was redirected after the 1755 Lisbon earthquake. In fact, the tower was built on a small island in the Tagus River near the Lisbon shore.[5][6]
---wiki --
Cuckmere Haven (also known as the Cuckmere Estuary) is an area of flood plains in Sussex, England where the river Cuckmere meets the English Channel between Eastbourne and Seaford. The river is an example of a meandering river, and contains several oxbow lakes. It is a popular tourist destination with an estimated 350,000 visitors per year, where they can engage in long walks, or water activities on the river. The beach at Cuckmere Haven is next to the famous chalk cliffs, the Seven Sisters.
At low tide, one can spot ironwork in the sea close to the river mouth. This is the wreck of the Polynesia, a German sailing ship that ran aground in April 1890 west of Beachy Head; it was laden with a cargo of sodium nitrate.
The beach was commonly used by smugglers in the 16th, 17th, and 18th centuries. For example, in 1783 two gangs of smugglers (each numbering 200 or 300) overcame officers of the law by weight of numbers and carried away a large quantity of goods.
In the Second World War, the site was studied by the Luftwaffe as they flew missions to identify potential landing sites for the invasion of the UK mainland. As a result, the British constructed a series of counter-landing defences, of which numerous pillboxes, anti-tank obstacles, ditches and tank traps survive. Admiralty scaffolding blocked the inlet, but is now gone. Cuckmere Haven featured heavily in the war effort: at night lights were placed to confuse bombers into thinking they were above Newhaven and an airfield was set up further inland. In addition to the permanent land-based constructions, the river was heavily mined.
The East Sussex Transport and Trading Company extracted gravel from the beach at Cuckmere Haven. They transported the material to the road at Exceat on a 2-foot (610 mm) gauge tramway a mile (1.6 km) long, established in the early 1930s and closed in 1964. The tramway began in what is now the car park on the southern side of the main road. The footpath to Cuckmere Haven (east of the river) follows the line of the tramway.
In popular culture
The beach at Cuckmere Haven was used for the opening scene in Kevin Costner's Robin Hood: Prince of Thieves.
The Seven Sisters cliff face was briefly featured in the Harry Potter film Harry Potter and the Goblet of Fire.
The beach was featured in the film Atonement (2007): a postcard of the coastguard cottage overlooking the beach was a central element of the plot, with Robbie Turner focusing on it as the idyll where he and Cecilia Tallis would retire after World War II.
The cliffhanger of the TV sitcom Green Wing Series 1 was filmed at Cuckmere Haven.
The beach and house were the location of Cheryl Cole's video for The Flood.
The beach was used in an episode of Foyle's War.
Most of the film Mr. Holmes is set just west of and inland from the Seven Sisters.
The location was used in the fourth season of the show Luther.
Cuckmere Haven is home to a large variety of wildlife, and has a rich ecosystem. Sheep and cattle graze, keeping the fields at a constant vegetation level. Woodpigeons and rooks pick at the stubble, and aquatic birds such as oystercatchers forage in the water meadows. The result is a fertile area of land providing varied habitats. The beaches are made up of shingle and, right by the sea, rock pools. Chalk is eroded from the cliffs, but not much ends up on the beach. Driftwood and rubbish end up on the beach but do not seem to pollute the environment and do not spoil the view of the beach.
(Wikipedia)
Die Cuckmere-Mündung (auch bekannt als Cuckmere Haven) ist eine Überschwemmungen ausgesetzte Ebene im südenglischen Sussex zwischen den Seebädern Eastbourne und Brighton.
Hier mündet der mäanderartig verlaufende Fluss Cuckmere in den Ärmelkanal ein. Cuckmere Haven ist ein beliebtes Touristenziel mit geschätzten 350.000 Besuchern pro Jahr, die sich mit ausgedehnten Strandspaziergängen und Wasseraktivitäten beschäftigen. Der Strand von Cuckmere Haven befindet sich unmittelbar an den bekannten Kalksteinklippen, den Seven Sisters, an denen eine Route des Wanderweges South Downs Way entlangführt. Bei Niedrigwasser ist es möglich, unmittelbar flussabwärts ein Wrack ausfindig zu machen. Dabei handelt es sich um die Polynesia, ein deutsches Segelschiff, welches im April 1890 beladen mit Nitrat und Soda westlich von Beachy Head auf Grund lief. Cuckmere Haven bietet auch einer Vielzahl von geschützten Vögeln und anderen Tieren eine Heimat.
Der Strand wurde vom 16. bis 18. Jahrhundert häufig von Schmugglern benutzt. Beispielsweise überwältigten im Jahr 1783 zwei Schmugglerbanden (jede 200 bis 300 Mitglieder stark) die zahlenmäßig unterlegenen königlichen Beamten und schafften eine große Menge von Waren fort.
Im Zweiten Weltkrieg erregte diese Gegend die Aufmerksamkeit der deutschen Luftwaffe bei ihrem Auftrag, potentielle Landungsziele für eine Invasion Großbritanniens auszuspähen. Als Ergebnis dieser deutschen Aktivitäten entstanden zahlreiche Abwehrkonstruktionen wie Bunker, Panzerhindernisse, Panzerfallen und Gräben. Cuckmere Haven wurde während des Krieges nachts beleuchtet, um deutschen Bombern vorzugaukeln, sie befänden sich über Newhaven. Weiter im Hinterland wurde ein Flugfeld erstellt. Neben diesen festen Hindernissen wurde auch der Fluss Cuckmere stark vermint.
Cuckmere Haven als Filmdrehort
Der Strand von Cuckmere Haven erschien in der Anfangsszene von Kevin Costners Abenteuerfilm Robin Hood – König der Diebe von 1991.
Die Seven Sisters Klippen waren 2005 auch Drehort in der Harry-Potter-Verfilmung Harry Potter und der Feuerkelch.
Im Sommer 2006 diente der Strand als Kulisse für den 2007 erschienenen Film Abbitte. Eine Postkarte mit den Cottages für die Rettungsboote und dem dahinterliegenden Strand samt den Seven Sisters war ein zentrales Element der Handlung des Filmes. Robbie Turner, dargestellt von James McAvoy, betrachtet in diesem Drama immer wieder diese Postkarte und sehnt sich nach der Idylle, die ihn hier nach dem Krieg mit Cecilia Tallis, dargestellt von Keira Knightley, erwartet. Die Schlussszene mit den herumalbernden Robbie und Cecilia wurde am Strand von Cuckmere Haven gefilmt.
(Wikipedia)
Der 26 Meter hohe Schelmenturm ist das Monheimer Wahrzeichen. Er wurde um 1425 erbaut und war das östliche Stadttor der ehemaligen Befestigungsanlagen der Grafen von Berg. Im 16. und 17. Jahrhundert diente er als Stadtgefängnis. 1972 wurde der Turm saniert und wird seither als kulturelle Begegnungsstätte genutzt.
Schelm(en) leitet sich nicht von der lockeren fröhlichen Art der Rheinländer ab, sondern ist eine alte Bezeichnung für Gauner, Diebe und Verbrecher. Auch wurde der Scharfrichter mitunter als Schelm bezeichnet.
The Schelmenturm (tower) is the Monheim landmark. It was built around 1425 and was the eastern city gate of the former fortifications of the Counts of Berg. In the 16th and 17th century he served as a city prison. In 1972 the tower was renovated and has since been used as a cultural meeting place.
LEGAL NOTICE | protected work • All Rights reserved! © B. Egger photographer retains ownership and all copyrights in this work.
photographer Bernard Egger • collections • sets
🏁 | 2008 ENNSTAL-CLASSIC • Styria 💚 Austria
📷 | 1970 Alfa Romeo Tipo 33-3 :: rumoto images 2008
© Dieses Foto darf ohne vorherige Lizenzvereinbarung keinesfalls publiziert oder an nicht berechtigte Nutzer weiter gegeben werden.
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1970 Alfa Romeo Tipo 33-3 - driver: Nino Vaccarella R.I.P.
Mit dem Tipo 33-3 wollte Alfa ab 1969 um den Gesamtsieg in den Sportwagenrennen mitspielen. Verantwortlich war Carlo Chiti, der legendäre Ex-Ferrari Ingenieur. Er rüstete seinen Tipo33/2 auf, indem er den 2-Liter, bzw. 2.5-Liter V8-Zylinder im Tipo 33-3 auf 3 Liter Hubraum steigerte.
Mit vier obenliegenden Nockenwellen, 32 Ventilen und indirekter Benzineinspritzung erreichte Chiti zunächst 400 PS bei 9000 U/min (1969), aber bis 1971 holte er 430 PS bei 9600 U/min raus. 1970 wurde von 700 auf 650 kg abgespeckt.
Es regnete Gesamtsiege in der Targa Florio, in Brands Hatch und Watkins Glen:
Platzierungen von Nino Vaccarella:
1956
5. Passo di Rigano - Bellolampo auf Fiat 1100/103
1957
3. Monte Erice auf einem Lancia Aurelia B20 2500
1. Platz Sorrento - Sant'Agata auf Lancia Aurelia B20 2500
1. Platz Colle San Rizzo auf Lancia Aurelia B20 2500
5. Vallelunga Circuit auf Lancia Aurelia B20 2500
1958
3. Montepellegrino auf Lancia Aurelia B20 2500
3. Ganzirri Circuit auf Lancia Aurelia B20 2500
10. und 3. beim Giro delle Calabrie auf Lancia Aurelia B20 2500
2. Monte Erice, Lancia Aurelia B20 2500
6. Sassi - Superga auf Lancia Aurelia B20 2500
2. Coppa Gallenga auf Lancia Aurelia B20 2500
2. und 1. Sorrento - Sant'Agata auf Lancia Aurelia B20 2500
1. Rigano Pass - Bellolampo auf Lancia Aurelia B20 2500
2. Avola Aufstieg auf Lancia Aurelia B20 2500
1959
1. Ass. zum Valdesi – Santa Rosalia auf Maserati 2000 4 Zyl.
10. und 3. Targa Florio auf Maserati 2000 SI mit Salimecos
1. Montepellegrino auf Maserati 2000 4 Zyl.
1. Pergusa Circuit auf einem Maserati 2000 4 Zyl.
1. Monte Erice auf Maserati 2000 4 Zyl.
1. Sassi - Superga auf Maserati 2000 4 Zyl.
3. Pontedecimo - Giovi auf Maserati 2000 4 Zyl.
1. Catania - Ätna auf Cooper Maserati
1960
4. und 3. Posillipo Circuit auf einem Maserati 2000 4 Zyl.
7. Rennstrecke von Caserta auf Maserati 2000 4 Zyl.
1. Passo della Mendola auf Maserati 2000 4 Zyl.
3. Trento - Bondone auf WRE 2000
6. Triest - Opicina auf WRE 2000
1. Monte Erice auf Maserati 2000 4 Zyl.
7. Catania - Ätna auf Maserati 2000 4 Zyl.
1. Colle San Rizzo auf Maserati 2000 4 Zyl.
1961
4. und 2. Targa Florio auf Maserati 2890 mit Trintignant
3. Platz F1-GP von Vallelunga auf Cooper Maserati
3. 1000 km Paris auf Ferrari 250 GT mit Trintignant
3. Bahamas-Strecke auf Maserati 2890
1962
6. F1-GP Di Pau auf Lotus, Höhepunkt
3. Targa Florio auf Porsche RS61 Coupè 8 Zyl. mit J. Bonnier
1. Clermond Ferrant auf Ferrari Testa Rossa
15. GP von Deutschland auf Porsche F1 4 Zyl.
2. und 1. Klasse in Ollon – Villars auf Ferrari Testa Rossa
9. GP D'Italia Formel 1 auf Lotus Climax
1963
2. 12 Stunden von Sebring auf Ferrari 250P mit W. Mairesse
1964
2. 12 Stunden von Sebring auf Ferrari P2 mit Ludovico Scarfiotti
1. 1000 km Nürburgring auf Ferrari 275 P mit Ludovico Scarfiotti
1. 24 Stunden von Le Mans auf Ferrari 275 P mit J. Guichet
11. und 4. der Klasse 2 Stunden von Reims auf Ferrari GTO P. Rodriguez
1. Platz bei Coppa Intereuropa (Monza) auf Ferrari 250 LM
1965
1. Targa Florio auf Ferrari 275 P2 mit Lorenzo Bandini
4. Ges. und 1. Platz in der Klasse 1000 km Nürburgring auf Ferrari Dino mit L. Bandini
2. und 1. Klasse in Montepellegrino auf Alfa Romeo TZ
7. 24 Stunden von Le Mans auf Ferrari 365 P mit P. Rodriguez
1. Monte Erice auf Ferrari 250 LM
12. F1-GP D'Italia auf Ferrari 158 8 Zyl.
1966
1. Jolly Hotel Rally auf einem Alfa Romeo GTA mit Pinto
1967
5. Ges. und 1. in der Klasse 12 Stunden von Sebring auf Ford GT 40 mit Umberto Maglioli
4. 1000 km von Monza auf Ferrari P3 mit Müller
1. Platz Pergusa auf Ford GT 40
3. Platz 500 Km von Zeltweg auf Ford GT 40 mit U. Maglioli
2. Monte Erice auf Ferrari Dino
1968
5. Ges. und 1. in der Klasse 24 Stunden von Daytona auf Alfa Romeo 33/2 mit Udo Schutz
10. Ges. und 5. Klasse 1000 km Nürburgring auf Alfa Romeo 33/2 mit Schultze
5. Nürburgring auf Alfa Romeo GTA mit Casoni
1. Mugello Circuit auf Alfa Romeo 33/2 mit Bianchi und Galli
1. 500 km von Imola auf Alfa Romeo 33/2 mit Teodoro Zeccoli
1969
15. 1000 Km Nürburgring auf Alfa Romeo 33/3 mit De Adamich
5. Ges. und 3. Klasse 24 Stunden von Le Mans auf Matra 630 (3000) mit J. Guichet
3. Hockenheim Circuit auf einem Alfa Romeo 33/3
3. Mugello Circuit auf einem Lola mit De Adamich
1. Pergusa Circuit auf einem Alfa Romeo 33/3
1970
1. Team 12 Stunden von Sebring auf Ferrari 512 S mit I. Giunti und M. Andretti
2. Team 1000 km von Monza auf Ferrari 512 S mit I. Giunti und C. Amon
3. Ges. und 1. Klasse Targa Florio auf Ferrari 512 S mit I. Giunti
3. Ges. und 1. Klasse 1000 Km Nürburgring auf Ferrari 512 S mit J. Surtees
4. in 1000 Km. von Spa auf Ferrari 512 S gepaart mit I. Giunti
1. Cefalù - Gibilmanna auf Abarth 2000
1971
5. Fahrer und 3.Klasse 1000 Km von Monza auf Alfa Romeo T33/3 mit T. Hezemans
1. Targa Florio auf Alfa Romeo T33/3 mit T. Hezemans
5. 1000 Km Nürburgring auf Alfa Romeo T33/3 mit T. Hezemans
2. Ges. und 1. Klasse 1000 Km Österreichring auf Alfa Romeo T33/3 mit T. Hezemans
4. Ges. und 2. Klasse 24 Stunden von Spa auf Alfa Romeo GTAM mit G. Berger
1972
9. 1000 Km Buenos Aires auf Alfa Romeo T33/3 mit Pairetti
3. 12 Stunden von Sebring auf Alfa Romeo T33TT3 mit T. Hezemans
4. 24 Stunden von Le Mans auf Alfa Romeo T33TT3 mit De Adamich
1. Coppa Nissena auf Osella 2000
1975
Erster Einsatz bei der Targa Florio auf Alfa Romeo 33TT12 mit A. Merzario
■ This photographic work was STOLEN from me by LA GAZZETTA DELLO SPORT, published without my permission and without payment !!!
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■ Questo lavoro fotografico mi è stato rubato dalla LA GAZZETTA DELLO SPORT, pubblicato senza il mio permesso e senza compenso. Andate al diavolo ladri !!!
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■ Dieses geschützte Lichtbild wurde von der LA GAZZETTA DELLO SPORT gestohlen und ohne meine Erlaubnis und ohne Entschädigung veröffentlicht. Fahrt zur Hölle ihr Diebe !
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photographer | Bernard Egger.. • profile.. • collections.. • sets..
☆ Fine Art photography | alpine & mediterranean landscapes
classic sportscars & motorcycles | traveling | Россия | Europe
location | Peterhof UNESCO World Heritage RF
📷 Beware of the pickpocket :: rumoto image # 1657
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en.m.wikipedia.org/wiki/Estimated_number_of_civilian_guns...
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Her spread death , her buys and sells death, but her denies him, you do not want to face him. You have made the death sterile, swept under the carpet, stripped him of his dignity.
We Indians still think of death., thinking a lot about him. Also, I do. Could be a day when something of me left behind in order to stay here a little - Today was a good day to die - not too hot, not too cold.
A perfect day for a man who comes to the end of his journey. For a person who is happy and has many friends.
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Before our white brothers arrived to civilized human to make of us, we had no prisons. For this reason, we had no criminals. Without a prison, there can be no criminals. We had neither locks nor keys and therefore there were no thieves with us.
If someone was so poor that he had no horse, no tent or no cover, so he was given all of this. We were too uncivilized to place a high value on personal property. We sought only to property in order to pass it to. We knew no money, and therefore was not measured, the value of a person according to his riches.
We had no written laws laid down, no lawyers and politicians, so we could not cheat on each other. It was really bad around us, before the whites came, and I can not explain to me how we could get along without the basic things - such as we are told - for a civilized society are so necessary.
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Our circle is timeless, never stands still, out of death comes forth new life - life that conquers death.
The symbol of the white man, however, is the square. Square are his houses and office buildings, and they have walls that are close to each other people. Square is the door that barred the entry of the stranger, the bill, the prison. Square are also the devices of the whites - nothing but boxes and boxes - TV sets, radios, washing machines, computers, cars.
It all corners and sharp edges - even the time is no longer around, the time of the white man determined appointments, time clocks and rush hours.
Ihr verbreitet Tod, ihr kauft und verkauft Tod, aber ihr verleugnet ihn; ihr wollt ihm nicht ins Gesicht sehen. Ihr habt den Tod steril gemacht, unter den Teppich gekehrt, ihn seiner Würde beraubt.
Wir Indianer jedoch denken noch an den Tod, denken viel über ihn nach. Auch ich tue es. Heute wäre ein guter Tag zum Sterben — nicht zu heiß, nicht zu kalt —‚ ein Tag, an dem etwas von mir zurückbleiben könnte, um noch ein wenig hier zu verweilen.
Ein vollkommener Tag für einen Menschen, der an das Ende seines Weges kommt. Für einen Menschen, der glücklich ist und viele Freunde hat.
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Bevor unsere weissen Brüder kamen, um zivilisierte Men- schen aus uns zu machen, hatten wir keine Gefängnisse. Aus diesem Grund hatten wir auch keine Verbrecher. Ohne ein Gefängnis kann es keine Verbrecher geben. Wir hatten weder Schlösser noch Schlüssel, und deshalb gab es bei uns keine Diebe.
Wenn jemand so arm war, daß er kein Pferd besaß, kein Zelt oder keine Decke, so bekam er all dies geschenkt. Wir waren viel zu unzivilisiert, um großen Wert auf persönlichen Besitz zu legen. Wir strebten Besitz nur an, um ihn weitergeben zu können. Wir kannten kein Geld, und daher wurde der Wert eines Menschen nicht nach seinem Reichtum bemessen.
Wir hatten keine schriftlich niedergelegten Gesetze, keine Rechtsanwälte und Politiker, daher konnten wir einander nicht betrügen. Es stand wirklich schlecht um uns, bevor die Weißen kamen, und ich kann es mir nicht erklären, wie wir ohne die grundlegenden Dinge auskommen konnten, die — wie man uns sagt — für eine zivilisierte Gesellschaft so notwendig sind.
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Unser Kreis ist zeitlos, steht nie still; aus dem Tod geht neues Leben hervor — Leben, das den Tod besiegt.
Das Symbol des weißen Mannes dagegen ist das Viereck. Viereckig sind seine Häuser und Bürogebäude, und sie haben Wände, die die Menschen voneinander abschließen. Viereckig ist die Tür, die dem Fremden den Eintritt verwehrt, der Geldschein, das Gefängnis. Viereckig sind auch die Geräte der Weißen — nichts als Schachteln und Kisten — Fernsehapparate, Radios, Waschmaschinen, Computer, Autos.
Alles hat Ecken und scharfe Kanten — selbst die Zeit ist nicht mehr rund, die Zeit des weißen Mannes, bestimmt von Terminen, Stechuhren und Stoßzeiten.
by Lame Deer - Tahca Ushte, Sioux || Wikipedia: Sioux || Diagonal || Geometry ||
Cuckmere Haven (also known as the Cuckmere Estuary) is an area of flood plains in Sussex, England where the river Cuckmere meets the English Channel between Eastbourne and Seaford. The river is an example of a meandering river, and contains several oxbow lakes. It is a popular tourist destination with an estimated 350,000 visitors per year, where they can engage in long walks, or water activities on the river. The beach at Cuckmere Haven is next to the famous chalk cliffs, the Seven Sisters.
At low tide, one can spot ironwork in the sea close to the river mouth. This is the wreck of the Polynesia, a German sailing ship that ran aground in April 1890 west of Beachy Head; it was laden with a cargo of sodium nitrate.
The beach was commonly used by smugglers in the 16th, 17th, and 18th centuries. For example, in 1783 two gangs of smugglers (each numbering 200 or 300) overcame officers of the law by weight of numbers and carried away a large quantity of goods.
In the Second World War, the site was studied by the Luftwaffe as they flew missions to identify potential landing sites for the invasion of the UK mainland. As a result, the British constructed a series of counter-landing defences, of which numerous pillboxes, anti-tank obstacles, ditches and tank traps survive. Admiralty scaffolding blocked the inlet, but is now gone. Cuckmere Haven featured heavily in the war effort: at night lights were placed to confuse bombers into thinking they were above Newhaven and an airfield was set up further inland. In addition to the permanent land-based constructions, the river was heavily mined.
The East Sussex Transport and Trading Company extracted gravel from the beach at Cuckmere Haven. They transported the material to the road at Exceat on a 2-foot (610 mm) gauge tramway a mile (1.6 km) long, established in the early 1930s and closed in 1964. The tramway began in what is now the car park on the southern side of the main road. The footpath to Cuckmere Haven (east of the river) follows the line of the tramway.
In popular culture
The beach at Cuckmere Haven was used for the opening scene in Kevin Costner's Robin Hood: Prince of Thieves.
The Seven Sisters cliff face was briefly featured in the Harry Potter film Harry Potter and the Goblet of Fire.
The beach was featured in the film Atonement (2007): a postcard of the coastguard cottage overlooking the beach was a central element of the plot, with Robbie Turner focusing on it as the idyll where he and Cecilia Tallis would retire after World War II.
The cliffhanger of the TV sitcom Green Wing Series 1 was filmed at Cuckmere Haven.
The beach and house were the location of Cheryl Cole's video for The Flood.
The beach was used in an episode of Foyle's War.
Most of the film Mr. Holmes is set just west of and inland from the Seven Sisters.
The location was used in the fourth season of the show Luther.
Cuckmere Haven is home to a large variety of wildlife, and has a rich ecosystem. Sheep and cattle graze, keeping the fields at a constant vegetation level. Woodpigeons and rooks pick at the stubble, and aquatic birds such as oystercatchers forage in the water meadows. The result is a fertile area of land providing varied habitats. The beaches are made up of shingle and, right by the sea, rock pools. Chalk is eroded from the cliffs, but not much ends up on the beach. Driftwood and rubbish end up on the beach but do not seem to pollute the environment and do not spoil the view of the beach.
(Wikipedia)
Die Cuckmere-Mündung (auch bekannt als Cuckmere Haven) ist eine Überschwemmungen ausgesetzte Ebene im südenglischen Sussex zwischen den Seebädern Eastbourne und Brighton.
Hier mündet der mäanderartig verlaufende Fluss Cuckmere in den Ärmelkanal ein. Cuckmere Haven ist ein beliebtes Touristenziel mit geschätzten 350.000 Besuchern pro Jahr, die sich mit ausgedehnten Strandspaziergängen und Wasseraktivitäten beschäftigen. Der Strand von Cuckmere Haven befindet sich unmittelbar an den bekannten Kalksteinklippen, den Seven Sisters, an denen eine Route des Wanderweges South Downs Way entlangführt. Bei Niedrigwasser ist es möglich, unmittelbar flussabwärts ein Wrack ausfindig zu machen. Dabei handelt es sich um die Polynesia, ein deutsches Segelschiff, welches im April 1890 beladen mit Nitrat und Soda westlich von Beachy Head auf Grund lief. Cuckmere Haven bietet auch einer Vielzahl von geschützten Vögeln und anderen Tieren eine Heimat.
Der Strand wurde vom 16. bis 18. Jahrhundert häufig von Schmugglern benutzt. Beispielsweise überwältigten im Jahr 1783 zwei Schmugglerbanden (jede 200 bis 300 Mitglieder stark) die zahlenmäßig unterlegenen königlichen Beamten und schafften eine große Menge von Waren fort.
Im Zweiten Weltkrieg erregte diese Gegend die Aufmerksamkeit der deutschen Luftwaffe bei ihrem Auftrag, potentielle Landungsziele für eine Invasion Großbritanniens auszuspähen. Als Ergebnis dieser deutschen Aktivitäten entstanden zahlreiche Abwehrkonstruktionen wie Bunker, Panzerhindernisse, Panzerfallen und Gräben. Cuckmere Haven wurde während des Krieges nachts beleuchtet, um deutschen Bombern vorzugaukeln, sie befänden sich über Newhaven. Weiter im Hinterland wurde ein Flugfeld erstellt. Neben diesen festen Hindernissen wurde auch der Fluss Cuckmere stark vermint.
Cuckmere Haven als Filmdrehort
Der Strand von Cuckmere Haven erschien in der Anfangsszene von Kevin Costners Abenteuerfilm Robin Hood – König der Diebe von 1991.
Die Seven Sisters Klippen waren 2005 auch Drehort in der Harry-Potter-Verfilmung Harry Potter und der Feuerkelch.
Im Sommer 2006 diente der Strand als Kulisse für den 2007 erschienenen Film Abbitte. Eine Postkarte mit den Cottages für die Rettungsboote und dem dahinterliegenden Strand samt den Seven Sisters war ein zentrales Element der Handlung des Filmes. Robbie Turner, dargestellt von James McAvoy, betrachtet in diesem Drama immer wieder diese Postkarte und sehnt sich nach der Idylle, die ihn hier nach dem Krieg mit Cecilia Tallis, dargestellt von Keira Knightley, erwartet. Die Schlussszene mit den herumalbernden Robbie und Cecilia wurde am Strand von Cuckmere Haven gefilmt.
(Wikipedia)
24.03.2010 gg. 00:40h Karl-Marx Straße 141.
Berlin Neukölln.
.
Auch im Bereich Buschkrugallee (Berlin Neukölln) kam es in der vergangenen Zeit zu vermehrten Diebstahlshandlungen aus Kraftfahrzeugen, auch hier legte sich die Polizei mit nicht weniger als 20 Beamten auf die Lauer, dabei viel ihr Augenmerk auf diese drei Polen die an der Buschkrugallee / Hannemannstraße wohl zu dämmlich waren den Tank eines LKW zufinden, 20 min brauchten sie dazu..
Zum erstaunen der Beamten brachen die drei aber kein Auto auf sondern klauten den Dieselkraftstoff des LKW`s..
Die Beamten bereiteten den Zugriff vor, an der Karl-Marx-Straße 141 erfolgte die Festnahme der drei Dieseldiebe..
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Foto zeigt:.
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Fotos: ANDREAS MARKUS
Clever & Smart / Heft-Reihe
ConPart Verlag GmbH & Co.
(Marne / Deutschland; 2005)
Urfassung (1986): Clever & Smart Comic-Album Nr. 44 (Jetzt gibt's Hiebe für Räuber und Diebe)
Copyright: F. Ibañez
ex ibris MTP
Cuckmere Haven (also known as the Cuckmere Estuary) is an area of flood plains in Sussex, England where the river Cuckmere meets the English Channel between Eastbourne and Seaford. The river is an example of a meandering river, and contains several oxbow lakes. It is a popular tourist destination with an estimated 350,000 visitors per year, where they can engage in long walks, or water activities on the river. The beach at Cuckmere Haven is next to the famous chalk cliffs, the Seven Sisters.
At low tide, one can spot ironwork in the sea close to the river mouth. This is the wreck of the Polynesia, a German sailing ship that ran aground in April 1890 west of Beachy Head; it was laden with a cargo of sodium nitrate.
The beach was commonly used by smugglers in the 16th, 17th, and 18th centuries. For example, in 1783 two gangs of smugglers (each numbering 200 or 300) overcame officers of the law by weight of numbers and carried away a large quantity of goods.
In the Second World War, the site was studied by the Luftwaffe as they flew missions to identify potential landing sites for the invasion of the UK mainland. As a result, the British constructed a series of counter-landing defences, of which numerous pillboxes, anti-tank obstacles, ditches and tank traps survive. Admiralty scaffolding blocked the inlet, but is now gone. Cuckmere Haven featured heavily in the war effort: at night lights were placed to confuse bombers into thinking they were above Newhaven and an airfield was set up further inland. In addition to the permanent land-based constructions, the river was heavily mined.
The East Sussex Transport and Trading Company extracted gravel from the beach at Cuckmere Haven. They transported the material to the road at Exceat on a 2-foot (610 mm) gauge tramway a mile (1.6 km) long, established in the early 1930s and closed in 1964. The tramway began in what is now the car park on the southern side of the main road. The footpath to Cuckmere Haven (east of the river) follows the line of the tramway.
In popular culture
The beach at Cuckmere Haven was used for the opening scene in Kevin Costner's Robin Hood: Prince of Thieves.
The Seven Sisters cliff face was briefly featured in the Harry Potter film Harry Potter and the Goblet of Fire.
The beach was featured in the film Atonement (2007): a postcard of the coastguard cottage overlooking the beach was a central element of the plot, with Robbie Turner focusing on it as the idyll where he and Cecilia Tallis would retire after World War II.
The cliffhanger of the TV sitcom Green Wing Series 1 was filmed at Cuckmere Haven.
The beach and house were the location of Cheryl Cole's video for The Flood.
The beach was used in an episode of Foyle's War.
Most of the film Mr. Holmes is set just west of and inland from the Seven Sisters.
The location was used in the fourth season of the show Luther.
Cuckmere Haven is home to a large variety of wildlife, and has a rich ecosystem. Sheep and cattle graze, keeping the fields at a constant vegetation level. Woodpigeons and rooks pick at the stubble, and aquatic birds such as oystercatchers forage in the water meadows. The result is a fertile area of land providing varied habitats. The beaches are made up of shingle and, right by the sea, rock pools. Chalk is eroded from the cliffs, but not much ends up on the beach. Driftwood and rubbish end up on the beach but do not seem to pollute the environment and do not spoil the view of the beach.
(Wikipedia)
Die Cuckmere-Mündung (auch bekannt als Cuckmere Haven) ist eine Überschwemmungen ausgesetzte Ebene im südenglischen Sussex zwischen den Seebädern Eastbourne und Brighton.
Hier mündet der mäanderartig verlaufende Fluss Cuckmere in den Ärmelkanal ein. Cuckmere Haven ist ein beliebtes Touristenziel mit geschätzten 350.000 Besuchern pro Jahr, die sich mit ausgedehnten Strandspaziergängen und Wasseraktivitäten beschäftigen. Der Strand von Cuckmere Haven befindet sich unmittelbar an den bekannten Kalksteinklippen, den Seven Sisters, an denen eine Route des Wanderweges South Downs Way entlangführt. Bei Niedrigwasser ist es möglich, unmittelbar flussabwärts ein Wrack ausfindig zu machen. Dabei handelt es sich um die Polynesia, ein deutsches Segelschiff, welches im April 1890 beladen mit Nitrat und Soda westlich von Beachy Head auf Grund lief. Cuckmere Haven bietet auch einer Vielzahl von geschützten Vögeln und anderen Tieren eine Heimat.
Der Strand wurde vom 16. bis 18. Jahrhundert häufig von Schmugglern benutzt. Beispielsweise überwältigten im Jahr 1783 zwei Schmugglerbanden (jede 200 bis 300 Mitglieder stark) die zahlenmäßig unterlegenen königlichen Beamten und schafften eine große Menge von Waren fort.
Im Zweiten Weltkrieg erregte diese Gegend die Aufmerksamkeit der deutschen Luftwaffe bei ihrem Auftrag, potentielle Landungsziele für eine Invasion Großbritanniens auszuspähen. Als Ergebnis dieser deutschen Aktivitäten entstanden zahlreiche Abwehrkonstruktionen wie Bunker, Panzerhindernisse, Panzerfallen und Gräben. Cuckmere Haven wurde während des Krieges nachts beleuchtet, um deutschen Bombern vorzugaukeln, sie befänden sich über Newhaven. Weiter im Hinterland wurde ein Flugfeld erstellt. Neben diesen festen Hindernissen wurde auch der Fluss Cuckmere stark vermint.
Cuckmere Haven als Filmdrehort
Der Strand von Cuckmere Haven erschien in der Anfangsszene von Kevin Costners Abenteuerfilm Robin Hood – König der Diebe von 1991.
Die Seven Sisters Klippen waren 2005 auch Drehort in der Harry-Potter-Verfilmung Harry Potter und der Feuerkelch.
Im Sommer 2006 diente der Strand als Kulisse für den 2007 erschienenen Film Abbitte. Eine Postkarte mit den Cottages für die Rettungsboote und dem dahinterliegenden Strand samt den Seven Sisters war ein zentrales Element der Handlung des Filmes. Robbie Turner, dargestellt von James McAvoy, betrachtet in diesem Drama immer wieder diese Postkarte und sehnt sich nach der Idylle, die ihn hier nach dem Krieg mit Cecilia Tallis, dargestellt von Keira Knightley, erwartet. Die Schlussszene mit den herumalbernden Robbie und Cecilia wurde am Strand von Cuckmere Haven gefilmt.
(Wikipedia)
German postcard by Photochemie, Berlin, no. K. 192. Photo: Alex Binder, Berlin.
Austrian actress and producer Ellen Richter (1893-1963) caused a sensation as a leading lady in action films from the middle of the 1910s.
Ellen Richter was born Käthe Weiss in 1893 in Vienna, Austria-Hungary (now Austria). She studied acting with Ferdinand Gregori at the Akademie für darstellende Kunst. In 1915 she conquered European audiences with sensation and adventure films like the Joe Deebs detective film Das Gesetz der Mine/The Law of the Mine (Joe May, 1915) starring Max Landa. She became in no time a competitor of action star Harry Piel in films like Der Ring des Schicksals/The Ring of Fate (Richard Eichberg. 1916), Der Spion/The Spy (Karl Heiland, 1917), and Der Flieger von Görz/The Aviator of Gorizia (Georg Jacoby, 1918) starring Harry Liedtke. These films had enormous success. In 1920 Ellen Richter founded her own production company, Ellen Richter Film, together with her later husband Willi Wolff. From then on, he directed and wrote, and she produced and acted in films tailored to her. She soon had the reputation that her films always contained an expensive excursion to exotic locations.
Ellen Richter was able to hold her popularity well till the end of the 1920s. She appeared in films like Lola Montez, die Tänzerin des Königs/Lola Montez, the King's Dancer (Willi Wolff, 1922) with Georg Alexander, Der Flug um den Erdball/The Flight Around the Globe (Willi Wolff, 1925), Moral (Willi Wolff, 1928) and Die Frau ohne Nerven/The Nerveless Woman (Willi Wolff, 1929) opposite Walter Janssen. In 1923 she had married Willi Wolff. In the 1930s Richter only played in a few films such as Die Abenteurerin von Tunis/The Adventuress of Tunis (Willi Wolff, 1931) and Das Geheimnis von Johann Orth/The Secret of Johann Orth (Willi Wolff, 1932) with Karl Ludwig Diehl, before she retired from the film business. Her last film was the crime comedy Manolescu, der Fürst der Diebe/Manolescu, King of Thieves (Georg C. Klaren, Willi Wolff, 1933) starring Iván Petrovich. The rise of the Nazis finished her film career. The Jewish Richter was forbidden to produce more films and was in 1938 excluded from the Reichsfilmkammer. During the Second World War she lived in foreign countries. After her return to Germany she worked again in film production, but now on a small scale. Ellen Richter died in 1969, in Düsseldorf, West Germany. Willi Wolff had passed away in 1947.
Sources: Thomas Staedeli (Cyranos), Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
Cuckmere Haven (also known as the Cuckmere Estuary) is an area of flood plains in Sussex, England where the river Cuckmere meets the English Channel between Eastbourne and Seaford. The river is an example of a meandering river, and contains several oxbow lakes. It is a popular tourist destination with an estimated 350,000 visitors per year, where they can engage in long walks, or water activities on the river. The beach at Cuckmere Haven is next to the famous chalk cliffs, the Seven Sisters.
At low tide, one can spot ironwork in the sea close to the river mouth. This is the wreck of the Polynesia, a German sailing ship that ran aground in April 1890 west of Beachy Head; it was laden with a cargo of sodium nitrate.
The beach was commonly used by smugglers in the 16th, 17th, and 18th centuries. For example, in 1783 two gangs of smugglers (each numbering 200 or 300) overcame officers of the law by weight of numbers and carried away a large quantity of goods.
In the Second World War, the site was studied by the Luftwaffe as they flew missions to identify potential landing sites for the invasion of the UK mainland. As a result, the British constructed a series of counter-landing defences, of which numerous pillboxes, anti-tank obstacles, ditches and tank traps survive. Admiralty scaffolding blocked the inlet, but is now gone. Cuckmere Haven featured heavily in the war effort: at night lights were placed to confuse bombers into thinking they were above Newhaven and an airfield was set up further inland. In addition to the permanent land-based constructions, the river was heavily mined.
The East Sussex Transport and Trading Company extracted gravel from the beach at Cuckmere Haven. They transported the material to the road at Exceat on a 2-foot (610 mm) gauge tramway a mile (1.6 km) long, established in the early 1930s and closed in 1964. The tramway began in what is now the car park on the southern side of the main road. The footpath to Cuckmere Haven (east of the river) follows the line of the tramway.
In popular culture
The beach at Cuckmere Haven was used for the opening scene in Kevin Costner's Robin Hood: Prince of Thieves.
The Seven Sisters cliff face was briefly featured in the Harry Potter film Harry Potter and the Goblet of Fire.
The beach was featured in the film Atonement (2007): a postcard of the coastguard cottage overlooking the beach was a central element of the plot, with Robbie Turner focusing on it as the idyll where he and Cecilia Tallis would retire after World War II.
The cliffhanger of the TV sitcom Green Wing Series 1 was filmed at Cuckmere Haven.
The beach and house were the location of Cheryl Cole's video for The Flood.
The beach was used in an episode of Foyle's War.
Most of the film Mr. Holmes is set just west of and inland from the Seven Sisters.
The location was used in the fourth season of the show Luther.
Cuckmere Haven is home to a large variety of wildlife, and has a rich ecosystem. Sheep and cattle graze, keeping the fields at a constant vegetation level. Woodpigeons and rooks pick at the stubble, and aquatic birds such as oystercatchers forage in the water meadows. The result is a fertile area of land providing varied habitats. The beaches are made up of shingle and, right by the sea, rock pools. Chalk is eroded from the cliffs, but not much ends up on the beach. Driftwood and rubbish end up on the beach but do not seem to pollute the environment and do not spoil the view of the beach.
(Wikipedia)
Die Cuckmere-Mündung (auch bekannt als Cuckmere Haven) ist eine Überschwemmungen ausgesetzte Ebene im südenglischen Sussex zwischen den Seebädern Eastbourne und Brighton.
Hier mündet der mäanderartig verlaufende Fluss Cuckmere in den Ärmelkanal ein. Cuckmere Haven ist ein beliebtes Touristenziel mit geschätzten 350.000 Besuchern pro Jahr, die sich mit ausgedehnten Strandspaziergängen und Wasseraktivitäten beschäftigen. Der Strand von Cuckmere Haven befindet sich unmittelbar an den bekannten Kalksteinklippen, den Seven Sisters, an denen eine Route des Wanderweges South Downs Way entlangführt. Bei Niedrigwasser ist es möglich, unmittelbar flussabwärts ein Wrack ausfindig zu machen. Dabei handelt es sich um die Polynesia, ein deutsches Segelschiff, welches im April 1890 beladen mit Nitrat und Soda westlich von Beachy Head auf Grund lief. Cuckmere Haven bietet auch einer Vielzahl von geschützten Vögeln und anderen Tieren eine Heimat.
Der Strand wurde vom 16. bis 18. Jahrhundert häufig von Schmugglern benutzt. Beispielsweise überwältigten im Jahr 1783 zwei Schmugglerbanden (jede 200 bis 300 Mitglieder stark) die zahlenmäßig unterlegenen königlichen Beamten und schafften eine große Menge von Waren fort.
Im Zweiten Weltkrieg erregte diese Gegend die Aufmerksamkeit der deutschen Luftwaffe bei ihrem Auftrag, potentielle Landungsziele für eine Invasion Großbritanniens auszuspähen. Als Ergebnis dieser deutschen Aktivitäten entstanden zahlreiche Abwehrkonstruktionen wie Bunker, Panzerhindernisse, Panzerfallen und Gräben. Cuckmere Haven wurde während des Krieges nachts beleuchtet, um deutschen Bombern vorzugaukeln, sie befänden sich über Newhaven. Weiter im Hinterland wurde ein Flugfeld erstellt. Neben diesen festen Hindernissen wurde auch der Fluss Cuckmere stark vermint.
Cuckmere Haven als Filmdrehort
Der Strand von Cuckmere Haven erschien in der Anfangsszene von Kevin Costners Abenteuerfilm Robin Hood – König der Diebe von 1991.
Die Seven Sisters Klippen waren 2005 auch Drehort in der Harry-Potter-Verfilmung Harry Potter und der Feuerkelch.
Im Sommer 2006 diente der Strand als Kulisse für den 2007 erschienenen Film Abbitte. Eine Postkarte mit den Cottages für die Rettungsboote und dem dahinterliegenden Strand samt den Seven Sisters war ein zentrales Element der Handlung des Filmes. Robbie Turner, dargestellt von James McAvoy, betrachtet in diesem Drama immer wieder diese Postkarte und sehnt sich nach der Idylle, die ihn hier nach dem Krieg mit Cecilia Tallis, dargestellt von Keira Knightley, erwartet. Die Schlussszene mit den herumalbernden Robbie und Cecilia wurde am Strand von Cuckmere Haven gefilmt.
(Wikipedia)
German postcard by Ross Verlag, no. 3566/1, 1928-1929. Photo: Ufa.
Dary Holm (1897-1960) was a German actress of the silent cinema. She was the film partner of Harry Piel in several adventure films.
Dary Holm was boren in 1897 in Hamburg as Anna Maria Dorothea Meyer. She grew up in Upper Bavaria and decided to take up acting after the First World War. Initially, she started her film career under the name Anna Holm. Through her colleague Bernd Aldor, she was recommended to director Otto Rippert in 1921, who cast her in his film Die Beute der Erinnyen, with Werner Krauß and Ressel Orla. In Munich she acted that year in the two-part film Hyänen der Welt and Der Todessegler, both by Fred Stranz, while in Berlin she acted in Die rätselhafte Zwölf by Martin Hartwig. In the following years, Dary Holm advanced from supporting to leading roles. In 1922-1923, she acted in several films at Union-Film-Co. in Munich, often opposite Ernst Rückert, and directed by directors like Franz Seitz and Josef Berger. Probably one of her first leads she had in 1923 opposite Bernd Aldor in Die Affäre der Baronesse Orlowska by Hans Werckmeister, while she also acted that year in e.g. the - lost - biopic Martin Luther by Karl Wüstenhagen.
From 1924 Dary Holm was regularly cast as a film partner of Harry Piel, first in Auf gefährlichen Spuren (Harry Piel, 1924), followed by several others, such as Der Mann ohne Nerven (1924), Abenteuer im Nachtexpreß (1925), Zigano, der Brigant von Monte Diavolo (1925), Der schwarze Pierrot (1926), and Rätsel einer Nacht (1927). In 1927, after Piel's divorce from Johanna Präder, Holm married the popular actor-director. The couple continued together in Panik, (Harry Piel, 1927-1928), Mann gegen Mann (1928), Männer ohne Beruf (1928), Sein bester Freund (1929), Achtung! Auto-Diebe! (1930), Schatten der Unterwelt (1931) - which was also shot in French version, and Jonny stiehlt Europa (1932).
Occasionally, Dary Holm also acted in films by other directors, but most were with Piel from 1924 onward. "Playing with adventure is what attracts me to film", Dary Holm let her audience know. "Certainly, other stars often have more opportunity to reveal their mimic talent and to win the audience's heart with the smile of their beautiful lips and the magic of their eyes. I, however, have to take dangers with my partner and have to win sympathy through my deathly courage. But it also works like this. The tempo of danger that carries me through the film is what gives me the greatest pleasure and not least brings success. This tempo is the most genuine film - the stage can never achieve such a thing!)." After her first talkies, Dary Holm retired into private life. She died at age 63 in 1960 in Munich and was buried there at the Waldfriedhof. When 2 1/2 years after Piel died too, he was buried in the same grave. And even Piel's third wife, Lilli Stromereder-Piel (1901-1984), was buried there.
Sources: Stephanie D'heil (Steffi-line.de - German), Filmportal.de, Wikipedia (German), and IMDb.
Ihr sollt euch nicht Schätze sammeln auf Erden, wo die Motten und der Rost sie fressen und wo die Diebe nachgraben und stehlen. Sammelt euch vielmehr Schätze im Himmel, wo weder die Motten noch der Rost sie fressen und wo die Diebe nicht nachgraben und stehlen! Denn wo euer Schatz ist, da wird auch euer Herz sein.
Mt. 6,19-21
«Do not store up for yourselves treasures on earth, where moth and rust consume and where thieves break in and steal; but store up for yourselves treasures in heaven, where neither moth nor rust consumes and where thieves do not break in and steal. For where your treasure is, there your heart will be also.
Mt. 6,19-21
German postcard by NPG, no. 276.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
Cuckmere Haven (also known as the Cuckmere Estuary) is an area of flood plains in Sussex, England where the river Cuckmere meets the English Channel between Eastbourne and Seaford. The river is an example of a meandering river, and contains several oxbow lakes. It is a popular tourist destination with an estimated 350,000 visitors per year, where they can engage in long walks, or water activities on the river. The beach at Cuckmere Haven is next to the famous chalk cliffs, the Seven Sisters.
At low tide, one can spot ironwork in the sea close to the river mouth. This is the wreck of the Polynesia, a German sailing ship that ran aground in April 1890 west of Beachy Head; it was laden with a cargo of sodium nitrate.
The beach was commonly used by smugglers in the 16th, 17th, and 18th centuries. For example, in 1783 two gangs of smugglers (each numbering 200 or 300) overcame officers of the law by weight of numbers and carried away a large quantity of goods.
In the Second World War, the site was studied by the Luftwaffe as they flew missions to identify potential landing sites for the invasion of the UK mainland. As a result, the British constructed a series of counter-landing defences, of which numerous pillboxes, anti-tank obstacles, ditches and tank traps survive. Admiralty scaffolding blocked the inlet, but is now gone. Cuckmere Haven featured heavily in the war effort: at night lights were placed to confuse bombers into thinking they were above Newhaven and an airfield was set up further inland. In addition to the permanent land-based constructions, the river was heavily mined.
The East Sussex Transport and Trading Company extracted gravel from the beach at Cuckmere Haven. They transported the material to the road at Exceat on a 2-foot (610 mm) gauge tramway a mile (1.6 km) long, established in the early 1930s and closed in 1964. The tramway began in what is now the car park on the southern side of the main road. The footpath to Cuckmere Haven (east of the river) follows the line of the tramway.
In popular culture
The beach at Cuckmere Haven was used for the opening scene in Kevin Costner's Robin Hood: Prince of Thieves.
The Seven Sisters cliff face was briefly featured in the Harry Potter film Harry Potter and the Goblet of Fire.
The beach was featured in the film Atonement (2007): a postcard of the coastguard cottage overlooking the beach was a central element of the plot, with Robbie Turner focusing on it as the idyll where he and Cecilia Tallis would retire after World War II.
The cliffhanger of the TV sitcom Green Wing Series 1 was filmed at Cuckmere Haven.
The beach and house were the location of Cheryl Cole's video for The Flood.
The beach was used in an episode of Foyle's War.
Most of the film Mr. Holmes is set just west of and inland from the Seven Sisters.
The location was used in the fourth season of the show Luther.
Cuckmere Haven is home to a large variety of wildlife, and has a rich ecosystem. Sheep and cattle graze, keeping the fields at a constant vegetation level. Woodpigeons and rooks pick at the stubble, and aquatic birds such as oystercatchers forage in the water meadows. The result is a fertile area of land providing varied habitats. The beaches are made up of shingle and, right by the sea, rock pools. Chalk is eroded from the cliffs, but not much ends up on the beach. Driftwood and rubbish end up on the beach but do not seem to pollute the environment and do not spoil the view of the beach.
(Wikipedia)
Die Cuckmere-Mündung (auch bekannt als Cuckmere Haven) ist eine Überschwemmungen ausgesetzte Ebene im südenglischen Sussex zwischen den Seebädern Eastbourne und Brighton.
Hier mündet der mäanderartig verlaufende Fluss Cuckmere in den Ärmelkanal ein. Cuckmere Haven ist ein beliebtes Touristenziel mit geschätzten 350.000 Besuchern pro Jahr, die sich mit ausgedehnten Strandspaziergängen und Wasseraktivitäten beschäftigen. Der Strand von Cuckmere Haven befindet sich unmittelbar an den bekannten Kalksteinklippen, den Seven Sisters, an denen eine Route des Wanderweges South Downs Way entlangführt. Bei Niedrigwasser ist es möglich, unmittelbar flussabwärts ein Wrack ausfindig zu machen. Dabei handelt es sich um die Polynesia, ein deutsches Segelschiff, welches im April 1890 beladen mit Nitrat und Soda westlich von Beachy Head auf Grund lief. Cuckmere Haven bietet auch einer Vielzahl von geschützten Vögeln und anderen Tieren eine Heimat.
Der Strand wurde vom 16. bis 18. Jahrhundert häufig von Schmugglern benutzt. Beispielsweise überwältigten im Jahr 1783 zwei Schmugglerbanden (jede 200 bis 300 Mitglieder stark) die zahlenmäßig unterlegenen königlichen Beamten und schafften eine große Menge von Waren fort.
Im Zweiten Weltkrieg erregte diese Gegend die Aufmerksamkeit der deutschen Luftwaffe bei ihrem Auftrag, potentielle Landungsziele für eine Invasion Großbritanniens auszuspähen. Als Ergebnis dieser deutschen Aktivitäten entstanden zahlreiche Abwehrkonstruktionen wie Bunker, Panzerhindernisse, Panzerfallen und Gräben. Cuckmere Haven wurde während des Krieges nachts beleuchtet, um deutschen Bombern vorzugaukeln, sie befänden sich über Newhaven. Weiter im Hinterland wurde ein Flugfeld erstellt. Neben diesen festen Hindernissen wurde auch der Fluss Cuckmere stark vermint.
Cuckmere Haven als Filmdrehort
Der Strand von Cuckmere Haven erschien in der Anfangsszene von Kevin Costners Abenteuerfilm Robin Hood – König der Diebe von 1991.
Die Seven Sisters Klippen waren 2005 auch Drehort in der Harry-Potter-Verfilmung Harry Potter und der Feuerkelch.
Im Sommer 2006 diente der Strand als Kulisse für den 2007 erschienenen Film Abbitte. Eine Postkarte mit den Cottages für die Rettungsboote und dem dahinterliegenden Strand samt den Seven Sisters war ein zentrales Element der Handlung des Filmes. Robbie Turner, dargestellt von James McAvoy, betrachtet in diesem Drama immer wieder diese Postkarte und sehnt sich nach der Idylle, die ihn hier nach dem Krieg mit Cecilia Tallis, dargestellt von Keira Knightley, erwartet. Die Schlussszene mit den herumalbernden Robbie und Cecilia wurde am Strand von Cuckmere Haven gefilmt.
(Wikipedia)
A sculpture in the Ludwigskirche in Darmstadt. There are sculptures depicting all 14 stations of the cross (Via Crucis) set into niches in the round walls of the church - this is #9.
Please view in large (or better original) size for best effect.
5 images, processed with Photomatix 2.5 and Photoshop Elements 5, exposure times between 1.3 sec and 20 secs, at f/4,5 and 35 mm. ISO100.
German postcard in the Film Sterne series by Rotophot, no. 118/1. Photo: Becker & Maass, Berlin.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
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German postcard by Ross Verlag, no. 4236/1, 1929-1930. Photo: Alex Binder, Berlin.
Dary Holm (1897-1960) was a German actress of the silent cinema. She was the film partner of Harry Piel in several adventure films.
Dary Holm was boren in 1897 in Hamburg as Anna Maria Dorothea Meyer. She grew up in Upper Bavaria and decided to take up acting after the First World War. Initially, she started her film career under the name Anna Holm. Through her colleague Bernd Aldor, she was recommended to director Otto Rippert in 1921, who cast her in his film Die Beute der Erinnyen, with Werner Krauß and Ressel Orla. In Munich she acted that year in the two-part film Hyänen der Welt and Der Todessegler, both by Fred Stranz, while in Berlin she acted in Die rätselhafte Zwölf by Martin Hartwig. In the following years, Dary Holm advanced from supporting to leading roles. In 1922-1923, she acted in several films at Union-Film-Co. in Munich, often opposite Ernst Rückert, and directed by directors like Franz Seitz and Josef Berger. Probably one of her first leads she had in 1923 opposite Bernd Aldor in Die Affäre der Baronesse Orlowska by Hans Werckmeister, while she also acted that year in e.g. the - lost - biopic Martin Luther by Karl Wüstenhagen.
From 1924 Dary Holm was regularly cast as a film partner of Harry Piel, first in Auf gefährlichen Spuren (Harry Piel, 1924), followed by several others, such as Der Mann ohne Nerven (1924), Abenteuer im Nachtexpreß (1925), Zigano, der Brigant von Monte Diavolo (1925), Der schwarze Pierrot (1926), and Rätsel einer Nacht (1927). In 1927, after Piel's divorce from Johanna Präder, Holm married the popular actor-director. The couple continued together in Panik, (Harry Piel, 1927-1928), Mann gegen Mann (1928), Männer ohne Beruf (1928), Sein bester Freund (1929), Achtung! Auto-Diebe! (1930), Schatten der Unterwelt (1931) - which was also shot in French version, and Jonny stiehlt Europa (1932).
Occasionally, Dary Holm also acted in films by other directors, but most were with Piel from 1924 onward. "Playing with adventure is what attracts me to film", Dary Holm let her audience know. "Certainly, other stars often have more opportunity to reveal their mimic talent and to win the audience's heart with the smile of their beautiful lips and the magic of their eyes. I, however, have to take dangers with my partner and have to win sympathy through my deathly courage. But it also works like this. The tempo of danger that carries me through the film is what gives me the greatest pleasure and not least brings success. This tempo is the most genuine film - the stage can never achieve such a thing!)." After her first talkies, Dary Holm retired into private life. She died at age 63 in 1960 in Munich and was buried there at the Waldfriedhof. When 2 1/2 years after Piel died too, he was buried in the same grave. And even Piel's third wife, Lilli Stromereder-Piel (1901-1984), was buried there.
Sources: Stephanie D'heil (Steffi-line.de - German), Filmportal.de, Wikipedia (German), and IMDb.
Austrian postcard by Iris Verlag, no. 761/2. Photo: Lux-Film.
Dary Holm (* 16 April 1897 in Hamburg as Anna Maria Dorothea Meyer; † 29 August 1960 in Munich) was a German actress.
Holm grew up in Upper Bavaria and decided to take up acting after the First World War. Initially she started her film career under the name Anna Holm. Through her colleague Bernd Aldor, she was recommended to director Otto Rippert in 1921, who cast her in his film Die Beute der Erinnyen, with Werner Krauß and Ressel Orla. In Munich she acted that year in the two-part film Hyänen der Welt and Der Todessegler, both by Fred Stranz, while in Berlin she acted in Die rätselhafte Zwölf by Martin Hartwig. In the following years Dary Holm advanced from supporting to leading roles. In 1922-23 she acted in several films at Union-Film-Co. in Munich, often opposite Ernst Rückert, and directed by directors like Franz Seitz and Josef Berger. Probably one of her first leads she had in 1923 opposite Bernd Aldor in Die Affäre der Baronesse Orlowska by Hans Werckmeister, while she also acted that year in e.g. the - lost - biopic Martin Luther by Karl Wüstenhagen.
From 1924 Holm was regularly cast as a film partner of Harry Piel (1892-1963), first in Auf gefährlichen Spuren (Piel, 1924), followed by several others, such as Der Mann ohne Nerven (1924), Abenteuer im Nachtexpreß (1925), Zigano, der Brigant von Monte Diavolo (1925), Der schwarze Pierrot (1926), Rätsel einer Nacht (1927), etc. In 1927, after Piel's divorce from Johanna Präder, Holm married the popular actor-director. The couple continued together in Panik, (1927-28), Mann gegen Mann (1928), Männer ohne Beruf (1928), Sein bester Freund (1929), Achtung! Auto-Diebe! (1930), Schatten der Unterwelt (1931) - which was also shot in French version, and Jonny stiehlt Europa (1932). Occasionally, Holm also acted in films by other directors, but most were with Piel from 1924 onward. "Playing with adventure is what attracts me to film", Dary Holm let her audience know. "Certainly, other stars often have more opportunity to reveal their mimic talent and to win the audience's heart with the smile of their beautiful lips and the magic of their eyes. I, however, have to take dangers with my partner and have to win sympathy through my deathly courage. But it also works like this. The tempo of danger that carries me through the film is what gives me the greatest pleasure and not least brings success. This tempo is the most genuine film - the stage can never achieve such a thing!)."
After her first talkies, Dary Holm retired into private life. She died age 63 in 1960 in Munich and was buried there at the Waldfriedhof. When 2 1/2 years after Piel died too, he was buried in the same grave. And even Piel's third wife, Lilli Stromereder-Piel (1901 – 1984), was buried there.
(Sources: German Wikipedia, IMDb, filmportal.de, www.steffi-line.de/archiv_text/nost_film20b40/359_holm_da...).
Bayerisches Nationalmuseum München
Bavarian National Museum
Fliegender Merkur / Flying Mercury
Hubert Gerhard (um 1545/50 — 1620)
Augsburg, um 1590/93
Bronze, im Wachsausschmelzverfahren (direkter Guss)
Höhe: 93 cm
Leihgabe der Ernst von Siemens Kunststiftung
Inv. Nr. L. 2012/3
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Mercurius (eingedeutscht Merkur) war ein Gott in der römischen Religion. Sein Name geht auf das lateinische Wort merx, Ware, zurück. Er wurde mit dem griechischen Hermes gleichgesetzt. Dessen Herkunft und übrige Eigenschaften wurden auf ihn übertragen. Er gilt als der „Götterbote“, Gott der Händler und Diebe.
de.wikipedia.org/wiki/Mercurius
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Mercury is a major Roman god, being one of the Dii Consentes within the ancient Roman pantheon. He is the patron god of financial gain, commerce, eloquence (and thus poetry), messages/communication (including divination), travelers, boundaries, luck, trickery and thieves; he is also the guide of souls to the underworld. He was considered the son of Maia and Jupiter in Roman mythology. His name is possibly related to the Latin word merx ("merchandise"; compare merchant, commerce, etc.), mercari (to trade), and merces (wages); another possible connection is the Proto-Indo-European root merĝ- for "boundary, border" (cf. Old English "mearc", Old Norse "mark" and Latin "margō") and Greek οὖρος (by analogy of Arctūrus/Ἀρκτοῦρος), as the "keeper of boundaries," referring to his role as bridge between the upper and lower worlds.[citation needed] In his earliest forms, he appears to have been related to the Etruscan deity Turms; both gods share characteristics with the Greek god Hermes. He is often depicted holding the caduceus in his left hand.
en.wikipedia.org/wiki/Mercury_(mythology)
German postcard by Ross Verlag, no. 626/3. Photo: Viggo Larsen Tempelhof. Viggo Larsen in Der Fürst der Diebe und seine Liebe/The King of Thieves and His Love (Viggo Larsen, 1919). The man behind Larsen must be the actor Franz Verdier.
Der Fürst der Diebe und seine Liebe was a four-part film which premiered in Berlin on November 4, 1919. Scriptwriter was Hans Hyan, photographer Julius Balting. Initially, the state censorship of 1921, completely forbade the film but after cuts, it remained only forbidden for youngsters.
While no content description of the film could be found, it is clear the plot deals with a gentleman criminal, played by Larsen himself. Critic Friedrich Sieburg in 1920 wrote about a terrifying experience he had when viewing this very film when suddenly the musicians stopped playing while the film went on. "In act 3, as Der Fürst der Diebe was roaring along in his car (his shawl fluttering like a flag, wind blowing briskly through the high grass of the passing landscape), the musicians in the small orchestra - violin and piano for lively scenes, organ for deathly scenes - suddenly decided to break for dinner. The music stopped. Silence. The reels whirred. The light hissed. The action sped ahead. I tell you, it was frightening. I felt as if I was six feet under." (Anton Kaes/ Michael Cowan ed., The Promise of Cinema: German Film Theory, 1907–1933).
Viggo Larsen (1880-1957) was a Danish actor, director, scriptwriter and producer. He was one of the pioneers in film history. With Wanda Treumann he directed and produced many German films of the 1910s.
See also www.flickr.com/photos/truusbobjantoo/35530232953/in/photo...
German postcard by Verlag Hermann Leiser, Berlin-Wilm., no. 6237.
Dary Holm (1897-1960) was a German actress of the silent cinema. She was the film partner of Harry Piel in several adventure films.
Dary Holm was born in 1897 in Hamburg as Anna Maria Dorothea Meyer. She grew up in Upper Bavaria and decided to take up acting after the First World War. Initially, she started her film career under the name Anna Holm. Through her colleague Bernd Aldor, she was recommended to director Otto Rippert in 1921, who cast her in his film Die Beute der Erinnyen, with Werner Krauß and Ressel Orla. In Munich she acted that year in the two-part film Hyänen der Welt and Der Todessegler, both by Fred Stranz, while in Berlin she acted in Die rätselhafte Zwölf by Martin Hartwig. In the following years, Dary Holm advanced from supporting to leading roles. In 1922-1923, she acted in several films at Union-Film-Co. in Munich, often opposite Ernst Rückert, and directed by directors like Franz Seitz and Josef Berger. Probably one of her first leads she had in 1923 opposite Bernd Aldor in Die Affäre der Baronesse Orlowska by Hans Werckmeister, while she also acted that year in e.g. the - lost - biopic Martin Luther by Karl Wüstenhagen.
From 1924 Dary Holm was regularly cast as a film partner of Harry Piel, first in Auf gefährlichen Spuren (Harry Piel, 1924), followed by several others, such as Der Mann ohne Nerven (1924), Abenteuer im Nachtexpreß (1925), Zigano, der Brigant von Monte Diavolo (1925), Der schwarze Pierrot (1926), and Rätsel einer Nacht (1927). In 1927, after Piel's divorce from Johanna Präder, Holm married the popular actor-director. The couple continued together in Panik, (Harry Piel, 1927-1928), Mann gegen Mann (1928), Männer ohne Beruf (1928), Sein bester Freund (1929), Achtung! Auto-Diebe! (1930), Schatten der Unterwelt (1931) - which was also shot in French version, and Jonny stiehlt Europa (1932).
Occasionally, Dary Holm also acted in films by other directors, but most were with Piel from 1924 onward. "Playing with adventure is what attracts me to film", Dary Holm let her audience know. "Certainly, other stars often have more opportunity to reveal their mimic talent and to win the audience's heart with the smile of their beautiful lips and the magic of their eyes. I, however, have to take dangers with my partner and have to win sympathy through my deathly courage. But it also works like this. The tempo of danger that carries me through the film is what gives me the greatest pleasure and not least brings success. This tempo is the most genuine film - the stage can never achieve such a thing!)." After her first talkies, Dary Holm retired into private life. She died at age 63 in 1960 in Munich and was buried there at the Waldfriedhof. When 2 1/2 years after Piel died too, he was buried in the same grave. And even Piel's third wife, Lilli Stromereder-Piel (1901-1984), was buried there.
Sources: Stephanie D'heil (Steffi-line.de - German), Filmportal.de, Wikipedia (German), and IMDb.
of course we also visited this place...campiello del remer!! ;o))
in a lovely movie (for kids...german title is "herr der diebe"/literally translated: "lord of the thieves") some orphaned kids are living all alone in the city of venice and "campiello del remer" is seen in this movie...it is the place where two kids - prosper and bo - escape into the city of venice after arriving on a boat... they are running through this (only half seen) small alley in the right side of the picture...