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Spanish postcard. Ediciones M.C., Barcelona. Probably 1920s.
American film actor Richard Dix (1893–1949) achieved popularity in both silent and sound film, first as the rugged and stalwart hero in countless Westerns, then dramatic features such as the Cecil B. DeMille's The Ten Commandments (1923). After his years of silent film at Paramount, and thanks to his deep voice and commanding presence, he became a well-known star at RKO in the 1930s. He was nominated for the Academy Award for Best Actor for his lead role in the Best Picture-winning epic, Cimarron (1931).
Spanish card by Ediciones Raker, Barcelona, no. 194. Photo: 20th Century Fox. Publicity still for Judgment at Nuremberg (Stanley Kramer, 1961).
Today, Austrian-born Swiss actor Maximilian Schell has died. Schell (1930-2014), the brother of film star Maria Schell, won an Oscar for his role in Judgment at Nuremberg (1961). He was also a respected writer, director and producer of several films, for which he won many awards.
For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr or Pinterest.
Colección Débora
Ediciones Malinca (Buenos Aires) - 1964
TÃtulo original: La mort prend l'ascenseur
Ediciones Minotauro (Barcelona ) - 1991
TÃtulo original: The Einstein intersection
Cubierta: Oscar Chichoni
Retrospectiva de las 15 ediciones del evento cultural y festivo con más encanto y proyección de la hermosa villa sevillana de Olivares.
Retrospective of the 15 editions of the cultural and festive event with more charm and projection of the beautiful Sevillian village of Olivares.
Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envÃes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!
Superman. Año VIII número 193. Julio 1 de 1959. Editada por Novaro México. CapÃtulos: CAPITULO I LA MUCHACHA DE ACERO. CAPITULO II LO SUPERPODERES PERDIDOS. CAPITULO III SUPERMAN REGRESA A KRYPTON. FFB
Spanish postcard by Ediciones Este, no. 149, 1966.
Though born in America, Irish actor Patrick McGoohan (1928 - 2009) rose to become the number-one British TV star in the 1950's to 1960's era.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Spanish postcard by Ediciones J.R.B. Photo: Cifesa. Sarita Montiel in El Último Cuple / The Last Torch Song (Juan de Orduña, 1957). Sent by mail in 1958.
Spanish singer and actress Sara Montiel, also known as Sarita and SaritÃsima, was a beloved and internationally recognised figure in Spanish-speaking cinema. In the late 1950s, Montiel achieved the status of mega-star in Europe and Latin America with El Último Cuple / The Last Torch Song (1957). This film and La Violetera / The Violet Peddler (1958) netted the highest gross revenues ever recorded for films made in the Spanish-speaking film industry. Montiel was also the first woman to distill sex openly in Spanish cinema at a time when even a low-cut dress was not acceptable.
Sara Montiel was born as MarÃa Antonia Alejandra Vicenta Elpidia Isidora Abad Fernández in the village of Campo de Criptana in the province of Ciudad Real, Spain, in 1928. Her parents were Isidoro Abad, a peasant who later operated a bar, and Maria Vicenta Fernández, a door-to-door beautician. At 15, Montiel won a beauty and talent contest held by Cifesa, the most influential film studio at that time in Spain. The next year, she made her film debut in Te Quiero Para Mà / I want you for myself (Ladislao Vajda, 1943), credited as Maria Alejandra, a shortened version of her real name. In spite of the small part, the young actress caught the attention of producers and directors who realised her enormous potential. By the end of 1944, she was given the starring role in the film Empezó En Boda / It Started at the Wedding (Raffaello Matarazzo, 1944), which introduced her with a new image and a new name: she was now a sophisticated blonde named Sara Montiel. In the next four years, she appeared in 14 films. Soon her colleagues started calling her 'Sarita' (Little Sara) due to her youth. The nickname caught on with the press and the public, consequently. Since then, both Sara and Sarita have been used in credits and publicity. In 1947, she played the role of Antonia, the niece of Don Quixote, in Don Quijote de la Mancha / Don Quixote (Rafael Gil, 1947), the Spanish film version of Cervantes's great novel. Her first international success was her role as an Islamic princess in Locura de Amor / The Mad Queen (Juan de Orduña, 1948) with Fernando Rey. Locura de Amor led to a contract in Mexico, where she established herself as one of the most popular film actors of the decade. She made a total of 13 Mexican films between 1950 and 1954. Due to her popularity in Mexico, Hollywood came calling, and she was introduced to American filmgoers in the Western Vera Cruz (Robert Aldrich, 1954), co-starring with Gary Cooper and Burt Lancaster. She was offered the standard seven-year contract at Columbia Pictures, but she refused, afraid of Hollywood's typecasting policies for Hispanics. Instead, she free-lanced at Warner Bros. in Serenade (Anthony Mann, 1956) with Mario Lanza and Joan Fontaine, and at RKO in Run of the Arrow (Samuel Fuller, 1957), opposite Rod Steiger and Charles Bronson. Director Anthony Mann became her first husband.
Back in Europe, Sara Montiel became the most commercially successful Spanish actress during the mid-20th century. The film musical El Último Cuplé / The Last Torch Song (Juan de Orduña, 1957) was an unexpected success. It played for a year in the same theatres in which it opened. A similar reaction followed in the other European countries and in Latin America. El Último Cuplé turned Montiel into an overnight sensation both as an actor and a singer. Then she achieved the status of mega-star with La Violetera / The Violet Peddler (Luis César Amadori, 1958) with Raf Vallone. It broke the box-office records set by El Último Cuplé. She won the Premio del Sindicato (at the time Spain's equivalent to the Oscar) for best actress two years in a row for her performances in El Último Cuplé and La Violetera. From then on, she combined filming highly successful vehicles, recording songs in five languages and performing live all over the world. Among the films that continued her immense popularity were Carmen, la de Ronda / The Devil Made A Woman (Tulio Demicheli, 1959) with Jorge Mistral, Mi Ultimo Tango / My Last Tango (Luis César Amadori, 1960), and Pecado de Amor / Sin of Love (Tulio Demicheli, 1961). By 1962, she had become a legend to millions worldwide, reaching markets that had previously been ‘uncharted territory for the Spanish cinema. La Bella Lola (Tulio Demicheli, 1962), a new version of Camille with Antonio Cifariello and Maurice Ronet, La Reina del Chantecler (1963), and Noches de Casablanca (Henri Decoin, 1963) with Maurice Ronet spread Sarita's popularity to Eastern Europe, Greece, Turkey, Israel and Japan. Samba (Rafael Gil, 1964) with Italian actor Fosco Giachetti, La mujer perdida / The Lost Woman (Tulio Demicheli, 1966) with Massimo Serato, Tuset Street (Jorge Grau, Luis Marquina, 1967) with Patrick Bauchau, and Esa Mujer / That Woman (Mario Camus, 1969) followed. In 1973, her film Varietés (Juan Antonio Bardem, 1971) was banned in Beijing. By then, she had become a legend to her millions of fans, but she became dissatisfied with the film industry when producers started offering her roles in soft-core porno films. In 1974, Montiel announced her retirement from movies but continued performing live, recording and starring on her own variety television shows in Spain.
Sara Montiel has been married four times: to American film director Anthony Mann (1957-1963), industrial attorney José Vicente RamÃrez Olalla (1964-1978), attorney-journalist José Tous Barberán (1979-1992), and Cuban videotape operator Antonio Hernández (2002-2005). With José Tous Barberán, she adopted two children: Thais (1979) and Zeus (1982). Before, during and after these marriages, she had countless affairs. During the Franco dictatorship, Spanish stars were forbidden to behave in any way that could be perceived at odds with Christian principles and morality; consequently, they kept their private lives very private. Montiel was no exception. Pre-marital or out-of-wedlock relationships were never mentioned, and her civil marriage to Anthony Mann was underplayed, along with the divorce. After starring in the film Cinco Almohadas Para Una Noche / Five Pillows for a Night (Pedro Lazaga, 1974), Montiel announced her retirement from the cinema. She complained about the almost pornographic turn taken by the Spanish film industry after censorship was abolished in the post-Franco era. For a long time she concentrated on highly successful stage musicals: 'Sara en Persona' (1970-1973), 'SaritÃsima' (1974-1975), 'Increible Sara' (1977-1978), 'Super Sara Show' (1979-1980), 'Doña Sara de La Mancha' (1981-1982), 'Taxi Vamos Al Victoria' (1983-1984), 'Nostalgia' (1984-1985), 'Sara, Mes Que Mai !!' (1986), 'Sara, Siempre Sara' (1987-1988) and 'SaritÃzate' (1989-1990).
In the 1990s, Sara Montiel surprised everyone by branching out into television: Sara y Punto (1990), a mini-series of seven one-hour episodes, included a serialised biography of the star, many popular guests including Luciano Pavarotti and Charles Aznavour, and Montiel singing her greatest hits in addition to new songs written especially for her. Next came Ven al Paralelo (1992), taped in a Barcelona theatre where Montiel hosted, sang and acted in comedy sketches in front of a live audience. In 2000, she published her autobiography 'Vivir es un placer' (Memories: To Live Is A Pleasure), an instant bestseller with ten editions to date. A sequel, 'Sara and Sex', followed in 2003. In these books, Montiel revealed other relationships in her past, including one-night stands with writer Ernest Hemingway as well as actor James Dean. She also claimed a long-term affair in the 1940s with playwright Miguel Mihura and mentioned that science wizard Severo Ochoa, a Nobel Prize winner, was the true love of her life. She was portrayed in the Pedro Almodóvar film La mala educación / Bad Education (2004) by Gael GarcÃa Bernal as the transsexual character Zahara, and a clip from one of her films was also used. In 2009, the pop group Fangoria invited Montiel to record a track for the re-release of the band's album 'Absolutamente'. The title track, 'Absolutamente', became a Top 10 hit. After almost 40 years without making a film, she accepted a role in the comedy Abrázame / Hold (Óscar Parra de Carrizosa, 2011). The film was shot on location in Montiel's birthplace in La Mancha. According to the star, in this film, she dared to do "a parody of her old screen image, just for fun." Sara Montiel died in 2013 at home in Madrid. She was survived by her children, Thais and Zeus.
Sources: InfoMontiel, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Probando distintas ediciones con mi última imagen llegue a esta, creo que me gusta mucho más y se parece más al concepto que tenÃa en mente desde un principio.
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Testing different editions with my last image. I think I like it more and it's more like the concept I had in mind from the beginning.
Esta es la nueva portada que van a llevar las nuevas ediciones de Tyrex en inglés, italiano y alemán que se van a publicar el próximo año 2013.
Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envÃes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!
Linda Boyder. Spanish postcard by Ediciones Barcicrom, no. 505, 1963.
For follow more vintage pin-up postcards: follow us at Tumblr or Pinterest. And, did you view our set Beautiful Bikini Beach Babes yet?
Pequeño folleto desplegable con imágenes referentes al HAZLO TU MISM@!, este zine sale la modica suma de $100 cada uno.
Recuerden sus pedidos al mail:
hostildiseno@gmail.com o mandando un flickr mail.
Saludos!
Publicaciones sin ánimo de lucro y Ediciones Bacterium // presentan: #01 Fanzine Parasite/Parásito /// Para enterarse mas acerca del mundo biologico alien > Pedidos y puntos de distribución a: wosnanwsn@gmail.com ///
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Non-profit publications and editions Bacterium present: # 01 Fanzine Parasite / Parasite /// To learn more about the biological alien world > Orders and distribution points: /// wosnanwsn@gmail.com
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pauta para los 13 salones regionales de artistas realizada en stop motion la silueta ediciones 2009. Musica de sistema solar.
1 tonelada Moneda de oro del canguro
Especificaciones
PaÃs: Australia
Nominal : 1.000.000 EUR
Calidad: ONU
Peso: 1.000 KG
Finura : AU 9999
Diámetro: 80 CM
Grosor: 12 CM
La moneda de oro más grande del mundo
En 2011, la Casa de Moneda de Perth (una de las Münzprägestätten/Casas de moneda australianas) rompió todos los récords: Se acuñó una Goldmünze (moneda de oro) con un peso de una tonelada. El hasta ahora por la Royal Canadian Mint tenido récord para la más grande Goldmünze del mundo - con 100 kg - ya estaba historia.
Como parte del 25 º aniversario de la canguro moneda serie australiana la edición especial única es ahora de gira. Schoeller Münzhandel, a veces, el socio de distribución más importante de la Casa de la Moneda de Perth, ellos tambien pudieran traer a Austria. El diámetro de la moneda es aproximadamente de 80 cm, espesor de 12 cm. Con una finura de 99.99 %, la moneda casi consiste en oro puro.
Para el diseño el Dr. Stuart Devlin es responsable, ya desde hace más de 20 años diseñando las ediciones de uno kilogramo de monedas de canguro de la Casa de Moneda de Perth. En la parte de valor de la moneda se representa la reina Isabel II, en el lado de la imagen, un canguro. La serie canguro de la Casa de Moneda de Perth es comparable con la Filarmónica, que se ha convertido en un sÃmbolo de Austria, como las monedas de canguro para Australia. La acuñación de las monedas de canguro pero fue comenzado con un motivo diferente, es decir, en 1986, con la pepita de oro. 1989 el lado de la imagen se ha cambiado, ya a partir de entonces motivos canguro cambiando cada año como un sÃmbolo de Australia encontraron uso. El Anlagemünzen (monedas de inversión) populares con el motivo de canguro están disponibles en tamaños de 10 kilo, 1 kilo, 10 oz, 2 oz, 1 oz (31,11g), ½ oz, ¼ oz y 1/10 oz, y ahora hay tambien la versión 1 tonelada disponible. Sin embargo, funciona como Ausstellungsstück (pieza de exposición) inalienable.
El valor nominal de la moneda es un millón de dólares australianos, el valor del oro de la moneda se encuentra muy por encima de este valor.
Para todos Münzbegeisterten (entusiásticos de monedas) y los que quieren llegar a ser unos, exclusivamente en Schoeller Münzhandel un 1-oz edición Canguro aniversario en oro está disponible.
1 tonne Gold Kangaroo coin
Specifications
Country: Australia
Nominal : 1,000,000 AUD
Quality: UN
Weight : 1.000 KG
Fineness: AU 9999
Diameter: 80 CM
Thickness: 12 CM
The largest gold coin in the world
In 2011, the Perth Mint (one of the Australian Münzprägestätten/Mints) broke all records: It coined a Goldmünze (gold coin) weighing a ton. The hitherto by the Royal Canadian Mint held record for the largest Goldmünze of the world - with 100 kg - thus was history.
As part of the 25th anniversary of the Australian kangaroo coin-series the unique special edition is now on tour. Schoeller Münzhandel, sometimes the most important distribution partner of the Perth Mint, they also could fetch to Austria. The diameter of the coin is approximately 80 cm, thickness 12 cm. With a fineness of 99.99 %, the coin almost consists of pure gold.
For the design Dr. Stuart Devlin is responsible, yet since more than 20 years designing the one kilogram editions of the Kangaroo coins of the Perth Mint. On the value side of the coin Queen Elizabeth II is depicted, on the image side a kangaroo. The kangaroo series of the Perth Mint is comparable with the Philharmonic, which for Austria has become a symbol, as the kangaroo coins for Australia. Began was the coinage of the kangaroo coins but with a different motive, namely in 1986 with the Gold Nugget. 1989 the picture page has been changed and from then on every year changing kangaroo motifs as a symbol of Australia found use. The popular Anlagemünzen (investing coins) with the kangaroo motif are available in sizes of 10 kilo, 1 kilo, 10 oz, 2 oz, 1 ounce (31.11 g), ½ ounce, ¼ ounce and 1/ 10 oz , and now there is also the 1 ton version available. However, it functions as an inalienable Ausstellungsstück (exhibition piece).
The nominal value of the coin is one million Australian dollars, the gold value of the coin lies far above this value.
For all Münzbegeisterten (coin enthusiastics) and those who want to become ones, exclusively at Schoeller Münzhandel a 1-ounce Kangaroo anniversary edition in gold is available.
1 Tonne Gold-Känguru-Münze
Spezifikationen
Land: Australien
Nominale: 1.000.000 AUD
Qualität: UN
Gewicht: 1.000 KG
Feinheit: AU 9999
Durchmesser: 80 CM
Stärke: 12 CM
Die größte Goldmünze der Welt
Im Jahr 2011 brach die Perth Mint (eine der australischen Münzprägestätten) alle Rekorde: Sie prägte eine Goldmünze im Gewicht von einer Tonne. Der bis dahin von der Royal Canadian Mint gehaltene Rekord für die größte Goldmünze der Welt – mit 100 kg – war somit Geschichte.
Im Zuge des 25-jährigen Jubiläums der australischen Känguru-Münz-Serie ist die einzigartige Sonderausgabe nun auf Tour. Schoeller Münzhandel, mitunter wichtigster Distributionspartner der Perth Mint, konnte sie auch nach Österreich holen. Der Durchmesser der Münze beträgt rund 80 cm, die Stärke 12 cm. Mit einer Feinheit von 99,99 % besteht die Münze aus nahezu reinem Gold.
Für das Design ist Dr. Stuart Devlin verantwortlich, der schon seit über 20 Jahren die 1 Kilogramm-Ausgaben der Känguru-Münzen der Perth Mint gestaltet. Auf der Wertseite der Münze ist Königin Elisabeth II. abgebildet, auf der Bildseite ein Känguru. Die Känguru-Serie der Perth Mint ist mit dem Philharmoniker vergleichbar, der für Österreich, wie die Känguru-Münzen für Australien, zum Symbol geworden ist. Begonnen hat die Prägung der Känguru-Münzen aber mit einem anderen Motiv, und zwar 1986 mit dem Gold Nugget. 1989 wurde die Bildseite geändert und von da an fanden jedes Jahr als Symbol Australiens wechselnde Känguru-Motive Verwendung. Die beliebten Anlagemünzen mit dem Känguru-Motiv sind in den Größen 10 Kilo, 1 Kilo, 10 Unzen, 2 Unzen, 1 Unze (31,11 g), ½ Unze, ¼ Unze und 1/10 Unze erhältlich, und nun gibt es auch die 1 Tonnen-Version. Sie fungiert jedoch als unverkäufliches Ausstellungsstück.
Das Nominale der Münze beträgt eine Million Australische Dollar, der Goldwert der Münze liegt weit darüber.
Für alle Münzbegeisterten und jene, die es noch werden wollen, gibt es exklusiv bei Schoeller Münzhandel eine 1 Unzen-Känguru-Jubiläumsausgabe in Gold.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made ​​of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of ​​around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
Últimamente hago ediciones al tuntún y fotos que no me gustan demasiado.
Quisimos entrar a Happy Pills, pero al final no nos dio tiempo.
(Se me ha olvidado poner la firma, soy idiota D:)
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Ediciones B (Barcelona) - 1988
Serie: Hollywood
TÃtulo original: La vergine d’oro
Ilustración de cubierta: Sergio Camporeale
Spanish postcard by Ediciones Traje-Fher / Mandolina, no. 503, 1964. Photo: Simon Lopez / Producciones Benito Perojo.
Blond twins Pili and Mili Bayona (1947) were a popular comedy duo in the Spanish cinema as Pili y Mili. Their films were engaging examples of European teen pop culture of the 1960’s.