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Torture : outside space, weeping willow tree and old castiron bridge over the mold that ran all around the fortress. Not far from the execution platform where prisoners where shot or hung. WWII fortress situated in Breendonk, Belgium. Used by the Nazis to imprison political prisoners, members of the resistance and the deportation of Jews.
Shortly after WWII the fortress was used by the resistance to imprison and torture collaborators or alleged collaborators.
maybe this is one of the things a prisoner saw on his way to the execution zone
Birth of Christ. Window erected 1929 by Daniel Thomas Kenny & his wife Mary Teresa nee Cash in memory of their parents Michael & Bridget Kenny and Patrick & Mary Cash, created by Brooks, Robinson & Co, Melbourne. Church foundation stone 18 Feb 1912 by William Edward Roberts of “Oakvale”, architect Conrad & Conrad, opened 1 Sep 1912 on land given by T & C Nugent, hall built 1984.
“a beautiful set of stained glass windows, presented to St. Canute's Church by Mr. and Mrs Daniel T. Kenny, of Lisdoonvarna, Streaky Bay, and erected during last week by Mr. O. M. Willcock. The windows, given in memory of the parents of the donors, are richly colored and toned. . . The scenes depicted on the windows . . . the Birth of Christ, the crucifixion, and Christ amongst the doctors in the temple. . . The design and execution of the windows is the work of Australian artists of the Australian firm of Messrs. Brooks, Robinson & Co., Melbourne.” [West Coast Sentinel 26 Jul 1929]
“KENNY.—On May 11, 1892, at Balla McKenny, Colton, Michael Kenny, eldest son of the late John Daniel Kenny, in the 83rd year of his age; a colonist of fifty years. R.I.P.” [Southern Cross 20 May 1892]
“Mr. Kenny had reached the ripe old age of eighty-three, having been born at Six-Mile Bridge, County Clare, Ireland, on December 24, 1809. Mr. Kenny was the son of a tenant farmer, whose descendants had resided there as far back as there is any traditional account. Mr. Kenny was well known in connection with every movement in favor of the right of the tenant farmers in Ireland. . . [He] sailed out of Cork Harbor on November 5, 1841, in the ship Branken Moor, of London, commanded by Captain David Smith, Dr. Hughy, surgeon, and a full complement of immigrants, and landed in Launceston on April 6, 1842. After a short stay in Tasmania Mr. Kenny came to South Australia, and settled at Morphett Vale, when he married the widow of Daniel Herreen, who survives him. There are also four sons and one daughter living. One son is one of the leading hotel keepers in Broken Hill, the other three are farmers and graziers in this district, and the daughter is married to Mr. Thos. P. Cash. . . Mr. Kenny resided in Morphet Vale for several years, when he and the late Mr. Ignatius O'Sullivan were the chief movers in building the Catholic Church there. . . Mr Kenny removed to Sheaoak Log in 1855, where he was closely connected with Church matters at Gawler and Greenock. When he moved to Yorke's Peninsula he strongly advocated building a church at Yorketown and Warooka, and he saw both successfully built. It was chiefly through his exertion that the church was built and opened free of debt in Colton. . . On May 17, 1865, he and other well-known farmers formed the Light Farmers' Club at Freeling. . . When the Areas came out he was one of the first to leave for Southern Yorke's Peninsula, where he selected land in May, 1870. He was a member of the first District Council in Southern Yorke's Peninsula, and after the lapse of a few years his farm became too small for his grown-up family, so, when the Hundred of Colton was first offered, he and his sons, selected land there in September, 1876.” [Southern Cross 20 May 1892]
“Mrs. Michael Kenny died at 5 o clock this morning at her residence Bally McKenny, Colton, in her eighty-sixth year, and a colonist of sixty years, having arrived in the 'Mary Dugdale,' 1st October, 1840.” [Southern Cross 22 Jun 1900]
Patrick Cash of St John’s died 11 Aug 1867 following a horse & cart accident near Kapunda. Inquest reported in newspapers.
“CASH.— On February 9, at her son's residence, Calca Station, Mary, relict of Patrick Cash, late of Kapunda, aged 76 years; a colonist of 69 years. Rest in peace.” [Southern Cross 19 Feb 1909]
“Mrs. Mary Cash, a native of Co. Kerry, Ireland. . . arrived in the colony with her parents, Mr. and Mrs. Ignatius O'Sullivan and family by the ship Mary Dugdale, on November 1, 1840. . . In the year 1852 she married Mr. Patrick Cash, who had purchased land at St. Johns, near Kapunda, and they went to reside there. Her husband died in 1867, but she continued to carry on the farm until 1876, when her son-in-law (Mr. D. T. Kenny) advised her to take up land in the Hundred of Colton, West Coast. This she did, and with her two sons started farming. Here she remained until 1886, when she came with her son (J. G. Cash) to Calca. . . she endeared herself to everybody, especially children. She has left two sons, Mr. T. R. Cash (of Calca Station), and Mr. J. G. Cash (of Tyringa); four daughters, Mrs. D. T. Kenny (Coolgrana, Streaky Bay), Mrs. H. Sheehan (Oaklands, Yorke's Peninsula), Mrs. L Boylan (of Spring Shore, Colton), and Mrs. P. Boylan, Cordalie Park, Talia); fifty-seven grandchildren, and ten great-grandchildren.” [Southern Cross 26 Feb 1909]
“KENNY— CASH.— On the 18th inst., at his father's residence, Cratloe, Yorke's Peninsula, by the Rev. Father McCabe, Daniel Thomas, third son of Mr. Michael Kenny, and grandson to the late Mr. John Daniel Kenny, Six Mile Bridge, County Clare, to Mary Tereza, eldest daughter of widow Cash, St. John's, and grand-daughter of the late Mr. Ignatius O' Sullivan, of Morphet Vale, and formerly of Killarney, County Kerry, Ireland.” [Harp & Southern Cross 26 Nov 1875]
“KENNY.—On June 28, at his residence, ‘Lisdoonvarna’, Streaky , Bay, Daniel Thomas Kenny, aged 84 years 11 months, leaving a sorrowing wife, three sons, six daughters, and 46 grandchildren. His eldest daughter and two sons predeceased him. Requiescat in pace.” [Southern Cross 10 Aug 1934]
Daniel Kenny’s detailed reminiscences are in West Coast Sentinel 6 Jul 1934 page 1.
“The eldest son of the late Mr. Michael Kenny, one of the first settlers in the Colton district, Mr. Daniel Kenny was born at Morphett Vale in 1849. Five years later he went with his parents to Sheoak Log, and lived there for 21 years. From that district Mr. Kenny moved to Yorke Peninsula. . . He came with his parents and brothers and sisters to Colton in 1879. . . When the pastoral country around Streaky Bay and Calca was opened up for farming, Mr. Kenny selected the well-known property, Coolgrana. . . Mr. Kenny married Miss Cash, of Kapunda, who, with three sons and six daughters, survives him. The eldest daughter was buried in Piednippie Cemetery over 30 years ago. The children are: — Messrs. Michael D. Kenny, Glenkenny, near Talia; Ignatius T. Kenny, J.P., Maryvale station, Streaky Bay; Austin Kenny, Coolgrana, Streaky Bay; Mrs. Steve Fitzgerald, Quorn . . ; Nurse Mary Kenny . . .; Mrs. A. V. Roberts, Warrachie; Mrs. James Mcinherney, Laura Bay; Mrs. Albert Cotton, Coolie, Streaky Bay; Mrs. George Maher, Bookabie.” [Port Lincoln Times 6 Jul 1934]
“KENNY.— On November 29, at her residence, Lisdoonvarna, Streaky Bay, Mary Teresa, beloved wife of the late Daniel T. Kenny, aged 38 years and 4 months, leaving .3 sons, 6 daughters, 46 grandchildren, and 6 great-grandchildren. R.I.P.” [Southern Cross 12 Dec 1941]
“The late Mrs. Kenny was born at St. John's, Kapunda, in 1853, and was in her 89th year. She was the eldest daughter of Patrick and Mary Cash, of that town. In 1875 she married the late Daniel T. Kenny at ‘Cratlow’, Yorke Peninsula, and a year later came with her husband and infant daughter to Port Lincoln, then by long trek from Port Lincoln to Colton in bullock dray during the month of October. . . She and her husband were among the first farmers in the Colton district, and went through all the hardships of pioneering. Sixteen years later, when the district was cut up for farming, she went with her husband and family to ‘Coolgranna’, Streaky Bay, where she lived until 1923, when she and her husband and daughter Mary retired and made their home at ‘Lisdoonvarna’, Streaky Bay.” [Southern Cross 19 Dec 1941]
-Partisans are to be ruthlessly eliminated in battle or during attempts to escape. Attacks by the civilian population are to be suppressed by the Army on the spot by using extreme measures.
-Every officer in German occupation in the 'East of the future' will be entitled to perform executions without trial on any person suspected of having hostile attitude towards the Germans.
-If you have not managed to identify and punish the perpetrators of Anti-German acts, You are allowed to apply the principle of collective measures against residents of the area where the attack occurred.
-German soldiers who commit crimes against humanity , The USSR , and Prisoners of War are to be exempted from criminal responsibility.... Even if they commit acts punishable according to German law.
-Babarossa Decree, Laid out by Hitler March 30 1941.
Two clone troopers are held captive by a roaming mandelorian patrol.
"Any last words, clone trooper scum?"
Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.
The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.
The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.
Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961. For the MkIII-C of 1967 the V8 engine was enlarged to 429 CID (7.0 litre) with the new OHV Cadillac engine, but power remained the same as the 1961-67 models, while torque rose to 480 lb.ft (650 Nm).
One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.
The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.
Once more, the engine was based on that of a Cadillac.
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.
This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.
Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the E I G H T, and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.
Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).
Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.
In 1967, the Tigre MkIII-C underwent further revisions. There were new front fenders, eliminating the large, round double stacked headlamps, replacing them with small corner bumperettes and small double-stacked corner lamps. the headlamps were now hidden behind louvres in the new grille. There was now a single 'X' form at the front of the grille, centrally mounted. At the rear, the existing rocket pod tail lamps were retained. The 1967 MkIII-C reverted to the MkIII 1961-64 trunklid and bumper, but with the central '+' rocket feature supplanted by the licence plate. For all SWB body styles. there were new tapered fender tops (barely fins), recalling the Tigre MkII C & D. Long wheelbase 4-door cars retained the MkIII-B rear fenders as they suited the overall vehicle lines better.
Minor changes to the side of the vehicle included deeper opening doors, and a more open front wheelarch taper. A chrome trim feature led from the front fender vent to the rear rocket pod.
The model shown here is the commonly ordered Hardtop Coupe - a very sharp looking car, despite the origins dating back eight years to 1959 for the basic architecture. The model is one of the 7.0 litre V8s, despite there being little differentiation externally to vehicles fitted with the V12.
A very similar car was used as the prototype vehicle fitted with early versions of the extremely rare V16. These cars were development mules for the proposed Ralston Centaur - to be termed , though ultimately no completed customer cars were ordered, the 21 prototype engines fitted to various Tigre MkIII vehicles were either completed as un-homologated show cars for use by the Ralston family on their various estates, later restored from their mule conditions to rare collector cars, or unfortunately, destroyed. It has been long rumoured that the 13 crushed cars all had their engines removed, so potentially there is a small pool of functioning 10 litre V16s waiting for re-fitment to Ralston chassis.
This Lego miniland-scale Ralston Tigre MkIII C Hardtop Coupe (1967) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
[Cadillac V12 engine information taken from 'thetruthaboutcars.com']
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
The camp was established in 1936. It was located north of Berlin, which gave it a primary position among the German concentration camps: the administrative centre of all concentration camps was located in Oranienburg, and Sachsenhausen became a training centre for Schutzstaffel (SS) officers (who would often be sent to oversee other camps afterwards). Executions took place at Sachsenhausen, especially those that were Soviet Prisoners of War. Some Jews were executed at Sachsenhausen and many died there, the Jewish inmates of the camp were relocated to Auschwitz in 1942. Sachsenhausen was not intended as an extermination camp — instead, the systematic mass murder of Jews was conducted in camps to the east. However, many died as a result of executions, casual brutality and the poor living conditions and treatment.
Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. The camp perimeter is, approximately, an equilateral triangle with a semi circular roll call area centred on the main entrance gate in the side running northeast to southwest. Barrack huts lay beyond the roll call area, radiating from the gate. The layout was intended to allow the machine gun post in the entrance gate to dominate the camp but in practice it was necessary to add additional watchtowers to the perimeter.
The standard barrack layout was two accommodation areas linked by common storage, washing and storage areas. Heating was minimal. Each day, time to get up, wash, use the toilet and eat was very limited in the crowded facilities.
There was an infirmary inside the southern angle of the perimeter and a camp prison within the eastern angle. There was also a camp kitchen and a camp laundry. The camp's capacity became inadequate and the camp was extended in 1938 by a new rectangular area (the "small camp") north east of the entrance gate and the perimeter wall was altered to enclose it. There was an additional area (sonder lager) outside the main camp perimeter to the north; this was built in 1941 for special prisoners that the regime wished to isolate.
An industrial area, outside the western camp perimeter, contained SS workshops in which prisoners were forced to work; those unable to work had to stand to attention for the duration of the working day. Heinkel, the aircraft manufacturer, was a major user of Sachsenhausen labour, using between 6000 and 8000 prisoners on their He 177 bomber. Although official German reports claimed "The prisoners are working without fault", some of these aircraft crashed unexpectedly around Stalingrad and it's suspected that prisoners had sabotaged them. [1] Other firms included AEG.
Plaque to honour over 100 Dutch resistance fighters executed at Sachsenhausen.Later, part of the industrial area was used for "Station Z", where executions took place and a new crematorium was built, when the first camp crematorium could no longer cope with the number of corpses. The executions were done in a trench, either by shooting or by hanging. Amongst those executed were the commandos from Operation Musketoon and the Grand Prix motor racing champion, William Grover-Williams, also John Godwin RNVR, a British Naval Sub-Lieutenant who managed to shoot dead the commander of his execution party, for which he was mentioned in despatches posthumously. Over 100 Dutch resistance fighters were executed at Sachsenhausen.
The camp was secure and there were few successful escapes. The perimeter consisted of a three metre high wall on the outside. Within that there was a path used by guards and dogs; it was bordered on the inside by a lethal electric fence; inside that was a "death strip" forbidden to the prisoners. Any prisoner venturing onto the "death strip" would be shot by the guards without warning.
Arbeit Macht Frei gateOn the front entrance gates to Sachsenhausen is the infamous slogan Arbeit Macht Frei (German: "Work Makes [You] Free"). About 200,000 people passed through Sachsenhausen between 1936 and 1945. Some 100,000 inmates died there from exhaustion, disease, malnutrition or pneumonia from the freezing winter cold. Many were executed or died as the result of brutal medical experimentation. According to an article published on December 13, 2001 in The New York Times, "In the early years of the war the SS practiced methods of mass killing there that were later used in the Nazi death camps. Of the roughly 30,000 wartime victims at Sachsenhausen, most were Russian prisoners of war, among them Joseph Stalin's eldest son (Yakov Dzhugashvili).[2]
The wife and children of Rupprecht, Crown Prince of Bavaria, members of the Wittelsbach family, were held in the camp from October 1944 to April 1945, before being transferred to the Dachau concentration camp. Reverend Martin Niemöller, a critic of the Nazis and author of the poem First they came..., was also a prisoner at the camp. Herschel Grynszpan, whose act of assassination was used by Joseph Goebbels to initiate the Kristallnacht pogrom, was moved in and out of Sachshausen since his capture on the 18th July 1940 and until September 1940 when he was moved to Magdeburg.[3] Ukrainian nationalist leader Stepan Bandera was imprisoned there until October 1944, and two of his brothers died there.
On September 15 1939, August Dickman, a German Jehovah's Witness, was publicly shot as a result of his conscientious objection to joining the armed forces. The SS had expected his death to persuade fellow Witnesses to abandon their own refusals and to show rspect for camp rules and authorities. It failed; the others enthusiastically refused to back down and begged to be martyred also. [4]
Sachsenhausen was the site of the largest counterfeiting operation ever. The Nazis forced Jewish artisans to produce forged American and British currency, as part of a plan to undermine the British and United States' economies, courtesy of Sicherheitsdienst (SD) chief Reinhard Heydrich. Over one billion pounds in counterfeited banknotes was recovered. The Germans introduced fake British £5, £10, £20 and £50 notes into circulation in 1943: the Bank of England never found them. Today, these notes are considered very valuable by collectors.
Many women were among the inmates of Sachsenhausen and its subcamps. According to SS files, more than 2,000 women lived in Sachsenhausen, guarded by female SS staff (Aufseherin). Camp records show that there was one male SS soldier for every ten inmates and for every ten male SS there was a woman SS. Several subcamps for women were established in Berlin, including in Neukolln.
Camp punishments could be harsh. Some would be required to assume the "Sachsenhausen salute" where a prisoner would squat with his arms outstretched in front. There was a marching strip around the perimeter of the roll call ground, where prisoners had to march over a variety of surfaces, to test military footwear; between 25 and 40 kilometres were covered each day. Prisoners assigned to the camp prison would be kept in isolation on poor rations and some would be suspended from posts by their wrists tied behind their backs (strappado). In cases such as attempted escape, there would a public hanging in front of the assembled prisoners.
With the advance of the Red Army in the spring of 1945, Sachsenhausen was prepared for evacuation. On April 20–21, the camp's SS staff ordered 33,000 inmates on a forced march westward. Most of the prisoners were physically exhausted and thousands did not survive this death march; those who collapsed en route were shot by the SS. On April 22, 1945, the camp's remaining 3,000 inmates, including 1,400 women were liberated by the Red Army and Polish 2nd Infantry Division of Ludowe Wojsko Polskie.
It's estimated that 200,000 people passed thrugh Sachsenhausen concentration camp and that 100,000 died.
Part of a Wall Hanging in the Gallery of the Vienna School of Arts and Crafts at the Louisiana Purchase Exhibition, 1904
Vienna, 1904
Execution: Kunstgewerbeschule
Wool, metal threads; weave made of interlacing (laces), satin stitch
Teil eines Wandbehangs im Raum der Wiener Kunstgewerbeschule auf der Weltausstellung St. Louis 1904
Wien, 1904
Ausfährung: Kunstgewerbeschule
Wolle, Metallfäden, Weberei aus Flechtbändern (Tressen), Flachstich
1932, nachträglich inventarisiert inventoried later
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Josef Hoffmann (1870-1956)
Jewelry Box Presented at the Wiener Werkstätte Exhibition in the Hohenzollern Kunstgewerbehaus Berlin, 1904
Vienna, 1904
Execution: Wiener Werkstätte
Wood, veneer of Swedish birch, ebony and mahogany inlays, base and cover profiles of solid ebony, interior polished Macassar ebony
Josef Hoffmann (1870-1956)
Schmuckkassette, präsentiert auf der Wiener Werkstätte-Ausstellung im Hohenzollern Kunstgewerbehaus
Berlin 1904
Wien, 1904
Ausführung: Wiener Werkstätte
Holz, Furnier aus schwedischer Birke, Einlagen aus Ebenholz und Mahagoni, Boden- und Deckelprofile aus massivem Ebenholz, innen: Makassar-Ebenholz politiert
H 1182/1908, Ankauf auf der purchased at the Kunstschau Wien Vienna
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
ift.tt/2gupwdO #Medal podium from the 1984 Sarajevo Olympics that was used as execution platform for prisoners during the Siege of Sarajevo by troops from the Army of the Republika Srpska, 1996 [2000x1000] . #history #retro #vintage #dh #HistoryPorn ift.tt/2h6Q5FI via Histolines
The execution notices for two prominent traitors:
en.wikipedia.org/wiki/John_Amery
en.wikipedia.org/wiki/William_Joyce
On display in the small museum at Wandsworth Prison in London. I was particularly pleased to locate the one for 'Lord Haw Haw' (Willian Joyce).I couldn't believe my eyes when I first saw it a few years ago hanging in the corridor leading to the gents toilet in the pub nearest to the prison. But when I returned to photograph it, it had gone - and the pub had been turned into another soulless gastropub.
According to the warder who runs the museum it had been offered to someone who then passed it to the museum. It was clearly stolen, but doubtless the manager of the gastropub would have had no idea who Lord Haw Haw was and would have cared even less!
Mr. Ghassemi-Shall faces imminent execution in Iran. Canadian Foreign Affairs Minister John Baird and Minister of State for Foreign Affairs Diane Ablonczy issued a joint statement asking Iran to release and halt the execution of Hamid Ghassemi-Shall.
Hamid Ghassemi-Shall was arrested in late May 2008 while visiting his mother in Iran. This arrest took place approximately two weeks after the arrest of his brother, Alborz Ghassemi-Shall.
In November 2009 Hamid’s wife in Canada received reports that both Hamid and Alborz were convicted of espionage and sentenced to death. The legal proceedings were deeply unfair and neither Hamid or Alborz had a meaningful opportunity to defend themselves. His conviction appears to be based on a document of an alleged email exchange between Hamid and Alborz. Hamid has unequivocally stated that the document is a complete fabrication and that he never sent any such message. Testing and analysis by his lawyer reportedly confirm that to be the case.
Hamid and Alborz were in solitary confinement for 18 months until the end of November 2009 when they were transferred to a general population section in Tehran's Evin prison. On 20 January 2010 Alborz died in prison, reportedly of stomach cancer. Mr. Hamid Ghassemi-Shall reported that both he and Alborz were subject to “extreme pressure” during their detention.
Hamid Ghassemi-Shall was sentenced to death. His case has undergone a number of reviews, but the family confirmed in March 2012 that the death sentance has not been lifted.
Take Action
Write the Iranian authorities. Request that they:
Guarantee that Mr. Hamid Ghassemi-Shall will not be executed.
Release Mr. Hamid Ghassemi-Shall immediately unless he is promptly brought to trial on recognizably criminal charges in legal proceedings that fully conform to international fair trial standards.
Ayatollah Sayed ‘Ali Khamenei
The Office of the Supreme Leader
Islamic Republic Street – End of Shahid
Keshvar Doust Street
Tehran, Islamic Republic of Iran
Salutation: Your Excellency
Email: info_leader@leader.ir AND tweet @khamenei_ir
Copies to:
Ayatollah Sadegh Larijani
Office of the Head of the Judiciary
Pasteur Street, Vali Asr Avenue, south of
Serah-e Jomhouri
Tehran, 1316814737
Islamic Republic of Iran
Email: bia.judi@yahoo.com or info@dadiran.ir (In the subject line, write FAO Ayatollah Sadegh Larijani)
Salutation: Your Excellency
Copies to:
Mr Kambiz Sheikh Hassani
Chargé d’Affaires, Embassy for the Islamic Republic of Iran
245 Metcalfe Street
Ottawa, Ontario K2P 2K2
Fax: (613) 232-5712
Email: executive@iranembassy.ca
More Background
The Canadian government has sponsored a resolution censuring Iran at the United Nations General Assembly human rights committee, every year since the 2003 torture and death while in custody, of Iranian-Canadian journalist Zahra Kazemi in Iran. The resolution has expressed deep concern at serious ongoing human rights violations in the Islamic Republic of Iran. The violations include torture, flogging, amputations, stoning, and "pervasive gender inequality and violence against women." Canada has also "particular concern" with the Iranian government's failure to launch a thorough investigation of alleged human rights violations in the wake of Iranian President Mahmoud Ahmadinejad's contested re-election in 2009.
In a new year’s statement on January 1, 2011 the Honourable Lawrence Cannon, Minister of Foreign Affairs, expressed deep concern for the “deteriorating human rights situation in Iran.” He expressed particular concern for the uncertain fate of two Canadians of dual nationality who remain in prison in Iran. (Hamid Ghassemi- Shall and Hossein Derakhshan). He further referred to reports that Saeed Malekpour, a Canadian permanent resident, has been condemned to death and that his sentence could be carried out at any time. Minister Cannon encouraged the Iranian authorities to show mercy and compassion to those who are in Iran’s prisons without just cause, and called on Iran to respect its international human rights obligations in law and in practice and to foster a more open dialogue with the international community.
خواهر حمید قاسمی: شما را به خدا نگذارید برادرم را اعدام کنند، حمید حتی فعال سیاسی هم نیست
soundcloud.com/frl-journalist/hamidghasemi
■■■■■ www.persianicons.org/human-right/iranian-canadian-facing-... ■■■■■
The camp was established in 1936. It was located north of Berlin, which gave it a primary position among the German concentration camps: the administrative centre of all concentration camps was located in Oranienburg, and Sachsenhausen became a training centre for Schutzstaffel (SS) officers (who would often be sent to oversee other camps afterwards). Executions took place at Sachsenhausen, especially those that were Soviet Prisoners of War. Some Jews were executed at Sachsenhausen and many died there, the Jewish inmates of the camp were relocated to Auschwitz in 1942. Sachsenhausen was not intended as an extermination camp — instead, the systematic mass murder of Jews was conducted in camps to the east. However, many died as a result of executions, casual brutality and the poor living conditions and treatment.
Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. The camp perimeter is, approximately, an equilateral triangle with a semi circular roll call area centred on the main entrance gate in the side running northeast to southwest. Barrack huts lay beyond the roll call area, radiating from the gate. The layout was intended to allow the machine gun post in the entrance gate to dominate the camp but in practice it was necessary to add additional watchtowers to the perimeter.
The standard barrack layout was two accommodation areas linked by common storage, washing and storage areas. Heating was minimal. Each day, time to get up, wash, use the toilet and eat was very limited in the crowded facilities.
There was an infirmary inside the southern angle of the perimeter and a camp prison within the eastern angle. There was also a camp kitchen and a camp laundry. The camp's capacity became inadequate and the camp was extended in 1938 by a new rectangular area (the "small camp") north east of the entrance gate and the perimeter wall was altered to enclose it. There was an additional area (sonder lager) outside the main camp perimeter to the north; this was built in 1941 for special prisoners that the regime wished to isolate.
An industrial area, outside the western camp perimeter, contained SS workshops in which prisoners were forced to work; those unable to work had to stand to attention for the duration of the working day. Heinkel, the aircraft manufacturer, was a major user of Sachsenhausen labour, using between 6000 and 8000 prisoners on their He 177 bomber. Although official German reports claimed "The prisoners are working without fault", some of these aircraft crashed unexpectedly around Stalingrad and it's suspected that prisoners had sabotaged them. [1] Other firms included AEG.
Plaque to honour over 100 Dutch resistance fighters executed at Sachsenhausen.Later, part of the industrial area was used for "Station Z", where executions took place and a new crematorium was built, when the first camp crematorium could no longer cope with the number of corpses. The executions were done in a trench, either by shooting or by hanging. Amongst those executed were the commandos from Operation Musketoon and the Grand Prix motor racing champion, William Grover-Williams, also John Godwin RNVR, a British Naval Sub-Lieutenant who managed to shoot dead the commander of his execution party, for which he was mentioned in despatches posthumously. Over 100 Dutch resistance fighters were executed at Sachsenhausen.
The camp was secure and there were few successful escapes. The perimeter consisted of a three metre high wall on the outside. Within that there was a path used by guards and dogs; it was bordered on the inside by a lethal electric fence; inside that was a "death strip" forbidden to the prisoners. Any prisoner venturing onto the "death strip" would be shot by the guards without warning.
Arbeit Macht Frei gateOn the front entrance gates to Sachsenhausen is the infamous slogan Arbeit Macht Frei (German: "Work Makes [You] Free"). About 200,000 people passed through Sachsenhausen between 1936 and 1945. Some 100,000 inmates died there from exhaustion, disease, malnutrition or pneumonia from the freezing winter cold. Many were executed or died as the result of brutal medical experimentation. According to an article published on December 13, 2001 in The New York Times, "In the early years of the war the SS practiced methods of mass killing there that were later used in the Nazi death camps. Of the roughly 30,000 wartime victims at Sachsenhausen, most were Russian prisoners of war, among them Joseph Stalin's eldest son (Yakov Dzhugashvili).[2]
The wife and children of Rupprecht, Crown Prince of Bavaria, members of the Wittelsbach family, were held in the camp from October 1944 to April 1945, before being transferred to the Dachau concentration camp. Reverend Martin Niemöller, a critic of the Nazis and author of the poem First they came..., was also a prisoner at the camp. Herschel Grynszpan, whose act of assassination was used by Joseph Goebbels to initiate the Kristallnacht pogrom, was moved in and out of Sachshausen since his capture on the 18th July 1940 and until September 1940 when he was moved to Magdeburg.[3] Ukrainian nationalist leader Stepan Bandera was imprisoned there until October 1944, and two of his brothers died there.
On September 15 1939, August Dickman, a German Jehovah's Witness, was publicly shot as a result of his conscientious objection to joining the armed forces. The SS had expected his death to persuade fellow Witnesses to abandon their own refusals and to show rspect for camp rules and authorities. It failed; the others enthusiastically refused to back down and begged to be martyred also. [4]
Sachsenhausen was the site of the largest counterfeiting operation ever. The Nazis forced Jewish artisans to produce forged American and British currency, as part of a plan to undermine the British and United States' economies, courtesy of Sicherheitsdienst (SD) chief Reinhard Heydrich. Over one billion pounds in counterfeited banknotes was recovered. The Germans introduced fake British £5, £10, £20 and £50 notes into circulation in 1943: the Bank of England never found them. Today, these notes are considered very valuable by collectors.
Many women were among the inmates of Sachsenhausen and its subcamps. According to SS files, more than 2,000 women lived in Sachsenhausen, guarded by female SS staff (Aufseherin). Camp records show that there was one male SS soldier for every ten inmates and for every ten male SS there was a woman SS. Several subcamps for women were established in Berlin, including in Neukolln.
Camp punishments could be harsh. Some would be required to assume the "Sachsenhausen salute" where a prisoner would squat with his arms outstretched in front. There was a marching strip around the perimeter of the roll call ground, where prisoners had to march over a variety of surfaces, to test military footwear; between 25 and 40 kilometres were covered each day. Prisoners assigned to the camp prison would be kept in isolation on poor rations and some would be suspended from posts by their wrists tied behind their backs (strappado). In cases such as attempted escape, there would a public hanging in front of the assembled prisoners.
With the advance of the Red Army in the spring of 1945, Sachsenhausen was prepared for evacuation. On April 20–21, the camp's SS staff ordered 33,000 inmates on a forced march westward. Most of the prisoners were physically exhausted and thousands did not survive this death march; those who collapsed en route were shot by the SS. On April 22, 1945, the camp's remaining 3,000 inmates, including 1,400 women were liberated by the Red Army and Polish 2nd Infantry Division of Ludowe Wojsko Polskie.
It's estimated that 200,000 people passed thrugh Sachsenhausen concentration camp and that 100,000 died.
Edouard Manet - Execution of emperor Maximilian [1868] - Lithograph - NYC MET, AN 21.48
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...
The camp was established in 1936. It was located north of Berlin, which gave it a primary position among the German concentration camps: the administrative centre of all concentration camps was located in Oranienburg, and Sachsenhausen became a training centre for Schutzstaffel (SS) officers (who would often be sent to oversee other camps afterwards). Executions took place at Sachsenhausen, especially those that were Soviet Prisoners of War. Some Jews were executed at Sachsenhausen and many died there, the Jewish inmates of the camp were relocated to Auschwitz in 1942. Sachsenhausen was not intended as an extermination camp — instead, the systematic mass murder of Jews was conducted in camps to the east. However, many died as a result of executions, casual brutality and the poor living conditions and treatment.
Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. The camp perimeter is, approximately, an equilateral triangle with a semi circular roll call area centred on the main entrance gate in the side running northeast to southwest. Barrack huts lay beyond the roll call area, radiating from the gate. The layout was intended to allow the machine gun post in the entrance gate to dominate the camp but in practice it was necessary to add additional watchtowers to the perimeter.
The standard barrack layout was two accommodation areas linked by common storage, washing and storage areas. Heating was minimal. Each day, time to get up, wash, use the toilet and eat was very limited in the crowded facilities.
There was an infirmary inside the southern angle of the perimeter and a camp prison within the eastern angle. There was also a camp kitchen and a camp laundry. The camp's capacity became inadequate and the camp was extended in 1938 by a new rectangular area (the "small camp") north east of the entrance gate and the perimeter wall was altered to enclose it. There was an additional area (sonder lager) outside the main camp perimeter to the north; this was built in 1941 for special prisoners that the regime wished to isolate.
An industrial area, outside the western camp perimeter, contained SS workshops in which prisoners were forced to work; those unable to work had to stand to attention for the duration of the working day. Heinkel, the aircraft manufacturer, was a major user of Sachsenhausen labour, using between 6000 and 8000 prisoners on their He 177 bomber. Although official German reports claimed "The prisoners are working without fault", some of these aircraft crashed unexpectedly around Stalingrad and it's suspected that prisoners had sabotaged them. [1] Other firms included AEG.
Plaque to honour over 100 Dutch resistance fighters executed at Sachsenhausen.Later, part of the industrial area was used for "Station Z", where executions took place and a new crematorium was built, when the first camp crematorium could no longer cope with the number of corpses. The executions were done in a trench, either by shooting or by hanging. Amongst those executed were the commandos from Operation Musketoon and the Grand Prix motor racing champion, William Grover-Williams, also John Godwin RNVR, a British Naval Sub-Lieutenant who managed to shoot dead the commander of his execution party, for which he was mentioned in despatches posthumously. Over 100 Dutch resistance fighters were executed at Sachsenhausen.
The camp was secure and there were few successful escapes. The perimeter consisted of a three metre high wall on the outside. Within that there was a path used by guards and dogs; it was bordered on the inside by a lethal electric fence; inside that was a "death strip" forbidden to the prisoners. Any prisoner venturing onto the "death strip" would be shot by the guards without warning.
Arbeit Macht Frei gateOn the front entrance gates to Sachsenhausen is the infamous slogan Arbeit Macht Frei (German: "Work Makes [You] Free"). About 200,000 people passed through Sachsenhausen between 1936 and 1945. Some 100,000 inmates died there from exhaustion, disease, malnutrition or pneumonia from the freezing winter cold. Many were executed or died as the result of brutal medical experimentation. According to an article published on December 13, 2001 in The New York Times, "In the early years of the war the SS practiced methods of mass killing there that were later used in the Nazi death camps. Of the roughly 30,000 wartime victims at Sachsenhausen, most were Russian prisoners of war, among them Joseph Stalin's eldest son (Yakov Dzhugashvili).[2]
The wife and children of Rupprecht, Crown Prince of Bavaria, members of the Wittelsbach family, were held in the camp from October 1944 to April 1945, before being transferred to the Dachau concentration camp. Reverend Martin Niemöller, a critic of the Nazis and author of the poem First they came..., was also a prisoner at the camp. Herschel Grynszpan, whose act of assassination was used by Joseph Goebbels to initiate the Kristallnacht pogrom, was moved in and out of Sachshausen since his capture on the 18th July 1940 and until September 1940 when he was moved to Magdeburg.[3] Ukrainian nationalist leader Stepan Bandera was imprisoned there until October 1944, and two of his brothers died there.
On September 15 1939, August Dickman, a German Jehovah's Witness, was publicly shot as a result of his conscientious objection to joining the armed forces. The SS had expected his death to persuade fellow Witnesses to abandon their own refusals and to show rspect for camp rules and authorities. It failed; the others enthusiastically refused to back down and begged to be martyred also. [4]
Sachsenhausen was the site of the largest counterfeiting operation ever. The Nazis forced Jewish artisans to produce forged American and British currency, as part of a plan to undermine the British and United States' economies, courtesy of Sicherheitsdienst (SD) chief Reinhard Heydrich. Over one billion pounds in counterfeited banknotes was recovered. The Germans introduced fake British £5, £10, £20 and £50 notes into circulation in 1943: the Bank of England never found them. Today, these notes are considered very valuable by collectors.
Many women were among the inmates of Sachsenhausen and its subcamps. According to SS files, more than 2,000 women lived in Sachsenhausen, guarded by female SS staff (Aufseherin). Camp records show that there was one male SS soldier for every ten inmates and for every ten male SS there was a woman SS. Several subcamps for women were established in Berlin, including in Neukolln.
Camp punishments could be harsh. Some would be required to assume the "Sachsenhausen salute" where a prisoner would squat with his arms outstretched in front. There was a marching strip around the perimeter of the roll call ground, where prisoners had to march over a variety of surfaces, to test military footwear; between 25 and 40 kilometres were covered each day. Prisoners assigned to the camp prison would be kept in isolation on poor rations and some would be suspended from posts by their wrists tied behind their backs (strappado). In cases such as attempted escape, there would a public hanging in front of the assembled prisoners.
With the advance of the Red Army in the spring of 1945, Sachsenhausen was prepared for evacuation. On April 20–21, the camp's SS staff ordered 33,000 inmates on a forced march westward. Most of the prisoners were physically exhausted and thousands did not survive this death march; those who collapsed en route were shot by the SS. On April 22, 1945, the camp's remaining 3,000 inmates, including 1,400 women were liberated by the Red Army and Polish 2nd Infantry Division of Ludowe Wojsko Polskie.
It's estimated that 200,000 people passed thrugh Sachsenhausen concentration camp and that 100,000 died.
On August 15th, 2004 a 16-year-old girl was hanged in a public square in Neka, Iran, a small industrial town by the Caspian Sea. Her death ... all » sentence was for crimes against chastity. Her name was Atefah Sahaaleh. The only evidence against Atefah was her own forced confession.
Atefah railed against her judge in court for its unfairness, but this was her undoing. Judge Haji Rezai, who was also the local mullah, prosecutor and head of the city administration, personally obtained permission from Iran's Supreme Court to execute her, and put the noose around her neck himself before she was hoisted on a crane jib arm to her death.
Using undercover footage, eyewitness accounts and drama recontruction, this film tells an unforgettable story of the life and tragic death of an ordinary teenage girl under Iran's mullahs.
Your Light, My Fire
Last week in Lahore after being “locked down” for a while, I finally went out to meet some friends. Everyone was talking about the virus. Since I don’t have Whatsapp they updated me on certain videos that were being passed around. Of the info I received some made sense to me. My understanding and interest in politics is from a global perspective. My Mamu, a deeply religious and supremely intelligent man, was the major influence in the decade I lived in his house in my late-20s after my mother died. The readings he gave me covered only two subjects, overtly disparate: Islamic spirituality and global politics.
His framework was simple. There was a battle of good vs evil in play from the beginning of time. The baddies striving to corrupt and destroy Mankind were the forces of Iblis. The good guys, well every time we identified one in my lifetime, we lost them to the other side sooner or later but it wasn’t all that discouraging. The Quran had already attested to the end of the story.
Thus have they (always) schemed: but God brought their scheming to naught, for God is above all schemers - Surah Al-Imran, Verse 54
For me it became more a matter of seeing exactly what portions of the schemes we identified played out in our individual lifetimes. The challenge for each of us engaged in the process was to to identify a pattern in its fledgling state before it became pervasive throughout the world. I was the house expert on the United States because I had spent half my life there. Plus the West likes to show-off and reveal all, Hollywood being the most eager teller of fortunes.
I made him watch The Truman Show, Lucy and The Avengers, even the Indian flick Pk amongst others. It was great, the challenge of being able to foretell the opponent’s move correctly. It was always the supposed moves from our side that made no sense to me, half-assed with a sincerity that dissipated so quickly, one felt embarrassed the action had been taken at all.
Then he died. I canceled my subscription to the local paper and glanced at Drudge once a day. The spirituality side of his guidance took over my life. For that I had people to discuss and share findings with. The political side was always too over the top for everyone. They never got it and I lost interest. It only made me miss him more.
Then this week gears shifted throughout the world on so many issues that it was impossible to ignore the concurrent execution of several ideas he and I had discussed before his passing in 2016. So without any effort to actually make a case, which you can’t sell anyone on anyway, I circulated two videos to my friends, all 15 of them in the world. My familiarity with the web being weaved for decades meant that maybe one sentence or two in the videos shed a light for me on the big picture I was seeing. I ignored the rest.
But others, who were in the West, found the views in their entirety to be absurd, if not outright depressing. One friend told me not to be “crazy.” Another sent a long email going over several points one by one in what I imagine was a rebuttal. A third said I ruined his daily wine and sunset moment. That’s when I realized I needed to stop.
It’s one thing to think you’re illuminating a shadowed point. Entirely another to cause fatigue in another person already tired. I would have liked to have told them that their tiredness was not from the world but from fighting their own self but that might have rattled them more than Dr. Shiva calling Gates an “idiot.” Still the last thing I wanted to do was make anyone feel bad so I decided I wouldn’t send any more virus related info to anyone. The Wall Street Journal specifically was spewing too many articles a day to share anyway. And luckily I had not yet seen the videos by the Naqshbandis on Jinns and how they were in a mad obsession to control our energy through technology. Not to mention their success at it!
The latest things I had read were just making me feel sad as well. All were related to unemployment. For the old, the young, everywhere. In the West, it was the anxiety around debt and just surviving till there was some light at the end of the so-called tunnel. In Lahore, in all my 50 years, I had never seen grown men sitting on footpaths on the street, just waiting for someone to give them something that would allow them to feed their family that day. The sadness in their eyes was haunting, the embarrassment of asking for anything, much less food, palpable. For me, the imminent roll-out of Universal Basic Income and a global vaccine were only depressors but foreseeing being told that “millions would be saved and bettered,” I decided to exit the Corona chat room, so to speak.
I went back to the music I was making with my friend Imran Jafri. Each couplet or piece he recited was kalam from my book of a spiritual master like Baba Bulleh Shah (ra), Khawaja Farid Kot Mithan (ra), Pir Mehr Ali Shah Sahib (ra) or poets extraordinaire Mir, Ghalib, Bedum, Iqbal etc. We were still on Urdu and Punjabi. Farsi and Arabic would come later. Then would emerge Amir Khusaru (ra) and others of a different caliber altogether.
I was not familiar with Khawaja Farid Kot Mithan (ra) at all. He was in my book only once but there was a couplet of his I had heard recently that I really wanted to set to music for my own pleasure. I knew it only because it was a huge favourite with all the teachers of the Quran I had heard speak in various classes in Lahore.
جے سوہنڑا میری دکھ وچ راضی ، تے میں سُکھ نوں چولہے ڈانواں
If my Beloved wishes that I am sad, I would throw my happiness into fire.
The speakers always swooned when they spoke the words and I have to say, the line always had an impact on the listeners. Who could say they hadn’t fallen in love and wished they had felt that kind of desire to please the beloved. Or reminisce because they actually had. And they was talking about God! In the week before I received the wave of dismissals from my friends, I had begun working on the first couplet of the piece.
ایہہ تن میرا جے کنگھی ہووے ، تے میں زلف محبوب دی واہواں
This body of mine, if it became a comb, I would pass it through my Beloved’s hair.
The line had immediately connected with a story from the Masnavi by Maulana Rum (ra) that I had read years ago. I called my teacher Qari Sahib and asked him to find the reference for me. An hour later he had emailed it. I only needed the first part of the story for the Insta page because it hardly allows anything in terms of text. Or sound for that matter. The kalam was 4 couplets and I had to make three 59 second cuts of it because I don’t have any “followers.” But when this is all over, I will use a studio and make a full version of everything. Man, that was something to look forward to indeed.
To make up for the political videos I had sent to my friends I decided to translate the whole story from the Masnavi and send the musical piece that goes with it. Something I would normally never do, share something before it was uploaded but it was the time for exceptions.
The Prophet Moses (as) was walking in a forest when he heard the sound of a voice. He saw a shepherd sitting by himself:
“O Beloved! Where are you? Come to me. Let me comb your hair. Let me wash your clothes and mend your socks if they are torn. Let me bring you fresh milk to drink. If you were sick, I would take care of you. Tell me where your house is so I can come visit you. Dearest Beloved, Come to me or let me come to you.”
The Prophet (as) asked him wondering, “To whom to do you speak such words?”
The shepherd replied, “To The One who created you and me and this Earth and sky.”
The Prophet (as) became enraged, “You fool! You have left yourself to be of nowhere with such speech. Instead of a mo’min you became a kafir. Stop this nonsense you speak of. This milk you offer, God is not in need of it. And clothes, they are for us humans, His Creation, not Him. Allah is beyond all these things. He does not fall sick and He doesn’t require your care. Repent and be afraid!”
Upon hearing these words of anger, the shepherd started trembling. His face turned pale. “O blessed Prophet of God! What you have said to me closes my mouth forever and I wish I never speak again. And I regret what I have done so deeply that I feel like I wiped out everything good I have ever done.” Letting out a deep sigh, he tore his shirt to shreds and throwing earth on his head, ran into the jungle.
The Prophet Moses (as) continued on his way to Koh e Toor to speak to God. Upon his arrival, he heard the words, “O Moses! Why did you separate My Servant from me? Did I send you forth into the world to create union or separation? Be careful in this work that you do.
I have made the nature of every person to be unique and each person’s intellect is not like anyone else’s. What is good for one person may be bad for another. A thing may have the effect of an antidote for one and poison for the next. It may be light for one and fire for the other.
My Purity or Impurity is only Mine. O Moses! We did not create humans so that they can benefit Me in any way. They are only created so that they can receive the appearance and disclosure of Divine Truth. Whichever fashion and language in which a person wants to praise Me doesn’t have effect of any increase or decrease upon Me. The one who is praising, the praise only purifies them. We do not place any importance on the words nor the appearance of a person, only their inner being and the state of their heart.
Dear Moses! The ways of those who walk the path through their intellect are one, the regard of those who are lovers entirely another.”
When the Prophet Moses (as) heard these words from God, he felt ashamed. He expressed deep repentance and asked for forgiveness. Anxiously, he left to seek the shepherd he had scolded. He walked for miles and miles but did not come across him. His feet started to blister still he kept going. Finally he saw him in the distance.
The shepherd looked up and said, “What have I done wrong now, Moses, that you come looking for me here?”
The Prophet (as) answered, “Dear shepherd, I only come to congratulate you. Allah considers you to be His Servant and gives you permission to say whatever you want to about Him. You are not in need of any rules of restraint and regard. What I called your kufr, that is the real faith and faith is the light of the Universe. You are forgiven everything and instead, for your sake, the world is granted haven.
The shepherd’s eyes began to tear, “O Prophet of God! I am no longer able to speak any words at all. My heart only bleeds. Now my destination becomes too far. Your words made me cover hundred of thousands of years in an instant. I have lost my capacity to describe my state and whatever words I do speak before you, do not believe that they are my true state either.”
End of story.
I read the excerpt in Urdu to my friend Imran and told him to think of the shepherd when he recited the words. I had already come up with the melody. Like always, he went to my terrace to smoke a cigarette and stare at the sky, then come back inside to attempt to set it to a raag. Together we changed that to whatever touched our hearts. And just like that, I let my friends go back to their exchanging of videos and returned to my reading of the Quran and articles that were now for my own information. But the story stuck in my head, this time for a different reason.
My antidote of seeing patterns long forgotten that had alleviated confusion for me was seemingly poison for my friends. The only thing still troubling my mind was that I didn’t want a drop of any vaccine courtesy of the virus in my blood. My friend who studies classical homeopathy had made sure of that. But then would I be able to go anywhere? And even if nowhere else, what about Medina? The Saudis were evil personified on the Muslim side. There was no way they weren’t going to mandate it.
When I disclosed my worries to Qari Sahib he pointed to a single verse of the Quran which made clear that whether it was in me or not, it wasn’t going to make a difference. In fact whatever was going to happen next was not going to alter that which cannot be altered, the integral purity of a human being. Corrupted yes, but not altered!
فِطْرَتَ اللَّهِ الَّتِي فَطَرَ النَّاسَ عَلَيْهَا لَا تَبْدِيلَ لِخَلْقِ اللَّهِ ذَٰلِكَ الدِّينُ الْقَيِّمُ
وَلَٰكِنَّ أَكْثَرَ النَّاسِ لَا يَعْلَمُونَ
Nature - the natural disposition - is (made by) Allah (upon) which He has created Mankind. There is no altering in the Creation (of) Allah. That (is) the ever true faith, but most people (do) not know - Surah Ar-Rum, Verse 30
I looked up the exegesis of the verse in the Tafseer e Jilani to understand it further: “The mould that moulds human beings in its original nature, the purity of it cannot be changed. For Allah is All-Knowing, All-Wise and His Commands He commands according to His Knowledge and Wisdom.”
What was light for someone else could be fire for me. The clerics in Pakistan had been going on and on about the virus being an azaab, a punishment and it was driving me crazy even though it was clearly giving them a rush. I brought it up with Qari Sahib. He opined that it could never be an azaab, a punishment for two reasons.
One, an azaab means the end. It comes when a people have refused to believe, as in the case of Hazrat Nuh (the Prophet Noah), for too long, in his instance, 900 years. They are then decimated, except for the chosen few, because the Prophet sent to them finally tires of their disobedience and asks God to rid the Earth of them. And He does. I guess Qari Sahib didn’t feel like it was that kind of end.
Second and most magnificent, was that Allah had promised in the Quran that there would not be an azaab sent to the world while His Beloved (saw) was here and there were those who sought forgiveness. It was the background for the verse that I found to be fantastic.
When the infidels of Mecca had refused to bring faith upon the Prophet Muhammad (saw), they were brazen about their defiance. Knowing that people before them had been destroyed for not believing, they forced the issue by going to the Ka’ba and asking God to bring azaab upon them declaring that they would not believe His Apostle (saw) no matter what.
And when they said, “O Allah, if this indeed be the Truth from You, then rain down upon us stones from the skies or inflict (some other) grievous suffering on us!”
I was stunned by the madness of the request. And how did Allah respond?
And it is not for Allah to punish them while you, O dear Prophet (peace and blessings be upon him), are amongst them. And Allah will not punish them as long as they are seeking forgiveness. Surah Al=Anfaal, Verse 33
Today happens to be April 8th, 2020. Shab e Baraat is falling on this night this year, which is the 15th of Sha’baan. It is termed the “Night of Forgiveness.” Sha’baan is also the month the Prophet Muhammad (saw) said is his: “Shabaan is my month and Ramzan is the month of Allah.”
It was unsurprising to me that if there was a night exclusively chosen for forgiveness, it would fall on this month if it was his favourite, for he is the one sent as mercy for all the worlds and all people. So says the Quran as I learnt late in life, that the manifestation of Allah’s Mercy for the Universe in his form was for all of it, not just the Muslims. Those who believed in him and those who could not.
As I drove home in the afternoon after seeing Shuggy Aunty, who I visit once a week come rain or virus, I was thinking about my worship for the night. All my life, or most of it, I had prayed extra on Shab e Baraat but each year it was a few nafal after Isha’. The year I prayed the highest number was when I was in my teens, spending the night with my cousins and we got into a competition of who would go the highest. I didn’t win but it was the only time I went over 50. But today I got info beforehand. Six nafal at Maghrib, then eight without a salam till the end at Isha, specifically for Hazrat Bibi Fatima (ratu). Then it was up to me.
I had never done the prayer invoking Bibi Fatima’s (ratu) name before God previously. I was looking forward to it because I planned to ask her to ask Him, in this game of intrigue that was firing on all cylinders globally, could we please play our hand too? For if there was one thing established beyond all doubt it was this: God loves answering prayers for the sake of those beloved to Him.
The ask tonight will not be for us alone or those we love and those we know but more so for those we don’t. Luckily the guarantee of ease already comes from the knowledge that the outcome will be a win-win no matter what ends up happening, courtesy of my savior Imam Ali (ratu), who said, “When my prayer is answered I am happy, but when it is unanswered, I am happier, because the Will of Allah prevailed over my own and He knows best.” He is the same man who said this, the last words in my book: “May Allah reward Death with only goodness from us, for it was more kind and merciful than anything else.” Who says that?
I spent the day today writing this and could not for the life of me figure out how to segue the last part of Baba Farid’s kalam into the piece. I had the music, now I wanted to weave it all into the story. Then during my prayer at Maghrib it came to me. I was driving the car myself today, which is an anomaly for me in Lahore. I had turned on the radio for a change and Abeda Parveen was on. I was not familiar with the track.
The music was strikingly beautiful and the words held an admission of deep intimacy: Rabba mere haal da mahrum tu, (O Lord, only You are the Knower of the feelings of my heart). The words brought tears to my eyes. Even when we don’t know Him or forget Him, He knows the secrets of our hearts.
يَعْلَمُ مَا فِي السَّمَاوَاتِ وَالْأَرْضِ وَيَعْلَمُ مَا تُسِرُّونَ وَمَا تُعْلِنُونَ ۚ وَاللَّهُ عَلِيمٌ بِذَاتِ الصُّدُورِ
He knows all that is in the heavens and on Earth; and He knows all that you keep secret as well as all that you bring into the open: for God has full knowledge of what is in the hearts - Surah At-Taghabun, Verse 4
For the entire month of Sha’baan since I heard it was Nabi Kareem’s (saw) favourite, I had felt a sense of elation. If he loved it, I loved it. I had wanted to cry in my namaz through the month because of the state of the world but the happiness was not letting me so I stopped trying. But then today at Maghrib again, after the namaz when I raised my hands to pray, I sobbed. I wasn’t sure why really. I think the significance of the Night was having its effect in the moment that it had come. The hope for Mercy was high. The desire for the ask to not be declined even higher. The mix of the two kindly lead me to where I wanted to be. Seeing Him was not going to happen tonight or perhaps any other night for someone like me but at least I could always weep and tell Him how I felt whenever I wanted. That seemed like mercy enough for one lifetime.
یار فرید کدی مل جائے سوہنڑا ، اونہوں رو رو حال سناواں
O Farid, if I only I could ever see my Beloved, I would weep and weep and tell Him my state.
Baba Farid Kot Mithan (ra) audio by my friend Imran on insta @the.softest.heart
www.youtube.com/watch?v=W0x2U1fWwS8&feature=youtu.be
www.youtube.com/watch?v=fx-51G3fQig&feature=youtu.be
Abida Parveen track: www.youtube.com/watch?v=klV-2IGb1aM
Translation:
"Rabba mere haal da mehram tu"(8)
(You are the only one who understands my feelings)
"Jo Kuchh baab mere dukh darde, hai kee khabar kise nun"
(No one knows how much pain my sorrows give)"
So yo jane kadar mohammad tanman lagdi jaenoon"
(Only the one who experiences it, understands the pain)"
"Mula Jithay baajh preet lagaee"
(Lord, where u have fixed my living)
"Hoga jis hoorna"
(Things that have to Occur will happen)
"Hasan kheedan yaad na rha piya omer da rona"
(Forgot how to laugh and play and sorrow)
"Ander toon hia bahir too hai"
(You are inside me you outside of me)
"Roon roon wich tu "
(You are every bit of me)
"Jis dil ander ishq na rajya"(4)
(The Heart where Love doesn't find abode)
"Kutta us de changay"
(He is no better than a dog)
"Sawand daykar rakh karday sabir bokhay nangay"
"Jay lakh hood ibadat kariyey bin ishqoon kis karee"
(Thousands Years of Worship without Love renders it useless)
"Jan jaan ishq na saray tanoo taan taan nibhay naa yaree"
(The soul which hasn't burn in the fire of love, can't fall
in love)
"Dil wich chaa nigah kar wekhan, "
(When I see inside my Heart)
"Surat asal sanam dee"
(I always see the picture of true Lord)
"Dilber noo joo kahay muhamad paar kabar is gham dee"
"Tu hai tana tu hai bana"
"Sab kuch mayra tu"
(Your are my every thing)
"Ochee jah dil noo lagaya"
(I fall in love with the ultimate lover, which is my LORD)
"Paree mosibat bharee"
(And this is immensely difficult)
"Yaaran baaj mohammad bakhsha kaun kare damkhari
"(god is kind,
My friends are around me who share my grief and sympathise
with me)
"Wichoo attish baharoo khaki"
(Fire from within dust from outside)
"Jee aik aah dard jee maran hoda mulak weranee"
(The pain of desire has rendered me alone in the country)
"Khokhafa tay sabzay sarday nade rahay naa pane"
(All seasons, green, snow, river have no value to me)
"Kahe hussain faqir nimmana main nahin sub tu"
(Helpless Hussain can only say All this is your energy, not
mine)
hello every one , my new photo ( Execution ) i edit this photo with : adobe light room + adobe photo shop , i hope u like it .
Manteau de l'Empereur autrichien
Conception: Philipp de Stubenrauch (1874-1848)
Exécution: Johann Fritz (brodeur), Vienne, 1830
Velours, broderie guimpée en or, paillettes, gallons dorés, hermine, taffetas de soie
Mantle of the Austrian Emperor
Design: Philipp von Stubenrauch
Execution: Johann Fritz (embroiderer), Vienna, 1830
Velvet, guimped embroidery in gold, pailettes, gold braid, ermine, silk
Mantel des österreichischen Kaisers
Entwurf: Philipp von Stubenrauch (1874-1848)
Ausführung: Johann Fritz (Sticker), Wien, 1830
Samt, Goldstickerei in Sprengtechnik, Pailetten, Godborten, Hermelin, Seidentaft
L'histoire de la collection
L'aspect actuel de la trésorerie de Vienne est le résultat d'une longue évolution dont les débuts se situent dans le 14e siècle. A cette époque, on garda ustensiles d'or et d'argent, pièces de monnaie, des pierres précieuses et des bijous près de la chapelle du château de la Hofburg dans des voûtes sûres mais aussi les documents et insignes qui étaient nécessaires pour la protection juridique de la puissance terrestre ainsi que nombreuses reliques servant comme un gage spirituelle à ce pouvoir.
Probablement à l'instigation de l'empereur Rodolphe II (règne de 1576 à 1612), l'un des plus grands collectionneurs d'art de la Maison de Habsbourg, était dans le nord-ouest du Palais impérial construite une aile séparée, la soi-disant "maison de l'art", dont encore ajourd'hui des parties sont inclus dans les salles d'exposition de la trésorerie. Le trésor des princes médieval entre-temps était devenu un cabinet des arts encyclopédique embrassant à côté des récipients précieux de métaux précieux et pierres précieuses, des montres et des machines ainsi qu'objets en ivoire et en bois aussi des produits naturels, peintures et sculptures. Ce trésor des Habsbourg respectivement Kunstkammer est ainsi devenu le berceau des collections d'aujourd'hui du Musée de l'histoire de l'art de Vienne.
De le règne de l'empereur Léopold Ier (règne de 1658 à 1705) furent préservées des premières descriptions détaillées du trésor impérial, fournissant des informations précieuses sur le contenu et la nature de la présentation de l'époque. Marie-Thérèse (règne de 1740 à 1780) incita une vaste réorganisation des stocks de trésorerie et à cette fin fit réaliser magnifiques vitrines de noix qui sont encore en usage aujourd'hui dans la Trésorerie spirituelle.
Des changements et des améliorations importantes pour le Trésor sont survenus dans le sillage de la tourmente des guerres napoléoniennes. Entre 1794 et 1800, les insignes, les bijoux et les robes du Saint Empire Romain Germanique sont venus de Nuremberg et Aachen à Vienne; est également venu le trésor de l'Ordre de la Toison d'Or de Bruxelles ici. De cette façon, les stocks ont été portées à la sécurité des troupes françaises. Lorsque François Ier en 1804 éleva les possessions héréditaires autrichiens à une monarchie héréditaire, les insignes privée des Habsbourg au début du 17e siècle sont devenus des symboles officiels de l'État. Les insignes de l'Empire Romain Germanique, cependant, perdirent avec la fin de celui-ci en 1806 leur caractère officiel.
Des concepts soutenus par des critères scientifiques pour la réorganisation des collections impériales finalement conduisirent à la séparation des anciens stocks de trésorerie et débouchèrent à la fondation et l'établissement du Musée de l'histoire de l'art. Dans le trésor vieux à la Hofburg restèrent les insignes en tant que symboles de la puissance de la maison de Habsbourg, souvenirs de personnalités de la famille régnante et des objets qui ont été utilisés à l'occasion des anciennes cérémonies de la cour.
À propos du manque d'espace après les deux guerres mondiales dans les années 1928 et 1954, suivit une rénovation complète de la Trésorerie en 1983 et 1987 dont la présentation d'aujourd'hui doit son apparence.
Die Geschichte der Sammlung
Das heutige Erscheinungsbild der Wiener Schatzkammer ist das Ergebnis einer langen Entwicklung, deren Anfänge im 14. Jahrhundert liegen. Damals verwahrte man in sicheren Gewölben neben der Burgkapelle Gerätschaften aus Gold und Silber, Münzen, Edelsteine und Schmuckstücke, aber auch die für das Haus Habsburg maßgeblichen Urkunden und Insignien, die zur rechtlichen Absicherung irdischer Macht benötigt wurden, sowie zahlreiche als geistliches Unterpfand dieser Macht dienende Reliquien.
Vermutlich auf Betreiben Kaiser Rudolfs II. (reg. 1576–1612), einer der größten Sammlerpersönlichkeiten des Hauses Habsburg, wurde im Nordwesten der Hofburg ein eigener Trakt, das so genannte „Kunsthaus“, errichtet, von dem heute noch Teile in die Ausstellungsräume der Schatzkammer einbezogen sind. Aus dem mittelalterlichen Fürstenschatz war inzwischen eine enzyklopädische Kunstkammer geworden, die neben kostbaren Gefäßen aus Edelmetall und edlen Steinen, Uhren und Automaten sowie Elfenbein- und Holzschnitzereien auch Naturalien, Gemälde und Skulpturen umfasste. Diese habsburgische Schatz- bzw. Kunstkammer wurde damit zur Wiege der heutigen Sammlungen des Kunsthistorischen Museums.
Aus der Regierungszeit Kaiser Leopolds I. (reg. 1658–1705) haben sich erste detaillierte Beschreibungen der kaiserlichen Schatzkammer erhalten, die wertvolle Auskünfte über den Inhalt und die Art der damaligen Präsentation geben. Maria Theresia (reg. 1740–1780) veranlasste eine umfangreiche Neuordnung der Schatzkammerbestände und ließ zu diesem Zweck prachtvolle Nussholzvitrinen anfertigen, die noch heute in der Geistlichen Schatzkammer in Verwendung stehen.
Bedeutende Veränderungen und Erweiterungen für die Schatzkammer ergaben sich im Gefolge der Wirren der Napoleonischen Kriege. Zwischen 1794 und 1800 gelangten die Insignien, Kleinodien und Gewänder des Heiligen Römischen Reiches von Nürnberg und Aachen nach Wien; ebenso kam der Schatz des Ordens vom Goldenen Vlies von Brüssel hierher. Auf diese Weise wurden die Bestände vor den französischen Truppen in Sicherheit gebracht. Als Franz I. 1804 die österreichischen Erblande zu einem Erbkaisertum erhob, wurden die habsburgischen Privatinsignien des frühen 17. Jahrhunderts zu offiziellen Staatssymbolen. Die Insignien des Heiligen Römischen Reiches hingegen verloren mit dem Ende desselben im Jahre 1806 ihren offiziellen Charakter.
Von wissenschaftlichen Kriterien getragene Konzepte zur Neuordnung der kaiserlichen Sammlungen führten schließlich zur Entflechtung der ehemaligen Schatzkammerbestände und mündeten in der Gründung und Errichtung des 1891 eröffneten Kunsthistorischen Museums. In der alten Schatzkammer in der Hofburg verblieben die Insignien als Symbole der Macht des Hauses Habsburg, Erinnerungsstücke an einzelne Persönlichkeiten der Herrscherfamilie und Gegenstände, die bei den alten Zeremonien des Hofes Verwendung fanden.
Räumlich beengten Neuaufstellungen nach den beiden Weltkriegen in den Jahren 1928 bzw. 1954 folgte ein umfassender Umbau der Schatzkammer in den Jahren 1983 bis 1987, dem die heutige Präsentation ihr Erscheinungsbild verdankt.
www.kaiserliche-schatzkammer.at/besuchen/sammlungen/weltl...
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We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
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Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Simon was dragged out to the front entrance of the Black Scar Gang's base. Many other gang members stood out there waiting.
Albert Black wished witnesses a merry Christmas and prosperous new year as he stood on the scaffold on 5 December 1955.
The 20 year old Irish immigrant had stabbed to death an acquaintance Alan Jacques. Jacques had severely beaten Black not long before and witnesses would say Black was frightened of him.
Jacques was selecting a song for the jukebox in 'Ye Old Barn Café' in Queens St in Auckland when Black stabbed him in the neck. In a climate of moral outrage over supposed youth delinquents the “jukebox murder”, as it was widely known, became a touchstone of all that all that was wrong with society. Albert Black, unskilled, poor and recently arrived from Belfast was the example the hard line moralists had been looking for and he was shown no mercy. Pro death penalty Prime Minister Jack Marshall blocked the attempts of Black’s mother Kathleen to travel from Ireland to visit her son before he was executed. She raised a petition of 12,000 signatures begging for clemency for Albert but it achieved nothing.
Black was led to the gallows where it was reported that he “died game” after delivering his message to those attending his execution. The story has gained new momentum with the publication of Fiona Kidman’s 'This Mortal Boy', a novel which draws heavily on her extensive research into the life and crime of Albert Black. Kidman is convinced he should have been convicted of manslaughter not murder and is campaigning for his sentence to be downgraded.
While this will be too late for Black it will be of comfort to his surviving family, including a daughter who was born several months after his death.
Shown here is the statement of Mount Eden Prison Superintendent Horace Haywood one of the witnesses to Albert Black’s execution.
Archives Reference: J46 1454 COR1955/1253
collections.archives.govt.nz/web/arena/search#/?q=R23847484
More information can be found here:
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objecti...
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ
Material supplied by Archives New Zealand.
Another 5 young Iranians executed last day in the city of Ahvaz . this is a clear message of the ruling rejim (which late grand ayatollah montazeri told about : " this rejim is not islamic nor a republic." although he died very soon after these words but his braveness told enough.)
The message that rejim is trying to send is not only prove its knowledge of the death of the rejim but it is direct message that they are battling with the god.
We will wait and see what they have got as respond from the almighty god.