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Antoine-Mathieu Criard (1724-1787)
Table d'accouchée (Confinement Table)
Paris, ca. 1760
Execution: Antoine-Mathieu Criard
Coniferous timber, rose, mahogany, and rosewood veneers
Antoine-Mathieu Criard (1724-1787)
Wöchnerinnentischchen (table d'accouchée)
Paris, um 1760
Ausführung: Antoine-Mathieu Criard
Nadelholz, Rosen-, Mahagoni- und Palisanderholzfurniere
LHG 1414/1972, Dauerleihgabe der permanent loan of Zentralsparkasse der Gemeinde Wien
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.
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28 gun crimes are committed every day in the UK
Children as young as 11 carry guns
Being in the wrong gang, not selling enough drugs, just being in the wrong place
can lead to an execution
this photo was stage by two giggling 15 year olds with a toy gun in my back yard
although very tempting to whack them both for not being serious no teenager was harmed
Again this is for a photo course i am doing think i may need to retake this one
FuturPointe Dance – Guy Thorne and N’Jelle Gage
GUY THORNE is the co-founder, artistic director, choreographer and dancer at FuturPointe Dance. As artistic director, he has primary responsibility for the development and execution of the company’s artistic vision. Thorne’s current choreographic work explores the confluence of folklore as well as popular and contemporary dance forms infused with his short film and multi-media creations.
Mr. Thorne recently collaborated with 2013 McArthur Genius Award recipient Carrie Mae Weems on A Story Within A Story, which is a multi- media performance about social identity and visual imagery – with video by Weems, music by Gregory Wanamaker, choreography by Guy Thorne, and additional direction from Kimberley Bouchard. A Story Within a Story was presented at the Lougheed Festival of the Arts at SUNY-Potsdam.
Thorne also teaches for FuturPointe Dance educational programs as well as in master classes and residencies at colleges/universities and for youth in k-12 school outreach programs. Thorne was on the dance faculty at SUNY – Potsdam where he taught ballet, modern dance, and Caribbean urban and folkloric dance. In 2012, he was a Jubilation Foundation fellow. Guy used his Jubilation grant to introduce Rochester area children (ages 5 to 13) to Jonkanoo, a West African and Caribbean performing art that combines costume-making, singing, dancing and drumming.
Thorne has over 15 years of professional experience and has toured extensively and taught master classes throughout the world including in Italy, Germany, Hawaii, France, the United Kingdom and Austria. He received critical acclaim on several occasions from critics in the New York Times and from other major publications. Thorne has danced at world-class venues such as the Ted Shawn Theater at Jacob’s Pillow, Joyce Theater, and The Lincoln and Kennedy Centers, among others. Dance Theatre Production from the Edna Manley College of Visual and Performing Arts. He moved to the United States as a scholarship student at Dance Theater of Harlem in New York City before becoming a principal dancer with Garth Fagan Dance for 7 years. Thorne holds a BFA in Dance from SUNY-Brockport.
N’JELLE GAGE-THORNE FuturPointe Dance co-founder, president and choreographer N’Jelle Gage is an international dancer and educator that has worked extensively throughout the United States, Africa, Central America and the Caribbean. Although the directors of FuturPointe Dance run the company as a collaborative team, in addition to dancing and setting work on the company – Gage is specifically responsible for its administrative leadership.
N’Jelle Gage also teaches master classes in Caribbean contemporary dance techniques (Tecnica Cubana, L’Antech TM, Reggae ballet, Jamaican urban jazz) at college residencies, festivals, the Draper Center for Dance Education in New York State, and studios across the country.
In 2001, she directed and choreographed for Caribbean Performing Arts Ensemble in Florida and gained expertise from her work in music video production and ad campaigns with renowned international artists including Sean Paul, Mutabaruka, Damian Marley and Third World. She also worked as a cultural consultant for film in the United Kingdom.
Gage’s training began in classical ballet where she was the protégé of Norma Spence and performed as a soloist with Jamaica’s first amateur ballet company. During her early teens, she studied with acclaimed Polish ballerina Nina Novak at Academia Ballet Clasico in Caracas, Venezuela. She also studied with in Jamaica with Tatjana Sedunova, the artistic director of the Lithuanian Opera and Ballet Theater.
In 1991, N’Jelle was introduced to the work of Dr. L’Antoinette Stines and at 15 years old she became a professional dancer with Stines’ Avant garde modern dance company; performing in 16 international cities as a dancer with L’Acadco.
Her studies continued with the renowned Cuban ballet and contemporary dance faculty at Instituto Superior/Escuela Nacional de Artes in Havana where she studied modern technique and folklore/Orisha dance. She concluded her studies in Havana, Cuba with an internship with Danza Contemporanea de Cuba in 2000 and graduated with a teaching and performance degree.
Prince Edward Island: Charles Bray took this picture of the stone were the following persons below have been known to been executed on this spot: the first execution is of Queen Anne Boleyn took place on 19 May 1536 at 8 o'clock in the morning. It was the first public execution of an English queen.
* Richard, Duke of Gloucester arrested Hastings on a false charge of treason on the 13th June 14831 and had him beheaded without trial [beheading for treason was common for nobility] the same day [some argue 14th or 20th] in the Tower of London. He is buried in St. George Chapel, Windsor, and Berkshire. The death of William Hastings as protector of Edward IV left the throne of England clear for Richard who became Richard III in the same year, yet Richard was to meet his end only two years later at the Battle of Bosworth.
* Margaret Pole born August 14th 1473, Countess of Salisbury, was the daughter of George, Duke of Clarence and Isabella Neville. Her father was a brother of both Edward 1V and Richard III. Eventually Henry VIII executed her on May 27 1541 in the Tower of London in continuation of his father's program of eliminating possible contenders for the throne. She refused to acknowledge that she was a traitor. She was not tried. She was small, frail, elderly, and ill. She was dragged to the block, but refused to lay her head on the block. She was forced down. The executioner swung his axe as she struggled. However it made a gash in her shoulder rather than her neck. Then she leapt from the block and ran away pursued by the executioner, with his axe. She was struck eleven times before she died.
• Catherine's greatest crime was her silliness. Raised in the far too permissive household of her grandmother, she was a flirtatious and emotional girl who rarely understood the consequences of her actions. She made the mistake of continuing her girlish indiscretions as queen. Henry was besotted with her, calling her his 'Rose without a Thorn' and showering her with gifts and public affection. Catherine was understandably more attracted to men of her own age, and after just seventeen months of marriage to the king, she was arrested for adultery. The distraught king at first refused to believe the evidence but it was persuasive. Unlike Anne Boleyn, Catherine had betrayed the king. She was beheaded on 13 February 1542, only nineteen or twenty years old.
* The fall of Viscountess Rochford started on the northern progress where Queen Catherine Howard started her affair with Culpeper. Both the Queen and Culpeper said in their confessions that it was the Viscountess who had encouraged the pair to become lovers. No one knows why she did this but it is believed that her death was mainly political. She was a reminder of Anne Boleyn and a negative past. Jane, Viscountess Rochford, was beheaded in 1542, at the scaffold site minutes after Catherine Howard and in the words of Antonia Fraser
* Lady Jane Grey was queen for nine days and one of the most famous political pawns of history. She was the grand daughter of Henry VIII sister Mary. She was forced to marry Lord Guildford after her father's machinations to marry her to Edward VI failed. When Edward VI died, Jane was proclaimed queen in order to keep a Protestant on the throne of England and stop Henry VIII Catholic daughter Mary seizing power. However, like all of the plans concerning Lady Jane Grey, this failed. Mary seized London and imprisoned Lady Jane in the Tower of London. Jane Grey was executed at the scaffold site on 12 February 1554 - she was only 16 years old and had been queen for nine days.
* Robert Devereux, Earl of Essex born in 1566, was a soldier and courtier inherited his earldom at the age of nine. Good-looking and charming, he exploited Elizabeth I, affection to seek glory and power his military endeavours were showy and expensive: the siege of Rouen (1591), the sack of Cadiz (1596) An abortive attack on Spanish treasure ships in the Azores (1597) lost him a fortune and the good will of the Queen Worse was his expedition to Ireland (1599-1600) where his failure led him to signing a truce with Tyrone this lost him all favour with Elizabeth who placed him under house arrest In 1601 he attempted a coup d'etat, was tried for treason and executed in 1601. See more histories of executions. www.richard.clark32.btinternet.co.uk/behead.html
Kurdish emigres protest Paris murders at Turkish & French embassies : London 11.01.2013
On 11.01.2013 Kurdish emigres in London protested at the Turkish embassy and then marched to the nearby French embassy to protest about the shocking mass murder on 09.01.2013 in Paris of three female Kurdish political activists including PKK co-founder Sakine Cansiz in what French police believe to be an execution a targeted assassination. The bodies of the three women - Brussels-based Kurdistan National Congress’ (KNK) Paris representative Fidan Doan, political activist Leyla Söylemez and Kurdish Worker's Party (PKK) co-founder and Women's Movement organiser Sakine Cansız - were discovered behind several combination-locked doors in the Information Center of Kurdistan in Paris on Wednesday by friends who had been trying since the previous evening to contact the women and who had broken into the centre after discovering bloodstains on the outer doors.
Very shortly after French police were called to the scene (and with what many claim to be suspicious haste), Huseyin Celik, the deputy chairman of Turkey’s ruling party claimed that the murders were the result of “an internal feud” within the PKK. Celik did not offer any evidence to substantiate his assertion, yet also went on to suggest that the slayings were an attempt to derail the peace talks which have been taking place in the notorious high security prison on mralı Island between PKK founder Abdullah Öcalan - sentenced to death for treason against the Turkish state in 1999 but whose sentence was commuted to life imprisonment when Turkey was forced to abolish the death sentence as part of it's application to join the EU - and the Turkish government.
The PKK have waged an often violent war against the Turkish government for the last 34 years as part of their campaign to establish an autonomous Kurdish enclave in South-East Turkey. Kurds make up almost 20% of the Turkish population, yet are forbidden by law to even speak their own language and have suffered greatly under Turkish suppression. Since the insurrection began in 1978 it is estimated that over 40,000 people on both sides have lost their lives in violent actions perpetrated in this conflict, and even though the PKK has been proscribed as a terrorist organisation by the USA, the EU, NATO, Syria and others, the cause of Kurdish nationalism enjoys a huge level of support in the region. Turkish authorities have been concerned about PKK fighters entering Turkey from the autonomous Kurdish enclave in Northern Syria.
Kurdish populations are present in Turkey, Syria, Iraq and Iran, and have experienced many decades of suppression by their respective states as the Kurds attempt to loosely re-establish their traditional Kurdistan, eradicated during the Ottoman reign, and it is against this long background of armed struggle that has seen large numbers of ethnic Kurds fleeing to Europe to find sanctuary. The Kurdish people I spoke to in Haringey last night said that they no longer feel safe anywhere in Europe after this execution which they lay firmly at the door of what they describe as the "dark, ultra-nationalistic shadow government" operating behind the scenes in Turkey who are violently opposed to any form of settlement or discussion with the Kurds.
Huddled around tables in the large hall adorned with photographs of fallen comrades and a large centrepiece display of their political figurehead, Abdullah Öcalan, the Kurds were subdued and in a measured, reflective mood. During the day it had been established by French police that the women had all been shot in the head through the throat using weapons with suppressors (silncers), and it is initially thought that there was possibly more than one gunman. There was no sign of forced entry to the building, so it seems that they were known to at least one of the women - two of whom were slaughtered as they were organising suitcases for their journeys back to Belgium and Germany.
All photos © 2013 Pete Riches
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On February 18th 1943 Sophie Scholl and her brother Hans, members of the White Rose resistance group, threw leaflets from the main building of Munich University. The last sentence read: 'Our people stand ready to rebel against the National Socialist enslavement of Europe in a fervent breakthrough of freedom and honour'. They were arrested and executed, along with their friend Christoph Probst, four days later. I made this video to mark the 70th Anniversary of Sophie's execution. It features other women who refused to submit to Hitler and the Nazis and is dedicated to all the women, known and unknown, who fought and died to defeat the Third Reich.
Thank you to the Angelic Upstarts for the music.
Full video at: youtu.be/xgMbU89V7vI
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...
Used by the Trujillo regime as one of many tools to torture, terrorize, and control his opposition.. This was one of the many tactis used by the regime, along with improsnment, brutal beatings, and killing of the accused family. Trujillo known for his ruthless tactics in his later years as dictator, used the electrical chair as an object to terrify the public and anyone who goes on his opposition. Trujillo was known for sitting in many of the electrecuations and invited press so that the country would know he is serious buissiness. Trujillo also at time gave punishment similar to this to his own men and his own regime so that any person in the regime would know not to go against him. The dictator showed no mercy. In his early years as ruler of the small Island Trujillo was known as a person who would take the country away from poverty and restore it to economical greatness. His ruthless acts began as soon as the country saw no need for him to be in power and his approval ratings soon went to a downward spiral. His fear of loosing his power sparked murders, rapes, beatings, and various unreasobable inprisonments.
Espaillat, Arturo R.. Trujillo: The Last Caesar. Chicago. IL: H. Regnery Co, 1963.
Picture taken by Otto Piron
for more Information visit en.wikipedia.org/wiki/Rafael_Le%c3%b3nidas_Trujillo
Fordwich claims to be the smallest town in England, and depending on what criteria you use, it might be. Or not.
Fordwich lies alongside a narrow lane that winds down the Stour valley side and jumps over the river via a pack bridge. THe road is very narrow in places, wide enough for just one car and turns in 90 degrees in two places too, meaning that it is totally unsuitable for the 20th century, let alone the 21st.
Fordwich was the main prt for Canterbury and is the limit of navigation now on the Stour. It was also once presided over by Sandwich and so is one of the Cinque Ports despite being a few miles from the sea now. This is because of the silting of the Wantsum Channel I talked about at Stourmouth.
Fordwich has two fine pubs, as well as a well known town hall, on stilts, shots of which I have posted before.
St Mary is now under the care of the CCT, and is home to what may be the lid of St Thomas of Canterbury's tomb and a very fine William of Orange coat of arms on the Chancel Arch.
St Mary is also available for Champing; camping in historical buildings, and several of the box pews have camp beds set up.
On this day the writer found the church to be as cold a fridge, and more than a sleeping bag needed to be kept warm at night.
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Familiar as one of the locations in the cult film `A Canterbury Tale` it stands in the heart of the smallest town in England. A Norman church with later additions it contains much of interest. Most notable is the carved stone which reputedly formed part of St Augustine's tomb in nearby Canterbury. Probably of tenth century date it was brought here by the Victorians. There is a fine assemblage of glass - much of it medieval, although the east window is a fine example of the work of Martin Travers. At the west end is a series of shelves for doling out bread to the poor. The box pews are eighteenth century and the floor pleasantly uneven. Keyholder nearby.
www.kentchurches.info/church.asp?p=Fordwich
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THE TOWN AND PARISH OF FORDWICH lIES at no great distance from St. Stephen's, a small part of the parish of Sturry only intervening, and about two miles north-eastward from Canterbury. It takes its name from the ford or pass, at the crooked winding of the river Stour, close to which it is situated. The liberty of the cinque ports claims over the whole of this parish, the town of which is a subordinate member to the principal cinque port of Sandwich, and in the survey of Domesday is said to lie within a hundred of its own name, (fn. 1) being called in the records of that time, Burgum de Fordwyc.
King Edward the Confessor, in the year 1055, gave all his lands in Fordwych to the abbot and convent of St. Augustine, who were possessed of some property here before; but soon after the conquest, Egelsin, then abbot, to gain the favour of the powerful Normans, granted away several of the estates of his monastery to them, and among others this of Fordwych to Hamo de Crevequer, surnamed Vicecomes. But the king afterwards, at the instance of abbot Scotland, put him again in possession of this borough, which Hamo the sheriff then held, as well as the other estates which had been given away. And at the same time Odo, bishop of Baieux, the king's half-brother, gave to the abbot all the houses he had here. Soon after this, anno 1080, the survey of Domesday was taken, in which, under the general title of the lands of that abbey, it is thus entered:
In Forewic hundred, the abbot himself holds one small borough, which is called Forewic. Two parts of this borough king Edward the Confessor gave to St. Augustine, but the third part, which was earl Goduin's the bishop of Baieux granted to the same saint, with the consent of king William. It was taxed at one yoke. There were one hundred plats of land, all but four, paying thirteen shillings, now there are seventy-three plats, paying as much. In the time of king Edward the Confessor, and afterwards, it was worth one hundred shillings, now eleven pounds and two shillings. There are twenty four acres of land, which St. Augustine had separate where there were, and there are six burgesses, paying twentytwo shillings.
In this borough archbishop Lanfranc has seven plats of land, which in the time of king Edward the Confessor performed their service to St. Augustine, now the archbishop takes away the service to himself.
Night to the city of Canterbury, St. Augustine has half a suling, which was separately acquitted; and there is one carucate in demesne, with fifteen borderers, and seven acres of meadow; and there are four acres of arable land, which four nuns hold in alms of the abbot, and pay two shillings, and one seam of meal flour. The whole of this, in the time of king Edward the Confessor, and afterwards, and now, was and is worth four pounds.
This manor was confirmed to the abbot and convent by inspeximus, by king Edward III. in his 36th year, at which time it appears that the abbot had a prison here, and held land then called a park in his demesne in this parish. After which it remained part of the possessions of the monastery till its dissolution, anno 30 Henry VIII. when it was surrendered into the king's hands, where the manor of Fordwich remained till king Edward VI. in his 7th year, granted it, with the advowson of the church, to Sir Thomas Cheney, to hold in capite, who in the Ist year of queen Mary alienated both manor and advowson to Mr. John Johnson, gent. of St. Laurence, whose grandson Timothy Johnson, gent. of Fordwich, about the latter end of that reign alienated them to Thomas Paramour, gent. descended from those of Paramourstreet, in Ash, who resided here, (fn. 2) and in James I.'s reign sold them to the lady Elizabeth Finch, widow of Sir Moile Finch, of Eastwell, afterwards created viscountess Maidstone and countess of Winchelsea, whose surviving son and heir Sir Thomas Finch, earl of Winchelsea, in the beginning of king Charles I.'s reign, passed them away to his relation Sir J. Finch, afterwards a justice of the common pleas, keeper of the great seal, and in 1630 created lord Finch, baron of Fordwich, who at his death in 1660 devised this manor and advowson by his will to his kinsman Heneage, earl of Winchelsea, whose grandson Charles, earl of Winchelsea, alienated them to William, lord Cowper, afterwards created earl Cowper and viscount Fordwich, whose great-grandson the right hon. Peter-Lewis-Francis, earl Cowper, is the present owner of the manor and advowson of the church of Fordwich. (fn. 3) A court baron is held for this manor.
THERE is an estate in this parish, called TANCREY ISLAND, which, in king Edward I.'s reign, was the property of the family of Marins, called in old deeds de Marinis, one of whom, John de Maryns, had a grant of free-warren for his lands here in the 1st year of king Edward III. but in the next reign of king Richard II. it was the property of a family who took their name from it, when Bertram de Tancrey stiled himself lord of it, in whose descendants it continued down to king Henry IV.'s reign, when it passed to the Beverleys, of Beverley, in Harbledowne, who afterwards quitted that seat and resided here, in whom it continued till William Beverley leaving an only daughter and heir Beatrix, she carried it in marriage, about king Henry VIII.'s reign, to William Norton, of Faversham, second son of Reginald Norton, esq. of Sheldwich; and it appears by the arms on a gravestone in this church, that this branch of the family of Norton bore for their arms, Three swords, jointed at the pomels in triangle, on a chief, three maunches; and that the Beverleys bore, Barry, on a chief, two pales, over all, an escutcheon, a crescent for difference; by which correct the arms of Beverley, in Harbledowne. He afterwards removed hither, and in his descendants it continued till at length it became the property of Mr. George Upton, gent. of Canterbury. After which it passed by his will to his relations, the Jennings's, with whom it continued down to Anthony Jennings, who resided here, and died possessed of it in 1771, leaving his widow Mrs. Martha Jennings surviving, who is now possessed of it, and resides here.
THE TOWN of Fordwich was in antient time of much greater account than it has been for a long time past, for Leland, who lived in Henry the VIIIth.'s reign, mentions it as then having in it a poor mayor. During the time that Reculver continued one of the mouths of the Portus Rhutupinus, and the sea flowed up from thence as far as Fordwich, it continued the great resort for the shipping, which then frequented in abundance the river Stour, the navigation of which extended as high as the key of this town, where the ships were moored, and where all goods were laded and unladed; and in the time of the Saxons there was here a public collector of the customs and droits arising from thence, appointed by the king; which duties, after the gift of the manor of Fordwich by king Edward the Confessor, belonged to the abbot of St. Augustine, and continued so till the dissolution of that monastery in king Henry VIII.'s reign. But the prior and convent of the Holy Trinity, afterwards Christ-church, in Canterbury, claimed the privilege of a key here likewise, for the use of which they built a house in a meadow close to the town, which the abbot of St. Augustine's repeatedly threw down; but this produced continual controversies between them, which at last, in 1285, was settled by a composition made between them, by the justices itinerant, appointed by the king for that purpose. (fn. 4)
The town of Fordwich lies very low and unhealthy, close to the marshes, on the southern bank of the river Stour, a lonely place, of little or no thoroughfare. It is but small and mean, consisting of about thirty houses and cottages. The only remains of antiquity, of its having belonged to the abbey of St. Augustine for a great length of time past, was a losty arched gateway, built of brick, at the entrance to their wharf here, lately pulled down, and a small length of flint wall close to the river. Near which is a large handsome house, belonging to the Blaxlands, and now made use of as a soap manufactory. This house is known by the name of Hemphall, and was formerly part of the possessions of St. Augustine's monastery, parcel of their manor here, probably their manorhouse, and the same in which the Johnsons and Paramours, who afterwards had the grant of the manor, resided. Not long after which it seems to have been separated from the manor, and come into the possession of the Crispes, in which it continued, till at length Mrs. Eleanor-Anne, daughter of Henry Crispe, esq. of Quekes, carried it in marriage to Robert Darell, esq. who resided here, whose first wife she was; and afterwards, in like manner, to the Shorts, several of whom, as well as the Darells, lie buried in the chancel of this church, the last of whom, Samuel Short, esq. of this town, died in 1716. After which it was alienated to the Turners, and thence to the Blaxlands. Close to the above-mentioned house is the court-hall, or sessions-house, and the prison underneath it. In the southern part of it is an antient brick house, formerly of some note, and much larger, seemingly of the time of queen Elizabeth, and no doubt once a gentleman's habitation, now belonging to the Graydons; a little above which is a seat, called Hermesland, once belonging to the family of Harlestone, descended out of Suffolk, and bore for their arms, Paly, or, and sable, (fn. 5) one of whom, Simon Harlestone, resided here in queen Elizabeth's reign. After which it was purchased by the Osbornes, and was afterwards alienated by William Osbornes, A. M. rector of Fordwich, to John Graydon, esq. afterwards vice-admiral of the royal navy, who rebuilt it, and resided here at his death in 1727. He married Mary, grand daughter of Sir Edward Gregory, commissioner of Chatham dock, and dying in his eighth mayoralty of this town, was buried in Westbere church. John, his eldest son, succeeded him in this seat, and died s.p. Benjamin, his second son, was of Rochester, and left a son Benjamin, now of Fordwich, and owner of this seat; and Gregory, his third son, was of Canterbury, gent. and married a daughter of William Hougham, esq. of that city. They bore for their arms, Azure, three otters, each holding in its mouth a fish, argent. Mr. Ben jamin Graydon, of Fordwich, a descendant of him before-mentioned, is owner of this seat, which is at present untenanted. The church stands close to the east end of the town, and the parsonage-house at some distance southward of it, in the road leading to Stodmarsh, The river Stour, and the small spot of Tancrey island, over which the high road leads from Sturry to Fordwich, bound the north part of this parish, which extends about a mile southward up the hill, as far as the road next to the wall of the Moat park.
THE CORPORATION of the town of Fordwich and its liberties, extend over the town and the whole of this parish, and over part of the parishes of Westbere, Sturry, Northgate, and St. Martin's, in Canterbury, and likewise down the river Stour to Grove ferry, and thence as far as Plucks gutter, just below the Wingham water, opposite to the Isle of Thanet. It is a corporation by prescription, the members of which were at first stiled barons; but it is now governed by a mayor, jurats, and commonalty, of freemen, to which is added a high steward, treasurer, and town-clerk. The mayor, who is coroner by virtue of his office, is chosen yearly on the first Monday after the feast of St. Andrew, and with the jurats, who are justices within these liberties exclusive of all others, hold a general sessions of the peace and gaol delivery, (fn. 6) together with a court of record, the same as at Sandwich, and it has other privileges, mostly the same as the other corporations within the liberties of the cinque ports; and there was a gallows erected just below the key, for the execution of criminals, which has been down but a few years. It has a mace belonging to it, which is very handsome, of silver gilt, and given to the corporation by admiral Graydon; and the mayor, the same as at Sandwich, bears in his hand, when exercising his office, a black wand. The river Stour is still navigable for lighters and barges as far as the bridge just above the town, for the passage of carriages, over which the corporation exact a toll. The droits and duties arising from the coals and other ladings brought up the river and landed at the town-key, belong to the corporation, who likewise receive twenty shillings yearly from the dean and chapter of Canterbury, for the use of the crane and wharf here. There is a particular species of trout, which frequents the river Stour, and being for the most part caught within these liberties, is from thence known by the name of Fordwich trout; being esteemed of a superior flavour to most others, and there being but few of them taken in a year, they bear a high price, and are much sought after as a delicacy throughout the neighbourhood. They are of a silver colour, speckled with black spots, and the flesh of them is of a yellowish colour; they weigh from four to ten or twelve pounds. They are a very shy fish, insomuch that they are not often taken with a drag net, and seldom or never with a hook. It is supposed they never breed in the river, no small ones being ever found in it, nor large ones with any spawn in them, but that they come from the sea, many of them being taken without the mouth of the river, particularly in the set-nets in Pegwell bay, at the entrance of Sandwich harbour. There are not more than thirty caught here yearly on an average, though they were more caught formerly than for several years past.
SIR JOHN FINCH, (son and heir of Sir Henry Finch, younger brother of Sir Moile Finch, of Eastwell, ancestor of the earls of Winchelsea and Nottingham) who was speaker of the house of commons, and afterwards made chief justice of the common pleas, was in 1639, anno 15 Charles I. made lord keeper of the great seal, and created lord Finch, baron of Ford wich. He died in 1661, without male issue, and the title became extinct. (fn. 7)
WILLIAM COWPER, ESQ. son of Sir Wm. Cowper, bart. of Ratling-court, in Nonington, having been made lord keeper of the great seal in 1705, was on December 14, 1706, anno 5 queen Anne, created lord Cowper, baron Cowper, of Wingham, in Kent, and in 1707 made lord chancellor; and on March 18, 1718, anno 4 George I. he was further advanced to the dignity of earl Cowper, and viscount Fordwich. He died in 1723, and was buried at Hertingfordbury, being succeeded by his eldest son William, second earl Cowper, and viscount Fordwich, who died in 1764, having some time before prefixed the surname and arms of Clavering to his own, according to the will of his mother's brother. He was succeeded by his only son George Clavering, the third earl Cowper, and viscount Fordwich, who residing at Florence, was created a count of the sacred Roman empire, which title was confirmed by king George III. He died in 1789, having married Anne, daughter of Francis Gore, esq. of Southampton, and was succeeded by his eldest son George-Augustus, earl Cowper, and viscount Fordwich, who dying unmarried in February, 1799, was succeeded by the right hon. Peter-LewisFrancis, the fifth and present earl Cowper, and viscount Fordwich, who is at present unmarried. He bears for his arms, quarterly, Clavering, or, and gules, surmounted with a bend, sable; and Cowper, argent, three martlets, a chief engrailed, gules, on the latter as many annulets, or; supporters, Two bay horses, with tails docked, proper. Crest, On a wreath, a lion's gamb, erected and erased, or, holding a branch vert, sructed, gules.
Charities.
WALTER BIGG, jurat, by his will in 1631, gave three pieces of land, containing nine acres, for the relief of poor aged people, to be distributed by the mayor and jurats yearly on Good-Friday, and on the Friday before Christmas-day.
STEPHEN BIGG, of Fordwich, by will in 1646, gave the rent of 20 acres of land in Romney Marsh, to be distributed yearly to six poor housekeepers, and the like number of Sturry, 20s. to each; the remainder to put out poor boys and girls of each parish apprentices, and to remain in stock in for that use for ever.
THOMAS BIGG, by will in 1669, gave 50s. per annum, to be paid weekly to the overseers, to be distributed to the poor at their discretion. Which money is given away weekly in bread.
THERE ARE nine acres of meadow in this parish, late in the possession of Anthony Jennings, into which the resident freemen of this corporation have the liberty of turning any kind of cattle, except hogs, between the months of September and May.
FORDWICH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of the same.
¶The church, which is dedicated to St. Mary, consists of two isles and a chancel, having a tall spire steeple at the west end, in which are four bells. It is situated so close to the river, and so much on a level with it, that it is sometimes overflowed, and always exceedingly wet and damp. There seems to have been some good painted glass in the windows, of which there are but few remains. In the south isle is a stone, with the figure of a woman, and inscription in brass, for Afra, wife of Henry Hawkins, gent. daughter of Thomas Norton, esq. obt. 1655; arms, Hawkins, of Nash, impaling Norton; with the quarterings of Martyn, Beverley, and Hide. Several memorials for the Jennings's, of Tancrey island, and the Nortons. In the chancel are several memorials and hatchments of the Darells and Shortes, of this parish; the latter bore, Azure, a griffin passant, between three stars of six points, or. In the church-yard is a memorial for John Graydon, esq. obt. 1774. In the west part of the body of this church, was placed a very antient stone shrine against the wall, which having been removed some years since, was cast out in the church-yard, where being soon likely to perish, by being exposed to the weather, it was purchased by the editor of this history, and brought to the precincts of the cathedral of Canterbury, where it now lies. It is one solid stone, Sculptured only on one side; the back part having two hollows, as if made to fasten it to the wall. There is no conjecture to be formed on whose account it was made and placed there. (fn. 8)
The church of Fordwich is a rectory, and was always an appendage to the manor, and as such is now of the patronage of the right hon. earl Cowper, the present lord of the manor of Fordwich. It is valued in the king's books at 5l. 15s. 2d. and is now of the clear yearly certified value of forty-two pounds. In 1588. it was valued at thirty pounds, communicants one hundred and forty. In 1640 it was valued at forty pounds, communicants one hundred. It is now of about the yearly value of one hundred and twenty pounds. There are three acres of glebe land.
The rector for some length of time received of the corporation, in lieu of tithes of the merchandize of the key here, by composition, five pounds, by the name of crane duties, which has not been paid since the year 1733.
Series of 6 postcards illustrating the death of Edith Cavell during World War 1.
Edith Louisa Cavell (4 December 1865 – 12 October 1915) was a British nurse. She is celebrated for saving the lives of soldiers from both sides without discrimination and in helping some 200 Allied soldiers escape from German-occupied Belgium during the First World War, for which she was arrested. She was subsequently court-martialled, found guilty of treason and sentenced to death. Despite international pressure for mercy, she was shot by a German firing squad. Her execution received worldwide condemnation and extensive press coverage.
E. H. Wilson: Criminals awaiting execution, 1899-1910. Tied to a cross-shaped frame, two criminals wait to be moved to the scene of their death. The queue was passed through a hole in the top of the vertical post to keep the body in position, and a rope around the neck was twisted until strangulation occurred.
Source: The Face of China As Seen by Photographers & Travelers 1860-1912, p. 38
Thierry Geoffroy / Colonel exhibit now at The Kuma Museum his tent from document Kassel d13 , 2012 ( unsolicited )
that created debates about contempoarary art , started occupy movement in front of Fridericianum museum ... got confiscated , inspired marble tent installation documenta14
read more here :
www.emergencyrooms.org/documenta_kassel.html
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
The art work can be asking about "The Execution of Emperor Maximilian "where Manet paint an " after excecution moment "
Is art always too late ?
Can art prevent accidents ?
Does art always comes after the shooting or can art sometimes prevent it ?
Can artists have an impact ?
Could it be an art that could prevent and stop accidents not only witness and express about them ?
Thierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
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thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#venicebiennale
#documentakassel #documenta #d13 #documenta13
#manet #edouardmanet
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
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!
Joaquim José da Silva Xavier was a Brazilian revolutionary, demanding independence from Portugal, who met a particularly unpleasant end.
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He had practiced dentistry in his career, and Tiradentes, or "tooth puller", was a pejorative used against him during his trial that came to be the name by which he was affectionately known.
The motto of his co-revolutionaries was Libertas quae sera tamen: Freedom, even if it be late. Fitting, and, perhaps, not a bad one to bear in mind.
taken with Nokia N73 during international festival of programmes for children and youth - Prix Danube 2007 - that took place in the art museum Danubiana
Alfred "Jake" Lingle was a reporter for the Chicago Tribune who liked to mingle with cops and gangsters alike. In June of 1930, Lingle had just walked down these subway steps when he was shot in the head from behind and killed. Despite the conviction of Leo Vincent Brothers for the murder it's probable that he was taking the rap for the real killer. Lingle had made enemies of Al Capone and had threatened Bugs Moran 2 weeks prior over his share of the Sheridan Wave nightclub. The hit could have been ordered by either side of the Beer War.
Located at the southwest corner of Michigan Ave. and Randolph St.
I revisited this magnificent site today Saturday 22nd September 2018, a mile or so from my home and always worth a visit.
Historic Environment Scotland maintain the site, it is steeped in Scottish History and visited by thousands of tourists and locals each year .
St Machar's Cathedral (or, more formally, the Cathedral Church of St Machar) is a Church of Scotland church in Aberdeen, Scotland. It is located to the north of the city centre, in the former burgh of Old Aberdeen. Technically, St Machar's is no longer a cathedral but rather a high kirk, as it has not been the seat of a bishop since 1690.
St Machar is said to have been a companion of St Columba on his journey to Iona. A fourteenth-century legend tells how God (or St Columba) told Machar to establish a church where a river bends into the shape of a bishop's crosier before flowing into the sea.
The River Don bends in this way just below where the Cathedral now stands. According to legend, St Machar founded a site of worship in Old Aberdeen in about 580. Machar's church was superseded by a Norman cathedral in 1131, shortly after David I transferred the See from Mortlach to Aberdeen.
Almost nothing of that original cathedral survives; a lozenge-decorated base for a capital supporting one of the architraves can be seen in the Charter Room in the present church.
After the execution of William Wallace in 1305, his body was cut up and sent to different corners of the country to warn other dissenters. His left quarter ended up in Aberdeen and is buried in the walls of the cathedral.
At the end of the thirteenth century Bishop Henry Cheyne decided to extend the church, but the work was interrupted by the Scottish Wars of Independence. Cheyne's progress included piers for an extended choir at the transept crossing. These pillars, with decorated capitals of red sandstone, are still visible at the east end of the present church.
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
The Cathedral is a fine example of a fortified kirk, with twin towers built in the fashion of fourteenth-century tower houses. Their walls have the strength to hold spiral staircases to the upper floors and battlements. The spires which presently crown the
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
Bishops Gavin Dunbar and Alexander Galloway built the western towers and installed the heraldic ceiling, featuring 48 coats of arms in three rows of sixteen. Among those shown are:
* Pope Leo X's coat of arms in the centre, followed in order of importance by those of the Scottish archbishops and bishops.
* the Prior of St Andrews, representing other Church orders.
* King's College, the westernmost shield.
* Henry VIII of England, James V of Scotland and multiple instances for the Holy Roman Emperor Charles V, who was also King of Spain, Aragon, Navarre and Sicily at the time the ceiling was created.
* St Margaret of Scotland, possibly as a stand-in for Margaret Tudor, James V's mother, whose own arms would have been the marshalled arms of England and Scotland.
* the arms of Aberdeen and of the families Gordon, Lindsay, Hay and Keith.
The ceiling is set off by a frieze which starts at the north-west corner of the nave and lists the bishops of the see from Nechtan in 1131 to William Gordon at the Reformation in 1560. This is followed by the Scottish monarchs from Máel Coluim II to Mary, Queen of Scots.
Notable figures buried in the cathedral cemetery include the author J.J. Bell, Robert Brough, Gavin Dunbar, Robert Laws, a missionary to Malawi and William Ogilvie of Pittensear—the ‘rebel professor’.
There has been considerable investment in recent years in restoration work and the improvement of the display of historic artefacts at the Cathedral.
The battlements of the western towers, incomplete for several centuries, have been renewed to their original height and design, greatly improving the appearance of the exterior. Meanwhile, within the building, a number of important stone monuments have been displayed to advantage.
These include a possibly 7th-8th century cross-slab from Seaton (the only surviving evidence from Aberdeen of Christianity at such an early date); a rare 12th century sanctuary cross-head; and several well-preserved late medieval effigies of Cathedral clergy, valuable for their detailed representation of contemporary dress.
A notable modern addition to the Cathedral's artistic treasures is a carved wooden triptych commemorating John Barbour, archdeacon of Aberdeen (d. 1395), author of The Brus.
Business Books That Matter is a new Book Club program co-organized by White & Lee and the Software Development Forum (SDForum) and sponsored by Microsoft.
The conversation centered on Execution: The Discipline of Getting Things Done by Larry Bossidy and Ram Charan.
Moderator:
Mark Cameron White
Partner, White & Lee LLP
Panelists:
J. Peter Herz
Former CEO of 3ware, Inc. and Board Chairman, IPextreme, Inc.
Bruce Lichorowic
CEO, Intalio, Inc.
General consensus was that the book was good for large company process execution with a Midwest mentality. But in the Silicon Valley, emphasis is on innovation and practice.
Manet - the execution of emperor Maximilian [1868-69] (third version, Copenhagen)
Copenhagen Ny Carlsberg Glyptotek
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...
Savonarola, a Dominican friar, was instrumental in creating a popular republic in Florence after the Medici family was expelled. He was an ascetic, very much against sin and objects that might facilitate sin, and he organised a bonfire of the vanities in 1497. He was excommunicated in 1497 and in 1498 public opinion turned against him. He was arrested and burnt at the stake.
Solarkocher Premium 11
Deutschland, 2013
Ausführung: Sund and Ice GmbH
Stahl, Aluminiumblech mit keramischer Beschichtung
Solar Cooker Premium 11
Germany, 2013
Execution: Sun and Ice GmbH
Steel, aluminium sheet with ceramic coating
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.
Foggy, panoramic view of the Long Island Sound and Execution Rocks Lighthouse (1850) from Sands Point, Long Island, NY.
It is rumored that the lighthouse's site got its name before the American Revolutionary War when British colonial authorities executed people by chaining them to the rocks at low tide, allowing the rising water to drown them. This folklore has never been verified by any historical record. The name for this island was actually chosen to reflect the historically dangerous shipping area created by the rocks' exposure during low tides. On March 3, 1847, the United States Congress appropriated $25,000 for creation of Execution Rocks Lighthouse. Designed by Alexander Parris, construction was completed in 1849, although it was not lit until 1850. Over the years, it has survived both a fire and a shipwreck. [Wikipedia]
食 吃 "Eat" Polymer Handled Chopsticks and Rest Set
I have quite a few Asian inspired fabrics waiting for the perfect quilt or sewing project, so when considering ideas for the November PCAGOE Asian themed challenge, looking to my fabric collection for inspiration was a given. When I struck upon the idea of polymer handled chopsticks and matching chopstick rest, I then chose a batiked fabric with Asian characters as my polymer design inspiration… but I wanted to say something more than characters that mimic the fabric pattern with meanings I could not decipher. So, I decided to Google references and make canes of the Chinese character 吃 and 食 the Japanese Kanji for the word "Eat". I tried to emulate the background and colors of the fabric in the polymer design… and I turned a piece of the fabric into a little pouch with a matching polymer button, to complete the set, for carrying the chopsticks and rest. This is my 3rd time ever in making a cane… though I appreciate canes, I've never been much of a caner before. For some reason lately all my ideas are best suited to execution using canes…. guess my muse is telling me to branch out into other polymer techniques with which I'm less familiar. ;)
Ticket To The Execution of Victor Forunier & Edward LaBelle YUKON TERRITORY, CANADA 1903.
IF YOU HAVE ANY SIMILAR MATERIAL FOR SALE, PLEASE CONTACT ME! I BUY!
Sure Roschler! Be the funny guy Roschler! But now you will see the wrath of Roschler in the first ever live televised Execution On Flickr!
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Boeing P-32 was an attempt to produce a more advanced version of the highly successful P-26 monoplane fighter from the early 1930ies.
The airplane was only one among many developments that led to more advanced monoplane fighters. This multitude of prototypes was fueled by the USAAC’s uncertainty about the right fighter concept – liquid- and air-cooled engines were tested, as well as single and two seater concepts, all the while the US Navy went through a similar orientation phase on its own. Other advances like the retractable landing gear and heavier gun armament complicated matters further, together with quick technological and aerodynamic advances.
The P-32 was a parallel development of the Boeing YP-29, which originated as the Model 264, developed as a private venture under a bailment contract negotiated with the U.S. Army. In contrast to the P-29 two seater, the P-32 was a single seater with clean lines, an open cockpit, almost no wiring but still with a spatted landing gear. The machine was constructed around the new, civil Twin Wasp Junior R-1535 two-row radial engine a 700 hp (520 kW) output, driving a fixed pitch wooden two blade propeller.
The P-32’ construction consisted of a Warren truss box-girder primary fuselage structure with high-tensile steel longerons and duralumin cross-bracing using mechanically fastened rather than welded joints. Over this, wooden formers and stringers carried the doped linen covering. The wing structure consisted of two steel spars, and was also fabric-covered. An advantage of the steel-tube structure was that cannon shells could pass right through the wood and fabric covering without exploding. Even if one of the steel tubes were damaged, the repair work required was relatively simple and could be done by ground crews at the airfield. The old-fashioned structure also permitted the assembly of aircraft with relatively basic equipment under field conditions.
The P-29 failed due to several flaws and general lack of power, but the P-32 offered enough potential to attain the USAAC’s interest. The XP-32 prototype made its maiden flight on 10 January 1935, almost exactly one year after the XP-29, and was flown to Wright Field for Army testing under the experimental military designation XP-941 five days later.
During testing the XP-941 handled well and achieved a maximum speed of 260 mph at 10,000 ft (418 km/h at 3,050 m). After testing, the XP-941 was returned to the factory in March for modifications, including the installment of an uprated R-1830-1 Twin Wasp engine with an output of 800 hp (597 kW), now driving a three blade Curtiss variable-pitch metal propeller. It was also fitted with flaps and a tail wheel, which the XP-941 lacked, plus several other small aerodynamic modifications which helped raise top speed a further 16 mph (26 km/h). A closed canopy was tested, but due to the tight fit and restricted pilot vision from the cockpit enclosure, Boeing reverted to an open cockpit design, retaining the long headrest all the way to the tail.
Upon completion of the XP-941’s testing, the Army decided on 29 June 1935 to purchase it, together with two sister ships. The designation P-32A was officially assigned, and the type christened "Gale". The first P-32As were delivered to the 1st Pursuit Group (27th, 71st and 94th PS) stationed at Selfridge Field in Michigan later that year, and several other units were equipped – primarily the type replaced the P-26 and also some of the P-12Es still in second line service.
Anyway, the P-32's performance was already poor by contemporary standards and, although USAAC aviators appreciated the aircraft's ruggedness, it was obsolete by the time deliveries were finished in 1936, after only 100 aircraft had been produced. Plans to improve performance through a more powerful R-1830-45 Twin Wasp radial engine with 1,050 hp (783 kW) were never carried out, as well as an updated version with a retractable landing gear.
The P-32A was only used on the American continent, primarily for weapon training purposes and also as a liaison aircraft. It was soon superseded by the Curtiss P-36 and also by the later P-40. By 1940, all P-32As had been phased out, and some specimen were sold to South American air forces including Guatemala and Bolivia, where they served on until 1949.
General characteristics:
Crew: 1
Length: 32 ft 8 in (9.97 m)
Wingspan: 40 ft 0 in (12.19 m)
Height: 13 ft 1½ in (4.0 m)
Wing area: 257.5 ft² (23.92 m²)
Empty weight: 4,575 lb (2,075 kg)
Loaded weight: 6,118 lb (2,775 kg)
Max. takeoff weight: 6,723 lb (3,050 kg)
Powerplant:
1× Pratt & Whitney R-1830-1 Twin Wasp radial engine with 800 hp (597 kW),
driving a three blade Curtiss variable-pitch metal propeller
Performance:
Maximum speed: 275 mph (443 km/h) at 11,000 ft (3,350 m)
Range: 600 mi (965 km)
Service ceiling: 31,400 ft (9,570 m)
Rate of climb: 1,920 ft/min (9.8 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.15 hp/lb (0.25 kW/kg)
Armament:
2x 0.30” machine guns in the upper fuselage, synchronized, firing through the propeller disc
2x 0.50” machine guns in the upper spats’ fairings
Up to 350 lb (160 kg) of bombs under the outer wings
The kit and its assembly:
This build is not an original idea of mine, rather a personal interpretation of a whif kit I recently came across: an early Hawker Hurricane in bright (yellow/blue) USAAF markings and an open cockpit. Several similar conversions had been done in RAF markings, too, some with spatted landing gear, and the results always look very elegant.
Anyway, I liked the USAAF idea. America experimented a lot in the pre WWII era, and there were many experimental designs that never made it into serial production. The real P-32 is just such a case, so I lent that designation for my build that was to incorporate many retro design features.
I wanted to take the “’Cane with spats” idea a bit further, though, and during background legwork I came across the contemporary first attempts to use a Twin Wasp radial engine in a fighter. An engine conversion was therefore plausible, too, for a hopefully completely different look.
The basis is Airfix’ relatively new Hurricane Mk. I with fabric wings – an excellent kit with an outstanding cleanliness and fit of parts. Fuselage and wings were basically built OOB, just with some modifications.
The spats come from a (otherwise crappy) Mastercraft PZL 23 Karaś, a 1:1 transplant.
Furthermore, the whole front end was modified: The original Merlin engine was removed and a front end plug sculpted from massive 2C putty. This now carries a scratched, two-row radial engine with a long cowling, also improvised. The propeller with spinner comes from the Hurricane kit and runs on a long metal axis that reaches deep into the fuselage’s putty plug.
On the wings the landing gear was built in retracted position (the Airfix kit offers special parts for this option) and covered with putty. Furthermore, the wing machine guns were deleted, even though I kept the metal covers for the ammunition boxes on the wings – as wing tanks.
The cockpit with its detailed interior was taken OOB, with only the windshield mounted and the canopy sliding rails on the fuselage concealed.
Painting and markings:
The USAAF’s bright blue and yellow scheme of the pre WWII era is pretty, but I rather went for its early Thirties predecessor, the olive drab/yellow option. Both would be eligible for this whif.
Painting was rather straightforward. The yellow wing surfaces and white trim were painted first (Humbrol 69), then masked, and the fuselage painted with Olive Drab (Humbrol 155). The cockpit interior was kept in a greenish primer yellow, a mix of Humbrol 81 and 159.
The colorful trim comes from a PrintScale P-26 sheet, but these decals had to be adapted to the much bigger Hurricane dimensions. The decals are crisply printed, but deadly thin, so handling was challenging. On the other side, the thin carrier film made adaptation to the curved surfaces (esp. on the cowling and the spats) rather easy – just some surgical cuts and the decals went into place. Anyway, a lot of improvisation had to be done with paint.
Besides the Peashooter basics, many markings came from the spares box: the US roundels come from a Hobby Boss F4F Wildcat, while the "U.S. Army" marking under the wings belongs to a Trumpeter P-40.
Anyway, the result was IMHO worth it, and the boldness of the era’s markings comes out much better than on the brighter blue/yellow machines, which are already garish in themselves?
Only slight weathering was applied - on the fuselage with some light Modelmaster FS 34087 dry-brushing, the yellow and white wing surfaces were actually wet-sanded after a thin black ink washing, for a subtle shading of the internal structures.
Finally, the kit was sealed with a semi-gloss (2/3 matt and 1/3 gloss) acrylic varnish.
Not a totally original idea of mine, but a very thorough execution of a retrograded Hurricane. And the more the model came to a close, the more convincing the P-32A became - and more and more colorful.