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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.
Mr. Ghassemi-Shall faces imminent execution in Iran. Canadian Foreign Affairs Minister John Baird and Minister of State for Foreign Affairs Diane Ablonczy issued a joint statement asking Iran to release and halt the execution of Hamid Ghassemi-Shall.
Hamid Ghassemi-Shall was arrested in late May 2008 while visiting his mother in Iran. This arrest took place approximately two weeks after the arrest of his brother, Alborz Ghassemi-Shall.
In November 2009 Hamid’s wife in Canada received reports that both Hamid and Alborz were convicted of espionage and sentenced to death. The legal proceedings were deeply unfair and neither Hamid or Alborz had a meaningful opportunity to defend themselves. His conviction appears to be based on a document of an alleged email exchange between Hamid and Alborz. Hamid has unequivocally stated that the document is a complete fabrication and that he never sent any such message. Testing and analysis by his lawyer reportedly confirm that to be the case.
Hamid and Alborz were in solitary confinement for 18 months until the end of November 2009 when they were transferred to a general population section in Tehran's Evin prison. On 20 January 2010 Alborz died in prison, reportedly of stomach cancer. Mr. Hamid Ghassemi-Shall reported that both he and Alborz were subject to “extreme pressure” during their detention.
Hamid Ghassemi-Shall was sentenced to death. His case has undergone a number of reviews, but the family confirmed in March 2012 that the death sentance has not been lifted.
Take Action
Write the Iranian authorities. Request that they:
Guarantee that Mr. Hamid Ghassemi-Shall will not be executed.
Release Mr. Hamid Ghassemi-Shall immediately unless he is promptly brought to trial on recognizably criminal charges in legal proceedings that fully conform to international fair trial standards.
Ayatollah Sayed ‘Ali Khamenei
The Office of the Supreme Leader
Islamic Republic Street – End of Shahid
Keshvar Doust Street
Tehran, Islamic Republic of Iran
Salutation: Your Excellency
Email: info_leader@leader.ir AND tweet @khamenei_ir
Copies to:
Ayatollah Sadegh Larijani
Office of the Head of the Judiciary
Pasteur Street, Vali Asr Avenue, south of
Serah-e Jomhouri
Tehran, 1316814737
Islamic Republic of Iran
Email: bia.judi@yahoo.com or info@dadiran.ir (In the subject line, write FAO Ayatollah Sadegh Larijani)
Salutation: Your Excellency
Copies to:
Mr Kambiz Sheikh Hassani
Chargé d’Affaires, Embassy for the Islamic Republic of Iran
245 Metcalfe Street
Ottawa, Ontario K2P 2K2
Fax: (613) 232-5712
Email: executive@iranembassy.ca
More Background
The Canadian government has sponsored a resolution censuring Iran at the United Nations General Assembly human rights committee, every year since the 2003 torture and death while in custody, of Iranian-Canadian journalist Zahra Kazemi in Iran. The resolution has expressed deep concern at serious ongoing human rights violations in the Islamic Republic of Iran. The violations include torture, flogging, amputations, stoning, and "pervasive gender inequality and violence against women." Canada has also "particular concern" with the Iranian government's failure to launch a thorough investigation of alleged human rights violations in the wake of Iranian President Mahmoud Ahmadinejad's contested re-election in 2009.
In a new year’s statement on January 1, 2011 the Honourable Lawrence Cannon, Minister of Foreign Affairs, expressed deep concern for the “deteriorating human rights situation in Iran.” He expressed particular concern for the uncertain fate of two Canadians of dual nationality who remain in prison in Iran. (Hamid Ghassemi- Shall and Hossein Derakhshan). He further referred to reports that Saeed Malekpour, a Canadian permanent resident, has been condemned to death and that his sentence could be carried out at any time. Minister Cannon encouraged the Iranian authorities to show mercy and compassion to those who are in Iran’s prisons without just cause, and called on Iran to respect its international human rights obligations in law and in practice and to foster a more open dialogue with the international community.
خواهر حمید قاسمی: شما را به خدا نگذارید برادرم را اعدام کنند، حمید حتی فعال سیاسی هم نیست
soundcloud.com/frl-journalist/hamidghasemi
■■■■■ www.persianicons.org/human-right/iranian-canadian-facing-... ■■■■■
Two clone troopers are held captive by a roaming mandelorian patrol.
"Any last words, clone trooper scum?"
On 12 August 1895 Minnie Dean was hanged at Invercargill gaol after being found guilty of infanticide, becoming the only woman ever to have been executed in New Zealand. Scottish-born Dean lived in Winton, Southland, with her husband Charles Dean, where she looked after unwanted children for payment. Known as ‘baby-farming’, this practice reflected the lack of socially-acceptable alternatives for women having unwanted babies, and Dean took in many children throughout the 1880s. However several of the children died while in her care, prompting police surveillance of her activities. In May 1895 Dean was seen boarding a train carrying a young baby and a hat-box, and disembarking later carrying only the hat-box. Police later unearthed the freshly buried bodies of two babies and the skeleton of an older boy in Dean's garden.
A coroner’s inquest of one of the dead babies, Dorothy Edith Carter, declared that she had "met her death… through poison administered by Minnie Dean." Dean was subsequently tried for infanticide on 18 June, and despite the defence arguing Carter's death was accidental, on 21 June Dean was found guilty of murder and executed a few weeks later.
The execution of a woman was an unusual course of action to be taken by the New Zealand Supreme Court. Before Dean's trial and execution, three other women had been tried and sentenced to death, all in relation to child murder, but in each case those sentences were commuted to life imprisonment. Public interest in the case was high, with souvenirs of the hat-box notoriously being sold outside the courthouse during her trial. The story of Minnie Dean entered into New Zealand folklore, and the case lead to major advances in New Zealand child welfare legislation, with the passing of the Infant Life Protection Act 1893 and Infant Protection Act 1896.
Archives Ref: J1 1895/917
collections.archives.govt.nz/web/arena/search#/?q=R24566594
Material from Archives New Zealand Te Rua Mahara o Te Kāwanatanga
Henry van de Velde (1863-1957)
Writing Desk Presented at the XIVth Secession Exhibition, 1900
Brussels, 1898
Execution: unknown
Solid ash; brass
Henry van de Velde (1863-1957)
Schreibtisch, präsentiert auf der XIV. Secessionsausstellung 1900
Brüssel, 1898
Ausführung: unbekannt
Eschenholz: massiv; Messing
H 2039/1954, Widmung zum Andenken an den Präsidenten des Vereines der Museumsfreunde
dedication in memory of the president of the Association of Friends of the Museum, Dr. Felix Freiherr von Oppenheimer
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.
The camp was established in 1936. It was located north of Berlin, which gave it a primary position among the German concentration camps: the administrative centre of all concentration camps was located in Oranienburg, and Sachsenhausen became a training centre for Schutzstaffel (SS) officers (who would often be sent to oversee other camps afterwards). Executions took place at Sachsenhausen, especially those that were Soviet Prisoners of War. Some Jews were executed at Sachsenhausen and many died there, the Jewish inmates of the camp were relocated to Auschwitz in 1942. Sachsenhausen was not intended as an extermination camp — instead, the systematic mass murder of Jews was conducted in camps to the east. However, many died as a result of executions, casual brutality and the poor living conditions and treatment.
Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. The camp perimeter is, approximately, an equilateral triangle with a semi circular roll call area centred on the main entrance gate in the side running northeast to southwest. Barrack huts lay beyond the roll call area, radiating from the gate. The layout was intended to allow the machine gun post in the entrance gate to dominate the camp but in practice it was necessary to add additional watchtowers to the perimeter.
The standard barrack layout was two accommodation areas linked by common storage, washing and storage areas. Heating was minimal. Each day, time to get up, wash, use the toilet and eat was very limited in the crowded facilities.
There was an infirmary inside the southern angle of the perimeter and a camp prison within the eastern angle. There was also a camp kitchen and a camp laundry. The camp's capacity became inadequate and the camp was extended in 1938 by a new rectangular area (the "small camp") north east of the entrance gate and the perimeter wall was altered to enclose it. There was an additional area (sonder lager) outside the main camp perimeter to the north; this was built in 1941 for special prisoners that the regime wished to isolate.
An industrial area, outside the western camp perimeter, contained SS workshops in which prisoners were forced to work; those unable to work had to stand to attention for the duration of the working day. Heinkel, the aircraft manufacturer, was a major user of Sachsenhausen labour, using between 6000 and 8000 prisoners on their He 177 bomber. Although official German reports claimed "The prisoners are working without fault", some of these aircraft crashed unexpectedly around Stalingrad and it's suspected that prisoners had sabotaged them. [1] Other firms included AEG.
Plaque to honour over 100 Dutch resistance fighters executed at Sachsenhausen.Later, part of the industrial area was used for "Station Z", where executions took place and a new crematorium was built, when the first camp crematorium could no longer cope with the number of corpses. The executions were done in a trench, either by shooting or by hanging. Amongst those executed were the commandos from Operation Musketoon and the Grand Prix motor racing champion, William Grover-Williams, also John Godwin RNVR, a British Naval Sub-Lieutenant who managed to shoot dead the commander of his execution party, for which he was mentioned in despatches posthumously. Over 100 Dutch resistance fighters were executed at Sachsenhausen.
The camp was secure and there were few successful escapes. The perimeter consisted of a three metre high wall on the outside. Within that there was a path used by guards and dogs; it was bordered on the inside by a lethal electric fence; inside that was a "death strip" forbidden to the prisoners. Any prisoner venturing onto the "death strip" would be shot by the guards without warning.
Arbeit Macht Frei gateOn the front entrance gates to Sachsenhausen is the infamous slogan Arbeit Macht Frei (German: "Work Makes [You] Free"). About 200,000 people passed through Sachsenhausen between 1936 and 1945. Some 100,000 inmates died there from exhaustion, disease, malnutrition or pneumonia from the freezing winter cold. Many were executed or died as the result of brutal medical experimentation. According to an article published on December 13, 2001 in The New York Times, "In the early years of the war the SS practiced methods of mass killing there that were later used in the Nazi death camps. Of the roughly 30,000 wartime victims at Sachsenhausen, most were Russian prisoners of war, among them Joseph Stalin's eldest son (Yakov Dzhugashvili).[2]
The wife and children of Rupprecht, Crown Prince of Bavaria, members of the Wittelsbach family, were held in the camp from October 1944 to April 1945, before being transferred to the Dachau concentration camp. Reverend Martin Niemöller, a critic of the Nazis and author of the poem First they came..., was also a prisoner at the camp. Herschel Grynszpan, whose act of assassination was used by Joseph Goebbels to initiate the Kristallnacht pogrom, was moved in and out of Sachshausen since his capture on the 18th July 1940 and until September 1940 when he was moved to Magdeburg.[3] Ukrainian nationalist leader Stepan Bandera was imprisoned there until October 1944, and two of his brothers died there.
On September 15 1939, August Dickman, a German Jehovah's Witness, was publicly shot as a result of his conscientious objection to joining the armed forces. The SS had expected his death to persuade fellow Witnesses to abandon their own refusals and to show rspect for camp rules and authorities. It failed; the others enthusiastically refused to back down and begged to be martyred also. [4]
Sachsenhausen was the site of the largest counterfeiting operation ever. The Nazis forced Jewish artisans to produce forged American and British currency, as part of a plan to undermine the British and United States' economies, courtesy of Sicherheitsdienst (SD) chief Reinhard Heydrich. Over one billion pounds in counterfeited banknotes was recovered. The Germans introduced fake British £5, £10, £20 and £50 notes into circulation in 1943: the Bank of England never found them. Today, these notes are considered very valuable by collectors.
Many women were among the inmates of Sachsenhausen and its subcamps. According to SS files, more than 2,000 women lived in Sachsenhausen, guarded by female SS staff (Aufseherin). Camp records show that there was one male SS soldier for every ten inmates and for every ten male SS there was a woman SS. Several subcamps for women were established in Berlin, including in Neukolln.
Camp punishments could be harsh. Some would be required to assume the "Sachsenhausen salute" where a prisoner would squat with his arms outstretched in front. There was a marching strip around the perimeter of the roll call ground, where prisoners had to march over a variety of surfaces, to test military footwear; between 25 and 40 kilometres were covered each day. Prisoners assigned to the camp prison would be kept in isolation on poor rations and some would be suspended from posts by their wrists tied behind their backs (strappado). In cases such as attempted escape, there would a public hanging in front of the assembled prisoners.
With the advance of the Red Army in the spring of 1945, Sachsenhausen was prepared for evacuation. On April 20–21, the camp's SS staff ordered 33,000 inmates on a forced march westward. Most of the prisoners were physically exhausted and thousands did not survive this death march; those who collapsed en route were shot by the SS. On April 22, 1945, the camp's remaining 3,000 inmates, including 1,400 women were liberated by the Red Army and Polish 2nd Infantry Division of Ludowe Wojsko Polskie.
It's estimated that 200,000 people passed thrugh Sachsenhausen concentration camp and that 100,000 died.
Koloman Moser (1868-1918)
Buffet Cabinet ("The Rich Haul"), presented at the XIVth Secession Exhibition, 1900
Vienna, 1900
Execution: Portois & Fix
Maple, veneered, stained dark-brown, polished, marquetery of various types of wood; glass; brass
Koloman Moser (1868-1918)
Büffetschrank "Der reiche Fischzug", präsentiert auf der XIV. Secessionsausstellung 1900
Wien, 1900
Ausführung: Portois & Fix
Ahornholz, furniert, dunkelbraun gebeizt, politiert; Marketerie aus verschiedenen Hölzern; Glas, Messing
H 1700/1901, Schkung k. k. Österreichischen Ministerium für Kultus und Unterricht
Donation Imperial Royal Austrian Ministry of Education and Culture
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.
Plaque at the site of the gallows at Tower Hill used for the public executions of high-profile traitors and criminals.
en.wikipedia.org/wiki/Tower_Hill
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The camp was established in 1936. It was located north of Berlin, which gave it a primary position among the German concentration camps: the administrative centre of all concentration camps was located in Oranienburg, and Sachsenhausen became a training centre for Schutzstaffel (SS) officers (who would often be sent to oversee other camps afterwards). Executions took place at Sachsenhausen, especially those that were Soviet Prisoners of War. Some Jews were executed at Sachsenhausen and many died there, the Jewish inmates of the camp were relocated to Auschwitz in 1942. Sachsenhausen was not intended as an extermination camp — instead, the systematic mass murder of Jews was conducted in camps to the east. However, many died as a result of executions, casual brutality and the poor living conditions and treatment.
Sachsenhausen was intended to set a standard for other concentration camps, both in its design and the treatment of prisoners. The camp perimeter is, approximately, an equilateral triangle with a semi circular roll call area centred on the main entrance gate in the side running northeast to southwest. Barrack huts lay beyond the roll call area, radiating from the gate. The layout was intended to allow the machine gun post in the entrance gate to dominate the camp but in practice it was necessary to add additional watchtowers to the perimeter.
The standard barrack layout was two accommodation areas linked by common storage, washing and storage areas. Heating was minimal. Each day, time to get up, wash, use the toilet and eat was very limited in the crowded facilities.
There was an infirmary inside the southern angle of the perimeter and a camp prison within the eastern angle. There was also a camp kitchen and a camp laundry. The camp's capacity became inadequate and the camp was extended in 1938 by a new rectangular area (the "small camp") north east of the entrance gate and the perimeter wall was altered to enclose it. There was an additional area (sonder lager) outside the main camp perimeter to the north; this was built in 1941 for special prisoners that the regime wished to isolate.
An industrial area, outside the western camp perimeter, contained SS workshops in which prisoners were forced to work; those unable to work had to stand to attention for the duration of the working day. Heinkel, the aircraft manufacturer, was a major user of Sachsenhausen labour, using between 6000 and 8000 prisoners on their He 177 bomber. Although official German reports claimed "The prisoners are working without fault", some of these aircraft crashed unexpectedly around Stalingrad and it's suspected that prisoners had sabotaged them. [1] Other firms included AEG.
Plaque to honour over 100 Dutch resistance fighters executed at Sachsenhausen.Later, part of the industrial area was used for "Station Z", where executions took place and a new crematorium was built, when the first camp crematorium could no longer cope with the number of corpses. The executions were done in a trench, either by shooting or by hanging. Amongst those executed were the commandos from Operation Musketoon and the Grand Prix motor racing champion, William Grover-Williams, also John Godwin RNVR, a British Naval Sub-Lieutenant who managed to shoot dead the commander of his execution party, for which he was mentioned in despatches posthumously. Over 100 Dutch resistance fighters were executed at Sachsenhausen.
The camp was secure and there were few successful escapes. The perimeter consisted of a three metre high wall on the outside. Within that there was a path used by guards and dogs; it was bordered on the inside by a lethal electric fence; inside that was a "death strip" forbidden to the prisoners. Any prisoner venturing onto the "death strip" would be shot by the guards without warning.
Arbeit Macht Frei gateOn the front entrance gates to Sachsenhausen is the infamous slogan Arbeit Macht Frei (German: "Work Makes [You] Free"). About 200,000 people passed through Sachsenhausen between 1936 and 1945. Some 100,000 inmates died there from exhaustion, disease, malnutrition or pneumonia from the freezing winter cold. Many were executed or died as the result of brutal medical experimentation. According to an article published on December 13, 2001 in The New York Times, "In the early years of the war the SS practiced methods of mass killing there that were later used in the Nazi death camps. Of the roughly 30,000 wartime victims at Sachsenhausen, most were Russian prisoners of war, among them Joseph Stalin's eldest son (Yakov Dzhugashvili).[2]
The wife and children of Rupprecht, Crown Prince of Bavaria, members of the Wittelsbach family, were held in the camp from October 1944 to April 1945, before being transferred to the Dachau concentration camp. Reverend Martin Niemöller, a critic of the Nazis and author of the poem First they came..., was also a prisoner at the camp. Herschel Grynszpan, whose act of assassination was used by Joseph Goebbels to initiate the Kristallnacht pogrom, was moved in and out of Sachshausen since his capture on the 18th July 1940 and until September 1940 when he was moved to Magdeburg.[3] Ukrainian nationalist leader Stepan Bandera was imprisoned there until October 1944, and two of his brothers died there.
On September 15 1939, August Dickman, a German Jehovah's Witness, was publicly shot as a result of his conscientious objection to joining the armed forces. The SS had expected his death to persuade fellow Witnesses to abandon their own refusals and to show rspect for camp rules and authorities. It failed; the others enthusiastically refused to back down and begged to be martyred also. [4]
Sachsenhausen was the site of the largest counterfeiting operation ever. The Nazis forced Jewish artisans to produce forged American and British currency, as part of a plan to undermine the British and United States' economies, courtesy of Sicherheitsdienst (SD) chief Reinhard Heydrich. Over one billion pounds in counterfeited banknotes was recovered. The Germans introduced fake British £5, £10, £20 and £50 notes into circulation in 1943: the Bank of England never found them. Today, these notes are considered very valuable by collectors.
Many women were among the inmates of Sachsenhausen and its subcamps. According to SS files, more than 2,000 women lived in Sachsenhausen, guarded by female SS staff (Aufseherin). Camp records show that there was one male SS soldier for every ten inmates and for every ten male SS there was a woman SS. Several subcamps for women were established in Berlin, including in Neukolln.
Camp punishments could be harsh. Some would be required to assume the "Sachsenhausen salute" where a prisoner would squat with his arms outstretched in front. There was a marching strip around the perimeter of the roll call ground, where prisoners had to march over a variety of surfaces, to test military footwear; between 25 and 40 kilometres were covered each day. Prisoners assigned to the camp prison would be kept in isolation on poor rations and some would be suspended from posts by their wrists tied behind their backs (strappado). In cases such as attempted escape, there would a public hanging in front of the assembled prisoners.
With the advance of the Red Army in the spring of 1945, Sachsenhausen was prepared for evacuation. On April 20–21, the camp's SS staff ordered 33,000 inmates on a forced march westward. Most of the prisoners were physically exhausted and thousands did not survive this death march; those who collapsed en route were shot by the SS. On April 22, 1945, the camp's remaining 3,000 inmates, including 1,400 women were liberated by the Red Army and Polish 2nd Infantry Division of Ludowe Wojsko Polskie.
It's estimated that 200,000 people passed thrugh Sachsenhausen concentration camp and that 100,000 died.
hello every one , my new photo ( Execution ) i edit this photo with : adobe light room + adobe photo shop , i hope u like it .
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Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
------------------------------------------------------------------------------------------
WEBSITE: denofimagination.com/
YOUTUBE: www.youtube.com/user/denofimagination
SHOP: shop.denofimagination.com/
TWITTER: Twitter.com/doiStudio
FLICKER: www.flickr.com/photos/97996892@N07/
PINTEREST: www.pinterest.com/denstudio/
INSTAGRAM: instagram.com/doiphoto/
Simon was dragged out to the front entrance of the Black Scar Gang's base. Many other gang members stood out there waiting.
History
The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family.[2] Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London.[2] The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King.[2] Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon.[2] Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton.[3] In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr[3] (see gallery drawing). The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.[3]
After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Elizabeth I of England. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.
The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.[4]
The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.
Tor Books
From the dust jacket:
It's after 9/11. After the bombing. After the Iraq War. After 7/7. After the Iran War. After the nukes. After the flu. After the Straits. After Rosyth. It's the day when the world changes all the way down to its fundamental assumptions.
HARVEY MACLEAN: SYRIA; DECAPITATION; ESPIONAGE
JIA LAN HUANG: SHANGHAI; CRANIAL SHOT; EMBEZZLEMENT
PAMELA BAKER: OHIO; ELECTROCUTION; INFANTICIDE
In a world just down the road from our own, online bloggers vie with old-line political operatives and new-style police to determine just where reality lies. And on every cable system, the mysterious Execution Channel broadcasts deaths from around the world, around the clock.
LARISA SOSNITSKAYA: RUSSIAN FEDERATION; CRANIAL SHOT; SERIAL MURDER
AHMED WAZIRIH: SYRIA; REPEATED APPLICATION OF LEGITIMATE FORCE CULMINATING IN CEREBRAL HEMMORHAGE; TERRORISM
ABRAHAM IRWIN: TEXAS; MULTIPLE GUNSHOT; LOOTING
James Travis is a British patriot and a French spy. On the day the Big One hits, Travis and his daughter must strive to make sense of the nuclear bombing of Scotland and the political repercussions of a series of terrorist attacks. With the information war in full swing, the only truth they have is what they're able to see with their own eyes. They know that everything else is - or may be - a lie.
BURT FRANKS: CALIFORNIA; LETHAL INJECTION; MURDER
ORLANDO ALARCON: VENEZULA; FIRING SQUAD; COUNTERREVOLUTION
AXELE CURBELO: VENEZULA; FIRING SQUAD; COUNTERREVOLUTION
For in this near future - our near future - day-to-day life becomes much like real intelligence work today: a world in which everything has meaning, and nothing has meaning, and the meanings change as lies build on lies, until someone who intends to lie is finally telling the truth.
------------------------------------
I've liked a lot of other books by MacLeod, so I am looking forward to this.
----------------------------------
Started: 2008-08-01
Finished: 2008-08-16
A near-future thriller taking place in a slightly alternate history. An explosion that destroys an air base in Scotland is quickly followed by several terrorist attacks against British infrastructure. The attacks drag the Travis family into the intelligence plots of the Western governments as various agencies try to figure out what happened, and to hide the truth.
I really enjoyed the book. It is a fast-paced quick read that kept my interest throughout. The way in which the history differs from our own, and how little difference it actually makes is interesting. Unlike MacLeod's other books, there is not much actual science fiction content for most of the book, although he does stick with his familiar ideas that the Western governments seem to be dooming themselves with their increasing paranoia about security and attempts at control. I did feel that the ending went a little over the top as it suddenly veers off in a direction that was hinted at throughout the book, but which also seems like something out of more of a pulp novel.
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Albert Black wished witnesses a merry Christmas and prosperous new year as he stood on the scaffold on 5 December 1955.
The 20 year old Irish immigrant had stabbed to death an acquaintance Alan Jacques. Jacques had severely beaten Black not long before and witnesses would say Black was frightened of him.
Jacques was selecting a song for the jukebox in 'Ye Old Barn Café' in Queens St in Auckland when Black stabbed him in the neck. In a climate of moral outrage over supposed youth delinquents the “jukebox murder”, as it was widely known, became a touchstone of all that all that was wrong with society. Albert Black, unskilled, poor and recently arrived from Belfast was the example the hard line moralists had been looking for and he was shown no mercy. Pro death penalty Prime Minister Jack Marshall blocked the attempts of Black’s mother Kathleen to travel from Ireland to visit her son before he was executed. She raised a petition of 12,000 signatures begging for clemency for Albert but it achieved nothing.
Black was led to the gallows where it was reported that he “died game” after delivering his message to those attending his execution. The story has gained new momentum with the publication of Fiona Kidman’s 'This Mortal Boy', a novel which draws heavily on her extensive research into the life and crime of Albert Black. Kidman is convinced he should have been convicted of manslaughter not murder and is campaigning for his sentence to be downgraded.
While this will be too late for Black it will be of comfort to his surviving family, including a daughter who was born several months after his death.
Shown here is the statement of Mount Eden Prison Superintendent Horace Haywood one of the witnesses to Albert Black’s execution.
Archives Reference: J46 1454 COR1955/1253
collections.archives.govt.nz/web/arena/search#/?q=R23847484
More information can be found here:
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objecti...
For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ
Material supplied by Archives New Zealand.
An image dating to the mid nineteenth century entitled 'Anne Boleyn's last farewell of her ladies'. Part of my collection of nineteenth century depictions of Anne Boleyn.
Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.
The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.
The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.
Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961.
One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.
The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.
Once more, the engine was based on that of a Cadillac.
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.
This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.
Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the , and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.
Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).
Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.
The model shown here is the common Four-Door Hardtop model. The rear doors, open with pantograph hinges, providing a much larger and clearer exit path from the rear seat. Four-door hardtops had been popular in the late 1950s, and were still an optional body configuration on many large US automobiles.
This Lego miniland-scale Ralston Tigre MkIII B Four-Door Hardtop (1964) has been created for Flickr LUGNuts' 120th Build Challenge - "Happy 10th Anniversary, LUGNuts", where all the previous challenges are available for build themes. In this case, the 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
[Cadillac V12 engine information taken from 'thetruthaboutcars.com']
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
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.
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
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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
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
Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.
The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.
The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.
Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961.
One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.
The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.
Once more, the engine was based on that of a Cadillac.
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.
This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.
Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the , and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.
Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).
Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.
The model shown here is the rare 'GlassRoof' Hardtop model. This features the outer bows from the standard hardtop, augmented by a third, central bow, tied to the front header bow, and two transverse bows to the side bows. The rear window remained glass, though to a different design to the regular hardtop, while the four glass panels in the roof were actually poly-carbonate (a type of very hard plastic), to improve roof durabaility. The panels were also heavily tinted to reduce heat build up in the cabin.
This metallic earth-orange 'GlassRoof' was one of 18 models built, and the 3rd V12 engined model.
This Lego miniland-scale Ralston Tigre MkIII B GlassRoof Hardtop (1964) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
[Cadillac V12 engine information taken from 'thetruthaboutcars.com']
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
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
Do not reproduce, alter, re-transmit or blog my images without my written permission. I remain at all times the copyright owner of this image.
Hi-Res, un-watermarked versions of these files are available on application solely at my discretion
If you want to license an image, please Email me directly.
Standard industry rates apply.
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
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
Do not reproduce, alter, re-transmit or blog my images without my written permission. I remain at all times the copyright owner of this image.
Hi-Res, un-watermarked versions of these files are available on application solely at my discretion
If you want to license an image, please Email me directly.
Standard industry rates apply.
Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.
The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.
The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.
Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961. For the MkIII-C of 1967 the V8 engine was enlarged to 429 CID (7.0 litre) with the new OHV Cadillac engine, but power remained the same as the 1961-67 models, while torque rose to 480 lb.ft (650 Nm).
One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.
The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.
Once more, the engine was based on that of a Cadillac.
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.
This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.
Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the E I G H T, and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.
Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).
Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.
In 1967, the Tigre MkIII-C underwent further revisions. There were new front fenders, eliminating the large, round double stacked headlamps, replacing them with small corner bumperettes and small double-stacked corner lamps. the headlamps were now hidden behind louvres in the new grille. There was now a single 'X' form at the front of the grille, centrally mounted. At the rear, the existing rocket pod tail lamps were retained. The 1967 MkIII-C reverted to the MkIII 1961-64 trunklid and bumper, but with the central '+' rocket feature supplanted by the licence plate. For all SWB body styles. there were new tapered fender tops (barely fins), recalling the Tigre MkII C & D. Long wheelbase 4-door cars retained the MkIII-B rear fenders as they suited the overall vehicle lines better.
Minor changes to the side of the vehicle included deeper opening doors, and a more open front wheelarch taper. A chrome trim feature led from the front fender vent to the rear rocket pod.
The model shown here is the commonly ordered Hardtop Coupe - a very sharp looking car, despite the origins dating back eight years to 1959 for the basic architecture. The model is one of the 7.0 litre V8s, despite there being little differentiation externally to vehicles fitted with the V12.
A very similar car was used as the prototype vehicle fitted with early versions of the extremely rare V16. These cars were development mules for the proposed Ralston Centaur - to be termed , though ultimately no completed customer cars were ordered, the 21 prototype engines fitted to various Tigre MkIII vehicles were either completed as un-homologated show cars for use by the Ralston family on their various estates, later restored from their mule conditions to rare collector cars, or unfortunately, destroyed. It has been long rumoured that the 13 crushed cars all had their engines removed, so potentially there is a small pool of functioning 10 litre V16s waiting for re-fitment to Ralston chassis.
This Lego miniland-scale Ralston Tigre MkIII C Hardtop Coupe (1967) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
[Cadillac V12 engine information taken from 'thetruthaboutcars.com']
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...