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PENTAX K-1 • FF Mode • 200 ISO • Pentax FA 35mm F2 AL
Smoked & Cooked Ham • French Fries • Salad
Jambon Fumé et Cuit • Frites • Salade
NEM IMPOSSIBLE HUMANS - THE UNEXPECTED HAPPENING EXHIBITION
CALL FOR ENTRIES:
A visionary performance of contemporary art, music and new visual arts, where the Pollock Project’s jazz meets the visions of the mobile artists all around the world.
FOCUS
At the heart of the show is the common man in its uniqueness and originality.
WHERE: AUDITORIUM PARCO DELLA MUSICA - ROME
WHEN: March 12 2016
THE EVENT
The Impossible Humans Unexpected Happening event is formed by 3 different sub-events and locations: Exhibition/Shooting/Concert
This event is organized by the New Era Museum and it’s open to all the mobile artist
SUBMIT YOUR IPHONEOGRAPHY WORKS
THEME: PORTRAITS
FORMAT: 1:1 SQUARED
SUBMISSION END: JAN 21
EXHIBITION: MARCH 12th ROME
El Museo Lázaro Galdiano, en Madrid (España), es un museo estatal de origen privado, que alberga una amplia y heterogénea colección, formada con interés enciclopédico hacia todas las artes y técnicas. Este excepcional conjunto, constituido por más de 12 600 piezas, fue reunido por el coleccionista y editor José Lázaro Galdiano, quien al morir en 1947 lo legó al Estado español junto con su residencia madrileña, la sede de su editorial La España Moderna y una biblioteca de 20 000 volúmenes.
Tras crearse la Fundación Lázaro Galdiano y adaptarse como museo la antigua residencia del donante (Parque Florido, en el barrio de Salamanca de Madrid), la colección se presentó al público el 27 de enero de 1951. Desde entonces su prestigio entre los entendidos se ha extendido ampliamente, y sus fondos se consideran indispensables para estudiar muchos aspectos de la historia del arte, por lo que participan en exposiciones tanto españolas como internacionales.
Entre sus obras de arte más valiosas destaca el conjunto de pinturas, dibujos y grabados de Goya, con piezas mundialmente conocidas como El aquelarre o Las brujas, encargadas por los duques de Osuna (1797-1798). También hay que citar ejemplos relevantes de El Bosco, Lucas Cranach el Viejo, El Greco, Murillo, Zurbarán, Claudio Coello, Luis Paret o Federico de Madrazo, así como una miniatura en pergamino de Giulio Clovio y dos bronces de Giambologna. Pero posiblemente la obra más singular del museo es la pintura sobre tabla El Salvador joven, realizada en el taller de Leonardo da Vinci a partir de un diseño perdido del maestro.
Posee además un pequeño conjunto de pintura británica, una escuela muy poco frecuente en España; de hecho el Museo Lázaro Galdiano y el Prado eran (hasta la apertura del Museo Thyssen-Bornemisza) los dos únicos museos españoles con una colección significativa. Incluye ejemplos de Lely (el único del siglo XVII, los demás son del XVIII), Constable, Reynolds y Romney, a los que se suma un retrato del estadounidense Gilbert Stuart.
El museo fue reformado íntegramente entre los años 2001 y 2004 para poder conservar adecuadamente sus fondos y hacer la visita más cómoda y centrada en las piezas de máxima calidad. Hay abiertas al público cuatro plantas, enteramente remozadas respetando los techos y carpinterías originales.
Colecciones
Pintura
El Salvador joven, cuadro del círculo de Leonardo da Vinci, atribuido actualmente a Giovanni Antonio Boltraffio o Marco d'Oggiono.
Especialmente valiosa es la colección de pintura, que incluye piezas relevantes de grandes maestros españoles y europeos entre los siglos XV y XIX. Un metódico estudio de la colección ha ido cribando las atribuciones más dudosas, lo que supuso descartar varias llamativas, como la de un Salvador joven que en vida de Lázaro Galdiano se asignaba a Leonardo da Vinci. Aunque no sea original suyo, es muy relevante y ahora algunos expertos lo atribuyen a un pintor próximo a él, como Boltraffio (atribución que figura en la cartela explicativa de la obra en el Museo) o Marco d'Oggiono, a quien se adjudicaba en la exposición «Leonardo da Vinci: pintor en la corte de Milán» para la que en otoño de 2011 fue prestada a la National Gallery de Londres. También se han barajado los nombres de Pseudo Boltraffio (pintor activo en Milán a principios del siglo XVI) y Ambrogio de Predis. Es la mejor obra leonardesca conservada en España y su alta calidad hace que sea muy demandada para exposiciones en otras instituciones, como la mencionada en la National Gallery o la que en tres sedes (Mantua, Padua y Verona), se celebró en Italia sobre Andrea Mantegna y su época (Palacio del Té, Mantua, noviembre de 2006 a enero de 2007).
La pintura medieval española cuenta con un nutrido repertorio, con varias obras de referencia. Un Autorretrato de Pedro Berruguete sigue recibiendo opiniones divergentes de los críticos respecto a su autoría. Lo superan varias tablas que Lázaro reunió a bajo precio cuando eran despreciadas como «arte bárbaro». Fue una faceta coleccionista que le acarreó críticas, trocadas en elogios décadas después, cuando el arte medieval español fue cobrando estimación. Algún experto afirmó entonces que en esta parcela del arte, la Colección Lázaro Galdiano aventajaba al Prado. En la actualidad exhibe obras de artistas tan renombrados como Miguel Ximénez, Diego de la Cruz, García del Barco, Juan de Soreda, Bartolomé de Castro, Maestro de Astorga, un tríptico firmado por Juan de Sevilla o la famosa Virgen de Mosén Esperandeu de Santa Fe de Blasco de Grañén, único ejemplo del autor conservado en un museo madrileño.
Pinturas importantes de la escuela española del siglo XVI son un Retrato de doña Ana de Austria de Sánchez Coello, y dos obras de El Greco: una Adoración de los Reyes Magos de su etapa veneciana y un San Francisco en éxtasis de su primera etapa toledana. Puede verse además un Noli me tangere pintado por su hijo Jorge Manuel Theotocópuli. También entraña interés una Sagrada Familia de marcado gusto italianizante, debida a Gregorio Martínez (activo en 1565-1598).
Se atribuye a Velázquez una pequeña Cabeza de muchacha de perfil, y el museo dispone además de una buena copia del famoso Retrato de Luis de Góngora cuyo original se conserva en el museo de Boston.
La pintura española del siglo XVII cuenta con más ejemplos: La condesa de Monterrey de Juan Carreño de Miranda, un magnífico San Diego de Alcalá de Zurbarán, Santa Rosa de Lima de Murillo, y ejemplos de Claudio Coello, Mateo Cerezo, Juan Martín Cabezalero, Alonso del Arco, Francisco de Solís, Antonio de Pereda, José Antolínez, Francisco Rizi...
De los siglos XVIII y XIX, destacan: la famosa Tienda de Geniani de Paret, y autores como Miguel Jacinto Meléndez, Joaquín Inza, Ramón Bayeu (Autorretrato), Mariano Salvador Maella, José del Castillo, Agustín Esteve, Zacarías González Velázquez, Luis Eusebi (dos aguadas de tema alegórico), Alenza, Eugenio Lucas Velázquez, su hijo Eugenio Lucas Villaamil, Vicente López, Antonio María Esquivel (Autorretrato), Juan Antonio Ribera (Retrato del escultor Antonio Solá), Ricardo Balaca, Valeriano Domínguez Bécquer, Francisco Lameyer, Emilio Sala y Francés, y los Madrazo: José (El Papa Pío VII),[4] sus hijos Federico (Retrato de Gertrudis Gómez de Avellaneda, Retrato de señora) y Luis (La marquesita de Roncali), y Ricardo, hijo de Federico (Retrato de Consuelo Gaztambide Aguader).
El grupo de obras de Goya bastaría por sí solo para abrir un pequeño museo monográfico. Entre las siete pinturas reconocidas como autógrafas destacan: Las brujas y El aquelarre de 1798, un Entierro de Cristo pintado para el oratorio privado de los Condes de Sobradiel en Zaragoza y una Magdalena penitente de su etapa juvenil. También posee el pequeño lienzo La trilla, modelo reducido para el famoso cartón de tapiz La era (Museo del Prado), así como grabados de todas las series del autor —con numerosas pruebas de estado—, además de dibujos o cartas autógrafas.
De las escuelas extranjeras destaca la Flamenca y de los Países Bajos, con cuatro tablas de Adriaen Isenbrandt, una interesante Virgen con el niño de Gérard David, antaño creída del denominado Maestro del Follaje Dorado, así como una de las pocas pinturas atribuidas a Michel Sittow (La Virgen con el Niño y san Bernardo) y diversas obras de Hans Memling y Quentin Massys. Hay también retratos de Antonio Moro (El rey Juan III de Portugal), así como los creídos de Joos Van Cleve y Bernard Van Orley. Dentro de la época barroca se pueden destacar El archiduque Leopoldo Guillermo en su gabinete de pinturas de David Teniers el Joven, una tabla sobre El jardín del Edén de Jan Brueghel el Joven, una gran Virgen con el Niño de Erasmus Quellinus II y un bodegón de Pieter Boel. En 2018 se ha presentado la nueva atribución a Michaelina Wautier de un San Juan Bautista antes creído de Juan Martín Cabezalero; de ser cierta tal autoría, ha de ser el único ejemplo conocido de Wautier en España. Un Retrato de Saskia atribuido antaño a Rembrandt se descartó como copia, aunque el museo guarda un valioso conjunto de cincuenta grabados del artista (expuestos temporalmente en 2018),[5] un San Jerónimo caravaggiesco de Hendrick van Somer y tres efigies femeninas de la Holanda barroca pintadas por Nicolaes Maes, Justus van Egmont y Ludolf de Jongh.
Mención aparte merece El Bosco, con tres ejemplos: un San Juan Bautista en meditación reconocido unánimemente como original del maestro, que figuró como tal en la exposición antológica que el Prado le dedicó en 2016; una gran Coronación de espinas (h. 1516), considerada obra de un seguidor, previa a las versiones más conocidas de El Escorial y del Museo San Pío V de Valencia; y La visión de Tondal, considerada obra de taller.
La pintura italiana incluye una Sagrada Familia de Giulio Clovio (miniatura realizada con destino al rey Carlos I de España), Cabeza de san Juan Bautista de Marco Palmezzano, un monumental Bautismo de Cristo atribuido a Orazio Samacchini, una Estigmatización de San Francisco de Asís de Jacopo da Empoli, dos lienzos de Giuseppe Marullo y Pacecco de Rosa, y el espléndido San Lorenzo de Bernardo Cavallino, obra maestra del autor napolitano (para la colección de pintura barroca italiana, puede consultarse Anexo:Pintura italiana del Barroco en las colecciones públicas madrileñas). Hay también maestros del siglo XVIII como Alessandro Magnasco, Gregorio de Ferrari, y Lorenzo Tiepolo, del cual hay una gran representación de retratos masculinos y femeninos.
Relativamente numerosa es la representación de la pintura británica, muy escasa en España, con obras de Lely, Reynolds, Constable, Romney, etc. Su presencia en la colección se debe al gusto personal de la esposa de Lázaro Galdiano, la argentina Paula Florido y Toledo (1856-1932). La mayoría de estas obras se adquirieron en la primera década del siglo XX en la Galerie Sedelmeyer de París. Hay que citar también la tabla El niño Jesús y san Juanito de Lucas Cranach el Viejo y un Calvario atribuido a su hijo, Lucas Cranach el Joven, así como un Retrato de hombre de Ulrich Apt antiguamente atribuido a Hans von Kulmbach, una efigie de Carlos III pintada por Mengs y una escena alegórica atribuida al francés Charles-François de la Traverse.
Destaca también la rica colección de iluminaciones o miniaturas pintadas, que rivaliza con la del Prado; entre ellas se incluye la ya citada de Clovio y de Giovanni Castello y Juan de Salazar. También hay que mencionar un retrato de George Washington, basado en un famoso retrato de Gilbert Stuart, y otra efigie del I duque de Fernán-Núñez pintada por Jean-Baptiste Isabey.
Escultura y artes decorativas El fondo de esculturas es más reducido, si bien cuenta con piezas singulares como un Cristo atado a la columna del italiano Michelangelo Naccherino, estatua de cuerpo entero esculpida en mármol a tamaño natural. Se cree que pudo formar pareja con una Virgen con el Niño que actualmente preside la fachada de la iglesia de Jesús Nazareno en Cudillero. Hay que citar un busto romano de Lucio Vero del siglo II, dos Santos evangelistas fundidos por Giambologna, la llamada Madonna Cernazai, de Niccolò di Giovanni Fiorentino, que perteneció al magnate William Randolph Hearst, y esculturas en terracota de Juan de Juni (Cristo flagelado), Venancio Vallmitjana (una estatuilla de Velázquez de cuerpo entero) o del francés Carpeaux.
Los esmaltes constituyen uno de los grandes atractivos del museo. La colección cuenta con ejemplares muy valiosos y raros, desde piezas de Limoges de los siglos XIII y XVI a obras neobizantinas sobre oro del siglo XIX. Destacada es también la colección de marfiles, en la que descuellan varios cofres árabes y bizantinos, una caja para café dinastía timúrida del siglo XIV, otra gótica francesa del XIV, además de dípticos de la escuela de París y de altares medievales italianos.
Las joyas cuentan con una representación múltiple de obras helenísticas y romanas, árabes, góticas, renacentistas, barrocas y románticas. Muy importante por la diversidad de tipos es el conjunto de bronces de la Antigüedad, de la Edad Media y, en gran abundancia, italianos del Renacimiento. Igualmente son numerosas y selectas las muestras de orfebrería religiosa de todos los estilos. El fondo de medallas incluye ejemplos de Pisanello, Pompeo Leoni, Jacome da Trezzo y otros maestros del género. Se exhibe en la planta alta del museo, habilitada como almacén visitable.
Existen también valiosas piezas de cerámica, italianas y españolas de distintas épocas, así como ánforas griegas y porcelana oriental. Destacan también los tejidos antiguos, italianos y árabes, y la colección de armas con un riquísimo muestrario de espadas, presidido por el estoque que el papa Inocencio VIII regaló a Íñigo López de Mendoza y Quiñones, segundo conde de Tendilla. También se exhiben abanicos y joyas que lució la esposa de Lázaro Galdiano. Todo ello forma uno de los más importantes despliegues de artes suntuarias que se pueden contemplar en España.
En la antigua sede de la editorial La España Moderna, anexa al museo, se custodian la biblioteca y el archivo de José Lázaro Galdiano, con incunables y manuscritos de incalculable valor. Destaca el manuscrito original de Los verdaderos retratos... con efigies dibujadas por Francisco Pacheco.
El solar está dotado de exuberantes jardines, con árboles centenarios, que conforman un rincón inusual por su tranquilidad en un área tan transitada como el barrio de Salamanca.
My personal stay-at-home abstract photography project for today.
Some cheesecloth was used because it is broadly woven and it is easy to see the threads. Some slightly warm toning was added, and there is a little "glow" as well.
Copyright Stan farrow FRPS
Une forme de tulipe et une couleur des plus classique mais toujours tellement agréable à contempler sur les quais de Montreux
Existing outcrops of rock have been modified into similar form all within a 60km radius. These sites are currently under the category of medieval fruit press or sacrificial stone.
Left: Grandmont "pressoir" near Lodeve.
Centre: "Pierre de Sacrifice" du Causse de Lunas.
Right: Haut-Languedoc "medieval village of monoliths".
I propose to remove elements in inverted commas and group the three sites into a commonality. With granite deposits nearby and the skills to surface menhirs; and with all of the sites being in areas known for megalithic activity - or even with high adjacent megalithic activity - I am going to look at these sites from the chronological optic either side of the first age of metal, so either side of the copper age or Chalcolithic - late Neolithic to early bronze age.
If there is too much flat surface for a fruit-press, and not enough local fruit, and if the opposite edges are not aligned or showing the correct wear marks of a fruit press's weight, and if sacrificial stones might struggle to provide so much local wear and edge detail (grooves, curve wear, cups and short ledges all appearing 'episodic' rather being from repeat ritualised behaviours), the question should be asked: what was the reason behind taking the time to carve so large a surface?
Water for drinking, water for cooking and water for making.
Cisterns tend to be much deeper and in summer months, when water is most required on these mid to upper altitude sites, just such a depth would evaporate at speed. The storms of summer months could be collected in just such a structure, and distributed via the lips into large pots for reserves of fresh water - as seen in the prehistoric village of Cambous for example (a site from a similar time scale and not so far away). But, a well run croft should have leather sheeting or abutting huts with loze and gutter management for water collection - again as alluded to in Cambous, so the question remains, why make a water capture surface in stone when sheets and ground holes and managed roofs can all be repeated and replicated in a third of the time? Carving into hard sandstone (probably close to a millstone grit) is a labour intensive prospect and water collection alone does not explain the 'episodic' edge variations.
Maybe there is a detail missing. Each of the three above sites has at least one output lip, and blocking these outputs would either allow water to collect or water to be added to form a shallow pool. In summer months the stone would expose in the sun and quickly heat the water to an agreeable temperature. Removing encircling trees would allow for a simple test of experimental archaeology. Warm water in winter is simply a matter of adding river stones to a fire and then transferring them into the waiting water. If the water gets dirty then the plug can be removed and the procedure started once more.
A shallow pool of warm water is attractive to mothers and babies, children and even adults, and the ludique side of being clean or bathing aching legs does not need to be explained. Late prehistoric sweat rooms and saunas are suspected in sites from Ireland to Spain. Getting up onto the flat top surface 'basin' would need a simple construction of wooden platform and step, and assuring that this does not 'sheer' and fall may be attained by carving mortise trenches into the heavily used "entrance point". These are clearly visible on two examples, with a platform not required on the above left example which is largely close to the ground.
A young toddler may still find the basin's edge too high from the upper wooden platform, and this may explain the diagonal clearly visible on the far side of the centre example.
Now, just such a shallow pool of water can be created aside a river or with an oiled leather 'sheet' wrapped into an indent, so the great effort to carve the stone is still in need of explanation and gravitas.
Riversides have fish and ease all sorts of craft production, and being near to a river is enjoyed by man (apart from, floods, insects, morning frost and less sunlight). Moving uphill to exploit resources of grazing, pigment, shrub and wood has the disadvantage of moving away from the guaranteed flows of water especially if springs are lower down the valley. Providing an upper valley community with a solid point of water may attract a larger crofting population base. Imagine a shallow pool of water and steps and see people positioned around the edge in their regular spaces, shaping their dissect of the monolith's perimeter with their idiosyncratic style and action.
Imagine now that it is not 'playtime', and although there is a baby splashing in the centre, most of the people assembled around the edge are softening sapling and reed bundles in the warm water and are busy weaving baskets, wicker toy animals, roof forms, chicken pens, masks, fish-traps and rug-wacks to keep the village clean of dust. The water is still getting warmer and was only changed late afternoon. Before that, the same "monolithic water-warmer" was being used to soak acorns that had been pounded in a smaller basin - soaked to take out some of their tannin for a future exchange of finest dried acorn flour at the local barter. Now the assembled group has a 'medium' amount of time, as there are men working aside another monolith and others who will put their goats up for the night and will all want to light an oil flame in a couple of the cups that are found around the edge, and have some quality time relaxing for a chat. Other uses of the tough monolithic space pepper their weeks - cleaning, "winnowing" and softening as the seasons come and go, and the people who took the time to convert the stone often say that it was an effort, but worth it in the long run. Now, rather than being at the end of an explanation, this may be the point of a 'dome' when the last stone of explanation is dropped into place...
Of the three sites, there is one detail that is of great interest. The central site has a 'cross bar' carved over the basin space (just visible here but clear in associated posts). It's difficult to see how this can greatly improve the basin (a shallow half basin to warm in winter sun and a specific rinse side?), and rather than being functional, the cross bar may be an example of representation.
The three sites are within a radius of 60km, but 60km of rolling hills, so far from being neighbours - and yet the function and three above examples of model seems so similar and worn into place. Used and used and used. With a solid scattering of neolithic crofts far higher than the three above sites, surely such a good idea for higher crofts away from riverbanks would be taken up elsewhere? Suitable outcrops of sandstone are not available for all crofts, and the stone carving skills of menhir workers were perhaps also a slight speciality, but more to the point, it is perhaps the case that other crofts had the same facility for pools of warm water but simply not in stone, and that the stone versions are representations of structures common at the time, but long faded from the archaeological record. Now the crossbar of the central example may come into light.
The first migrants into the hill will have been met by a landscape of cold humid winters and hot dry summers. Cold winters and big shepherds cloaks (visible in the statue menhirs) and dry summers with flocks often away from overt water. Sleeping under small semi portable leather covered tents of wood frame. In the summer months, the heavy winter cloaks may have been stuffed around the edge of the inner frame of the tent, almost by accident making a rim so that storm rain could be captured into water pots with a smile of happenstance. At this point you can almost hear the conversations: 'I don't mind you using the 'roof pool' for the babies, but I don't want the kids up there as they are too big and will damage the leather as it rubs against the frame" ... And then the same children playing when the father is out with their flock to a point where he decides to make them a stone 'tent' so that nothing can be damaged, with the cross bar being the cross bar of the tent and the lumpy edges being the cloaks stuffed under the leather tarp. "A lot of work, but when you see the smiles and the productivity it was worth it." Other water collection pools and warm water basins may have been apart from tent/huts and lower to the ground and each croft would not bother that someone in the future may need to think through their day to day.
There is an example in recent history that maps a similar visual story of copycat function-style. The very first cars looked like carts without horses as they directly emulated their adjacent world before moving away to perfect new lines apt for the greater subject.
Perhaps second; third, fourth... generation of new rural crofters made this monolithic innovation, which would take the date right back into the neolithic and prior to ideas of Gaul and Celt and in parallel with adjacent menhir and dolmen culture and cups and canals witnessed on the central example.
Rites associated with the site can sit aside the day to day functionality, in the flexible and yet serious way that a school entrance hall can have a jumble sale, an election booth, an art show, an assembly and an informal meeting of parents. One of the rites may include the sacrifice of an animal to a God (although special stones on overlooking hills may have been more adapted). My own feeling is that this 'potential' sub element would give the wrong impression of a years activity, which is why I prefer to call this idea "warm water forms" (a term wide enough to include projected summer hut design and lower tarp models) rather than "Pierre des Sacrifices".
AJM 14.05.20
Queste infiorescenze a forma di piccoli "grappoli" chiamati amenti sono i fiori maschili del salice bianco una specie nella quale si distinguono piante maschili e piante femminili in quanto ogni singolo albero può avere solo fiori maschili o femminili, fiorisce da Marzo ad Aprile.
formed during an under water volcanic eruption 1 km west of Ponta dos Capelinhos September 1957 to October 1958
Project 52 Week 10
“I spent my life folded between the pages of books.
In the absence of human relationships I formed bonds with paper characters. I lived love and loss through stories threaded in history; I experienced adolescence by association. My world is one interwoven web of words, stringing limb to limb, bone to sinew, thoughts and images all together. I am a being comprised of letters, a character created by sentences, a figment of imagination formed through fiction.”
― Tahereh Mafi, Shatter Me
There comes a time when you have to choose between turning the page and closing the book.
–Josh Jameson
PGB Photographer & Creative - © 2023 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
A reefnet buoy line points toward the shore of Lummi Island on a foggy morning. Serenity NOW.
All my photographs are © Copyrighted and All Rights Reserved. None of these photos may be reproduced and/or used in any form of publication, print or the Internet without my written permission.
Mini Orchideen
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Mini Phalaenopsis Hybriden
Phalaenopsis Hybriden Phalaenopsis
Eine kleine Form der Phalaenopsis Hybriden sind die sogenannten Mini Phalaenopsis.
Die Minis sind mit einer Blattgröße von 5-8 cm und einer Blütengröße von 2-3 cm erheblich kleiner als die normalen Phalaenopsis Orchideen und können problemlos in einem 5 cm großen Topf kultiviert werden.
Bei den Mini Phalaenopsis handelt es sich um Kreuzungen zwischen kleinwüchsigen Phalaenopsis Hybriden mit kleinwüchsigen Naturformen.
Das Ziel dieser Züchtung war es eine möglichst kleine Phalanopsis Orchidee zu züchten, die die gute Eignung der Phalaenopsis Hybriden für eine Haltung in unseren Wohnzimmer möglichst übernimmt.
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Die „Little Lady“ wurde in Taiwan gezüchtet
Auf dem Markt sind die Mini Phalaenopsis seit 2005. Gezüchtet wurden sie in Taiwan in der Orchideen Gärtnerei Sogo.
Heute werden über 2 Millionen „Little Lady“ Phalaenopsis von der NEON Gruppe, die aus 6 Orchideen Gärtnereien in Dänemark, Deutschland und der Schweiz besteht, hergestellt.
A multivortex tornado is forming just to the right (north) of the "hole" in the sky at left. The tornado is probably actually already on the ground in this shot.
Shot near Slapout, Oklahoma while documenting Project Vortex 2.
Il sogno è vedere le forme invisibili della distanza imprecisa, con sensibili movimenti della speranza e della volontà cercare
sulla fredda linea d'orizzonte
l'albero, la spiaggia, il fiore, l'uccello, la fonte: i baci meritati della Verità. (Fernando Pessoa)
Corsica : Coast of Balagna seen from the beach of Nonza (Capi Corsu)
Van's US Open 2014 Huntington Beach with pro surfers Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomers Nikki Van Dijk and Tatiana Weston-Web, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracles took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the brigth sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS< but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
My new book. :)
The book quality is as same as my previous book (Paper & Form).
About this book:
Hardcovered and 188 colored pages.
Language: English and Hungarian.
Product dimensions: 21 cm x 30 cm.
27 models with step-by-step computer diagrams. Moreover 17 additional new models you can fold from this book with a little experience. (And there are some other photos from the variations of the models.)
I think most models of them are perfect in two-dimensional version, but of course, they will be better if you shape them to 3D.
All models are made from one uncut square.
You can see the photos of the models, which you could fold from this book here:
www.flickr.com/photos/65167262@N04/albums/72157719905809681
Available here for now:
www.origami-shop.com/en/zsebe-jozsef-m-129.html
You can also inquire from AEP (Asociación Española de Papiroflexia) shop here:
...and I have sent some copies of it to CDO (Centro Diffusione Origami) Shop:
...or you can buy it from the Origami Source:
origamiusa.org/catalog/products/paper-form-2
I wish you enjoyable folding!... :)
The full video is available on YouTube via link.
studio.youtube.com/video/fRXAQvsD5d4/edit/basic
Text revised and up-dated on 27 Dec 2022.
McKinney’s Old (GNRI) Railway Bridge
The Great Northern Railway (Ireland) (GNR(I) or GNRI) was an Irish gauge (1,600mm - 5'- 3") railway company in Ireland. It was formed in 1876 by a merger of the Irish North Western Railway (INW|), Northern Railway of Ireland, and Ulster Railway. The governments of Ireland and Northern Ireland jointly nationalised the company in 1953, however the company was liquidated in 1958.
The Great Northern Railway (GNR) which ran from Omagh to L/Derry crossed the island of Island More (Corkan) via two metal railway bridges. The 'Red Bridge' which is located
to the North of the island at Glenfad near Porthall and is still accessible but predominately used by the farming community and the river bed aggregate extraction company while the bridge onto Island More to the South was demolished by the British Army during the Northern Ireland 'Troubles' as where many small cross-border unapproved) roads.
Known locally as 'McKinney's Bridge' it crosses the River Foyle which forms the border between Northern Ireland and the Republic of Ireland, hence the reason why the bridge was demolished and is now unusable as a crossing point.
Anthony Freire Marreco (b.26th Aug 1915 d.4th June 2006, aged 90)
When growing up, I knew Islandmore or Corkan Island as 'Marreco's Island', named after Anthony Freire Marreco who was a British barrister and who had maintained a georgian
house at Porthall, near Lifford, Co. Donegal, on the banks of the River Foyle overlooking the island.
Anthony Blechynden Freire Marreco was born in Leiston, Suffolk, England on 26th Aug 1915 where his father's regiment was stationed at the time. The only son of Geoffrey Algernon Freire Marreco (b.25 Feb 1882 d.15 Sept 1969) of The Old Court House, St Mawes, Cornwall and his wife, nee Hilda, Gwendoline Beaufoy Francis (b.1 Dec 1887 d.9th June 1967) from Hampshire. Both parents are buried at St. Lucadius Church of Ireland, Clonleigh Parish, Lifford, Co. Donegal, Ireland.
The Freire Marreco’s were of Portuguese origin; Antonio Joaquim Freire Marreco (b.1787 d.1850), Anthony's great-grandfather was an interesting fellow. Born in Penafiel in
Northern Portugal he left for Brazil in 1808, together with King João VI and the Portuguese Court, who fled the invading Napoleonic troops and settled in Rio de Janeiro.
In 1820, the King returned to Portugal and Marreco returned with him. Antonio established himself in business in England in the early 1820s as a wine importer and in July 1834 married Anna “Annie” Laura Harrison (born in 1806) of Newcastle, the daughter of his English business partner, William Harrison, at St. Botulph's Church, Aldgate in London. He became a naturalised British subject. Freire was the original Portuguese surname, Marreco was added by the grandfather after a trip to Brazil were at that time it was popular to add the names of flowers and bird, Marreco being a type of duck.
Geoffrey, Anthony’s father worked for Richard Garrett & Sons a manufacturer of agricultural machinery, steam engines and trolleybuses, the factory was located in Leiston, Suffolk, England being founded by Richard Garrett in 1778.
Education
Anthony initially attended a private school, Allen House in Woking (founded in 1871), before attending the Royal College of St Peter's, Westminster from 1929 to 1934 where his lifelong interest in human rights began. His headmaster, Dr. Crossley-White had invited leading personalities of the day to dinner. At the age of 17, Marreco met his childhood hero, T.E. Lawrence (b.1888 d.1935) and also Mahātmā Ghandi (b.1869 d.1948).
Stage Career
In 1934 he joined the Royal Academy of Dramatic Art (RADA), but was expelled after being spotted by the principal's wife at the Epsom Downs Derby, when he should have been attending classes. From 1935 to 1937, he began a career on the stage, playing in Shakespeare and forming friendships with figures such as Noel Coward (b.1899 d.1973) and
Johnny Weismuller (b.1904 d.1984). He joined Northampton Repertory and was stage manager at Crewe Repertory and later the London shows at His Majesty's Theatre, Daly's
Theatre, the Arts Theatre and the Theatre Royal.
Military Career
In 1940 he joined Royal Navy as a rating, Commission, Sub-Lieutenant (A) Royal Naval Volunteer Reserve R.N.V.R. and when the Admiralty learned that he had a pilot's licence,
Certificate No:14851 issued on 24 April 1937 by the Great Britain, Royal Aero Club Aviators at Airwork School of Flying, Heston Airport, Hounslow, Middlesex, which was taken
using an Avro Club Cadet Gipsy Major 130. He was later commissioned to fly a Fairey Swordfish (a biplane torpedo bomber). He received his wings on 6th October 1940 and was
appointed to train observers at R.N.A.S. Arbroath in Scotland.
In 1941 he was temporarily released from Naval duties on appointment, as Assistant Counsel to the legal department of the Industrial Export Council and was later promoted to
Lieutenant. In the same year he was appointed to the Royal Naval Air Service (R.N.A.S.) at Yeovilton in Somerset as Instructor, Fighter Direction School.
In January 1942 Marreco was appointed Fleet Fighter Direction Officer, Staff Commander-in-Chief, H.M.S. King George V (41) the flagship of both the British Home Fleet and
Pacific Fleets. In May 1941, along with HMS Rodney, King George V was involved in the hunt and pursuit of the German battleship Bismarck, eventually inflicting severe battle
damage which led to her being scuttled in the North Atlantic on 27 May 1941.
In April, Marreco was lent to US Carrier Wasp as Flight Deck Officer (FDO) to fly Spitfires off to Malta and in June 1942 was appointed to the Naval Night Fighter Development Unit.
In June 1943 he was appointed Flight Deck Officer (FDO) on an American built 'Attacker class' Escort Aircraft Carrier, which took part in “Operation Avalanche”, the codename for the Allied landings near the port of Salerno which was executed on 9 September 1943, part of the Allied invasion of Italy.
In December 1943 he was appointed Flight Deck Officer (FDO) of the American built Aircraft Carrier, USS Pybus (CVE-34) which was renamed Emperor (D98) by the Royal Navy.
In January 1944 he was promoted to Lieutenant Commander and appointed Flight Deck Officer (FDO) Aircraft Carrier Formidable (67), which was involved in Operation Mascot, an
unsuccessful air raid against the German battleship Tirpitz at her anchorage in Kaafjord, Norway, on 17 July 1944. The attack was one of a series of strikes against the battleship, launched from british aircraft carriers between April and August 1944. Tirpitz, was eventually sank during Operation Catechism on 12 November 1944 off Håkøy Island near Tromsø, Norway.
Formidable was subsequently assigned to the British Pacific Fleet (BPF) in 1945 where she played a supporting role during the Battle of Okinawa, codenamed Operation Iceberg
where the Allies assembled the most powerful naval force in history. Formidable. later attacked targets in the Japanese Home Islands. She was hit twice by kamikaze aircraft
on the 4th and 9th of May. In both instances, she was saved by her armoured deck and was able return to flight operations rapidly. The ship was used to repatriate liberated Allied prisoners of war and soldiers after the Japanese surrender and then ferried British personnel across the globe through 1946.
Later in June 1945 Marreco was discharged for passage to the UK to take up an appointment at the Admiralty as advisor on Kamikaze suicide fighters during the pending final assault on Japan. He left his ship and flew to Sydney, Australia and as Senior Naval Officer, he boarded an old P&O liner call the 'Randi' which requisitioned by the Admiralty on 27 August 1939 and converted on 23 October 1939 to an armed merchant cruiser to carrying Japanese prisoners of war back to Southampton. Marreco, as part of his job aboard,
describes the trip, "I had to get up at 5.00am and bury my brother's and sister's who had not survived the night”.
In 1946, Marreco was demobilised and return to civvy street, he soon accepted an offer to attend the Nuremburg War Crimes Tribunal as part of the British delegation where he
spent a number of months. During October 1946 he was appointed Chief Assistant to Deputy Chairman, Government Sub-Committee (Control Commission) for Berlin and later in April 1947 was appointed Director of the same.
In October 1947 was appointed British member, Directorate of Internal Affairs and Communications; Chief Staff Officer to Political Adviser to Military Governor. During December 1948 he resigned from the Control Commission.
Legal Career
Having passed his first Bar Examination in 1938, he was called to the Bar (Inner Temple) in 1941 during his absence on war service. He continued his law studies and took his Bar Finals at Twatt on a remote island in the Orkneys, invigilated by a chief petty officer. He was later a pupil of the distinguished Irish lawyer Brian McKenna in Walter Monckton's chambers in the Temple located at 2, Paper Buildings, London. Marreco never returned to the Bar, and instead went on to become a human-rights advocate, helping co-found Amnesty International.
Publishing & Banking
In the 1950s he was a director of Weidenfeld & Nicolson, established 1949, a British publisher of fiction and reference books. He also worked as an investment banker for SG
Warburg & Co founded in 1946 by Siegmund Warburg (b.1902 d.1982) and Henry Grunfeld (b.1904 d.1999).
Olympic Games – Germany 1936
Anthony received an invitation from Otto Christian von Bismarck (b.1987 d.1976) who was counsellor at the German Embassy in London (1929 to 1937) to attend the 1936 Summer
Olympic games in Germany as part of an official party. On attendance with some others were, John Beverley Nichols (b.1898 d.1983) English author, playwright, journalist,
composer, and public speaker and Mangal Heppeelipol (New Zealander) there was a mix up with their seats and it looked like they would not get in, however a German SS officer
frantically beckoned them upstairs to some fine seats. Minutes later Adolf Hitler, Hermann Göring and Joseph Goebbels along with their respective wives arrived and took up their seats directly in front. The party was in the charge of Ernst Hanfstaengl (b.1887 d.1975), nicknamed "Putzi", who was a German-American businessman and became an
intimate friend and confidant of Adolf Hitler who enjoyed listening to "Putzi" play the piano. Hitler was the godfather of Hanfstaengl's son Egon (b.1921 d.2007).
Marreco witnessed the display of fury that Hitler showed when Jessie Owens (b.1913 d.1980) won the 100 meters (Owens won four gold medals, the long jump, 100 meters, 200 meters and 4 × 100m relay). Marreco also remarked how Helene Bertha Amalie “Leni” Riefenstahl (b.902 d.2003) who was a German film director, actress and Nazi sympathizer
jumped up with her camera and filmed Hitler from every conceivable angle every time he spoke. She was commissioned by the German Olympic Committee for $7 million to film the Games and directed the Nazi propaganda films “Triumph des Willens” (Triumph of the Will) and “Olympia” (video documentary of the games). Both movies are widely considered to be the most effective, and technically innovative, propaganda films ever made. Adolf Hitler was in close collaboration with Riefenstahl during the production of at least three important Nazi films during which they formed a friendly relationship. Some have suggested that Riefenstahl's visions were essential in the carrying out of the Holocaust?
Nuremberg War Crimes Tribunal (1945 to 1949)
Marreco takes up the story. "I had returned from the Navy and I was back in my London chambers when one day in March 1946 after coming out of the dining hall of the Inner
Temple, about three months into the trial, Hartley Shawcross (b.1902 d.2003), the Attorney-General, (he was a sailing acquaintance of my father), fell into step beside me and
he said, "Good to see you Marreco, how are getting on? I’m fine”, and then he asked, "Would you like to go to Nuremberg?" Marreco replied, “Give me 24 hours”, I went back to my chambers and discussed the proposition with my colleagues who advised me to go. He arrived in Germany, just as U.S. Chief of Counsel, Robert Houghwout Jason
(b.1892 d.1954) was cross-examining Hermann Göring (18 March 1946). Marreco was briefed by the head of the British team, Sir David Maxwell Fyfe (b.1900 d.1967), 1st Earl of
Kilmuir.
Members of the British Prosecuting Counsel at Nuremberg included: Chief Prosecutor: Attorney General Sir Hartley Shawcross, Deputy Chief Prosecutor: Rt. Hon. Sir David Maxwell Fyfe, Leading Council: Mr. Geoffrey ('Khaki') Dorling Roberts (b.1886 d.1967), Junior Council: Major J. Harcourt Barrington (b.1907 d.1973), Major Frederick Elwyn Jones
(b.1909 d.1989), Mr Edward George G Robey (b.1900 d.1983), Lieut Col. John Mervyn Griffith-Jones (b.1909 d.1979), Colonel Henry Josceline Phillimore (b.1910 d.1974), Mr. Airey
Middleton Sheffield Neave (b.1916 d.1979), Sir Clement Raphael Freud (b.1924 d.2009) & Peter John Ambrose Calvocoressi (b.1912 d.2010).
In all, six organisations, including the SS, the Gestapo and the high command of the German army were also accused. 199 defendants were tried, 161 were convicted and 37 were
sentenced to death, including 12 of those tried by the International Military Tribunal (IMT).
From March to Sept 1946 Marreco was Junior Counsel of the British Delegation, his first task was to join a subsidiary tribunal to sort out the witnesses, convened under Airey
Neave who was the first British officer to escape from Colditz Castle on 12 May 1942. The defence called more than 400 witnesses. Marreco was present when they made their
depositions and cross-examined them on behalf of the prosecution. He also describes how he helped draft the trials' forensic closing speech delivered by the head of the
British team, Sir Hartley Shawcross.
Marreco recalls, "In the six months I was in Nuremberg, I got to know each of the Nazi defendants, and with one notable exception, I never liked any of them. Particularly, Joachim von Ribbentrop, the former ambassador to Britain who sat ashen-faced and was the most unpalatable character. Wilhelm Frick (Reich Minister of the Interior) was a horrible little man, Walther Funk (Reich Minister for Economic Affairs) was another dirty little shit”. He loathed Rudolf Höss, the commandant of Auschwitz whom he vividly remembered being "brought into the courtroom clanking in chains" and who paced up and down, giving the impression of a madman. But with Hermann Göring, Hitler's number two, there was something about his attitude and the way he took charge of all the defendants that was, for me, totally compelling."Göring, who sangfroid throughout the judicial process and on one occasion when a particularly attractive military wren was standing next to the dock, Göring reached out and pinched her bottom. "She was so incensed and complained to the judge, but Göring knew he was going to die and he didn't care".
Britain’s legal team was tiny compared with the 300-plus American one, but Maxwell Fyfe told Marreco that the American's had got bogged down because the German defence counsel had surprisingly called more than 400 witnesses, many of them SS guards who had previously been at the extermination camps of Auschwitz and Belsen.
The International Military Tribunal (IMT) announces it's verdicts on November 1946. It imposed the death sentence on 12 defendants, Hermann Göring, Joachim von Ribbentrop,
Wilhelm Keitel, Ernst Kaltenbrunner, Alfred Rosenberg, Hans Frank, Wilhelm Frick, Julius Streicher, Fritz Sauckel, Alfred Jodl, Arthur Seyss-Inquart, and Martin Bormann.
3 are sentenced to life imprisonment, Rudolf Hess, Walther Funk and Erich Raeder. The only one of them to serve their entire life in prison was Rudolf Hess who died on 17 Aug 1987, he was found strangled to death in a cabin in the exercise yard at Spandau Prison, Berlin. Apparently, he choked himself to death with an electrical cord. Some suspected foul play.
4 receive prison terms ranging from 10 to 20 years, Karl Dönitz, Baldur von Schirach, Albert Speer, and Konstantin von Neurath. The court acquits 3 defendants: Hjalmar Schacht (Economics Minister), Franz von Papen (German politician who played an important role in Hitler's appointment as chancellor), and Hans Fritzsche (head of Press and Radio).
The death sentences were carried out on 16 October 1946, with two exceptions: Hermann Göring committed suicide shortly before his scheduled execution, and Martin Bormann,
who was sentensed but was absent during the trial. The other 10 defendants were hanged, their bodies cremated at Ostfriedhof, Munich, and their ashes deposited in the Iser
River.
Video - Nuremberg Executions 1946 - What Happened to the Bodies? (Mark Felton Productions)
www.youtube.com/watch?v=At7IA19fXHc&ab_channel=MarkFe...
Video - Joachim von Ribbentrop (Mark Felton Productions)
www.youtube.com/watch?v=m-q6pdTyE0Q&ab_channel=MarkFe...
Video - Hermann Göring's Mysterious Death (Mark Felton Productions)
www.youtube.com/watch?v=2IMhFW7539s&ab_channel=MarkFe...
Hermann Göring's Special Train - Exclusive New Footage (Mark Felton Productions)
www.youtube.com/watch?v=nMc3Kw9aNEs&ab_channel=MarkFe...
Video - Rudolf Hess: The Last Prisoner of Spandau (Mark Felton Productions)
www.youtube.com/watch?v=t9lM-aaCHJU&ab_channel=MarkFe...
Video - The hanging of Rudolf Höss at Auschwitz (Alan Heath)
www.youtube.com/watch?v=O3C4njP5J2o&ab_channel
Post in Germany
As Chief Staff Officer to the Political Adviser to the British Military Government of Germany, and as British Member of the Directorate of International Affairs and Communications, Allied Control Authority, Berlin, from 1946 to 1949, Marreco assisted in the creation of new democratic and legal institutions in Germany.
Political Career
Marreco contested Wells in Somerset as a Liberal candidate in the 23 February 1950 general election obtaining 9,771 votes however, he was unsuccessful being beaten by the
Conservative representative Dennis Boles (b.1885 d.1958) with 20,613 votes. Again, in Goole in the West Riding of Yorkshire in the 25 October 1951 general election he obtained 17,073 votes being beaten by the Labour representative George Jeger (b.1903 d.1971) with 26,088 votes.
Amnesty International
In 1960 Flora Solomon (b.1895 d.1984), his neighbour in Shepherd Street, told Marreco that her son, Peter Benenson (b.1921 d.2005) was founding an organisation which was
later to become Amnesty International. Marreco, who had twice stood as a Liberal candidate for Parliament, supported him vigorously.
In 1968 he became Honorary Treasurer and had set up an Amnesty International Development Inc. (AID Inc.) in 1970 in the United States, which was totally separate from Amnesty
International and which could send funds to families of Greek prisoners. This was strongly opposed by Amnesty International USA. Outspoken in all his opinions, Marreco
conducted several investigations for Amnesty, notably during the regime of the Greek Colonels, when he went to Athens to interview Stylianos Pattakos (b.1912 d.2016), one of the Junta leaders of 1967 to 1974, about allegations of torture and the curtailing of civil liberties.
In 1971, Marreco investigated allegations of torture by British troops in Northern Ireland and subsequently resigned. Amnesty, he said, "refused to go to Belfast and even see these people", he added that "it was also a bizarre circumstance" that Amnesty's chairman, Sean MacBride (b.1904 d.1988), was the leader of Clann na Poblachta (Irish
republican political party) from 1946 to 1965 and was a former Chief of Staff of the IRA from 1936 to 1939. He also implied that he had received treats from the IRA when living at Porthall, County Donegal.
Mayfair Residents Association
For 13 years he was chairman of the Residents Association of Mayfair (RAM), steering it through turbulent times when it was opposed by the Association of Residents of Mayfair (ARM). When the two merged in 2004 he was appointed Honorary Present of the Residents’ Society of Mayfair and St James’s. He resigned on 13 January 2004. He was also a member
of the Royal Institute of International Affairs and of the Garrick Theatre, the Royal Thames Yacht Club and the Beefsteak Club. He was also a Director of Aldbourne Craft Trust
from 4 August 2000 until he resigned on 4 June 2006.
Institute of International Criminal Law
In 1983 he proposed setting up an Institute of International Criminal Law, to be established in association with the Irish Universities. He offered Port Hall to the Irish government as a study centre, where "the hideous violations of human rights, which had disfigured the 20th century" could be researched. His ambition was to set up a television archive of the Nuremberg Trials to be used by lawyers and peace researchers from all over the world. The Institute never came to fruition, possibly because Marreco also remained energetically committed to sorting out the legal and domestic problems of the Mayfair intelligentsia.
In his last years Marreco retired to Greenhill Bank Cottage, Aldbourne, in Wiltshire, with his wife, Gina, who was a brilliant hostess and an unforgettable cook.
Relationships
Anthony Marreco was married four times, but to only three women and had numerous affairs with other women but he had no children.
Lady Ursula Isabel Manners (b.1916 d.2017)
Lady Ursula Isabel Manners was born 8th November 1916, being the elder daughter of five children of John Manners, (b.1886 d.1940) 9th Duke of Rutland, by his wife the former
Kathleen Tennant (b.1894 d.1989, aged 95). As a 20-year-old she acted as one of Queen Elizabeth's trainbearers in Westminster Abbey and received international media attention after a photograph of her from the coronation on 12 May 1937, standing alongside the British royal family on the balcony of Buckingham Palace which was circulated in the news.
The reports, focused on her beauty and distinctive widow's peak, leading to her being nicknamed "the cygnet" by Winston Churchill while she accompanied the king and queen on a 5-day royal tour to France in 1938.
On 25 July 1943, Lady Ursula married Anthony Marreco in the chapel at Belvoir Castle, Grantham, Leicestershire, a man she barely knew and who threatened to commit suicide if
she refused to do so. The swiftness in which a wedding was organised prompted the minister to place a chair for her to sit on at the altar as he assumed, she was pregnant, this, she admitted, had infuriated her. Marreco left her to serve in the British Armed Forces in Asia and lost communication with her until 1946. During this time she had entered into a brief relationship with Man Singh II (b.1912 d.1970), the Maharaja of Jaipur, whom she met through her friend Jawaharlal Nehru (b.1889 d.1964). Lady Ursula and Marreco divorced in 1948.
Lady Ursula resumed her maiden name, and married secondly on 22 Nov 1951, Robert Erland Nicolai d'Abo (b.1911 d.1970), the elder son of Gerard Louis d'Abo (b.1884 d.1962), by whom
she had two sons and a daughter. In 2014 she published her memoir titled “The Girl with the Widow's Peak: The Memoirs”.
Lady Ursula died on 2 November 2017, aged 100, she was one of the last surviving aristocrats to have participated at the Coronation of King George VI & Queen Elizabeth on 12 May 1937.
Louise de Vilmorin (b.1902 d.1969)
Marreco also became involved with Louise de Vilmorin through the late 1940s until 1951 who was a French novelist, poet and journalist. Born in the family château at Verrières-le-Buisson, Essonne, a suburb southwest of Paris, she was heir to the fortune of the great French seed company, that of 'Vilmorin'. (The 4th largest seed company in the world).
Louise was the younger daughter of Philippe de Vilmorin (b.1872 d.1917) by his wife Berthe Marie Mélanie de Gaufridy de Dortan (b.1876 d.1937)
From a child, she was afflicted with a slight limp, the result of Tuberculosis of the hip, however she compensated for her frailty with a flamboyant personality. She was a spellbinding talker who craved the limelight that she once flung a butterball to the ceiling when another guest at a dinner party wouldn’t allow her to tell a story.
De Vilmorin was never wholly sure of Marreco's devotion, as in Venice, in July 1950 her doubts were realised when Marreco went in successful pursuit of the somewhat unstable
Queen Alexandra of Yugoslavia (b.1921 d.1993), who had fellen madly in love with him and who then took an overdose of sleeping pills and slipped into a coma, but recovered
after two days, allegedly after de Vilmorin removed him to Sélestat in France at the end of the holiday.
De Vilmorin's diaries are peppered with references to him. She was much taken by his style of dress, on one occasion a shirt with narrow blue and white stripes, a black silk tie with white spots, a black jacket and waistcoat, spongebag trousers, and black leather ankle boots. When he went out, he perched his bowler hat at a rakish angle, and carried a furled umbrella. Above all, she was impressed by Marreco's adonis-like looks, impressed that he could return from a fashionable ball at six in the morning, neither drunk nor tired, but invigorated with life, talking of beautiful women, fortune, society and success. "Beauty likes to shine, to dazzle," wrote de Vilmorin, "and above all to be recognised!" She was deeply saddened when he left her in New Year in 1951, conscious that she was 13 years his senior and that his career might place demands on him that would take him away from her. These concerns were replicated as Marreco at this time had political aspirations.
Again, De Vilmorin's fears were realised while she was staying with Paul-Louis Weiller (b.1893 d.1993), at his villa, La Reine Jeanne, with Marreco in tow. She awoke one morning and found him gone. He had set off to Brazil in pursuit of Lali Horstmann, whose book had recently been published to great acclaim.
Vilmorin's first husband was an American real-estate heir, Henry Leigh Hunt (b.1886 d.1972), the only son of Leigh S. J. Hunt (b.1855 d.1933), a businessman who once owned
much of Las Vegas, Nevada and his wife, Jessie Nobel (b.c.1862 d.1960). They married in c.1925, moved to Las Vegas, and divorced in the 1930s. They had three daughters,
Jessie, Alexandra, and Helena.
Her second husband was Count Paul Pálffy ab Erdöd (b.1890 d.1968), a much-married Austrian-born Hungarian playboy, who had been second husband to the Hungarian countess better known as Etti Plesch (b.1914 d.2003), owner of two Epsom Derby winners. Palffy married Louise as his 5th wife in 1938, but the couple soon divorced.
Vilmorin was the mistress of another of Etti Plesch's husbands, Count [Maria Thomas] Paul Esterházy de Galántha (b.1901 d.1964), who left his wife in 1942 for Vilmorin. They
never married. For a number of years, she was the mistress of Duff Cooper (b.1890 d.1954), British ambassador to France.
Louise spent the last years of her life as the companion of the French Cultural Affairs Minister and author André Malraux (b.1901 d.1976), calling herself "Marilyn Malraux". She died on 26 Dec 1969 aged 67 and is buried in Verrières-le-Buisson (Essonne) cemetery also the initial resting place of André Malraux.
Léonie (Lally or Lali) Horstmann (b.1898 d.1954)
While serving in Germany, Marreco, then aged 36, became the lover of Lali Horstmann, who came from a distinguished German banking family, the von Schwabachs, her father was
the banker and historian Paul von Schwabach (b.1867 d.1938) and her mother Eleonor (Elli) Schröder (b.1869 d1942). Lali was the widow of Alfred (Freddy) Horstmann (b.1979 d.1947) who was a retired diplomat, art collector and later the head of the English department at the German Foreign Office. Freddy resigned his diplomatic duties in 1933, the year Hitler came to power, rather than work for the Nazis.
As Germany collapsed in the face of the allied invasion, the Horstmann’s decided, against the trend of fleeing from the Russian advance, by staying at their Kerzendorf estate,
East of Berlin, an elegant eighteenth-century house which contained numberous antiquities, had a small park, avenues, statues and a garden. The house was destroyed one night
by allied bombers and the Horstmann's moved into the agent's little house in the park.
At first, the Horstmann's were able to anaesthetise themselves from the worst excesses through their wealth and possessions, but soon the valuable objets sought by Russian
soldiers ran out as they lived in constant fear of rape and pilliage. One day in March 1946, Freddy was taken away by the Russian Secret Police for questioning about his
diplomat duties, stating, "It is now Saturday, six o'clock, you will probably be back tomorrow at the same time, Tuesday at the latest."
Almost, two and a half years later, August 1948 at Berlin station, Lali was told that Freddy had died of starvation in a Russian concentration camp, (No.7 Sachsenhausen,
Oranienburg, Germany, which was only a few miles from their home) a year after his arrest and that he was buried at the edge of the camp with many of his companions. Others
had survived, a few had been released for no apparent reason, many of them were still, and are now, in captivity. My husband, like all the others, had never been questioned
or tried. He had never been given any opportunity to defend himself.
Lali later wrote a moving account of her search for him, 'Nothing for Tears' (1953), which has been described as "one of the most remarkable personal documents to come out of
Germany at the end of 2nd World War". Marreco's relationship ended in Berlin, but they remained friends, both in Berlin and later when Lali moved to London.
They met again in 1954 in Brazil only when Lali made her first trip to Brazil to meet friends who had settled in Paraná in the south of the country. Lali asked Anthony to drive her from Rio to Paraná. They stopped overnight in São Paulo, where Lali was found the following morning, unconscious in her hotel room, having suffered a massive heart attack. She was rushed to hospital where she died the next day, aged 56. Lali Horstmann was buried in São Paulo. Marreco inherited part of her substantial fortune, derived from her ownership of real estate in Berlin and her late husband's family publishing buisness, the newspaper the 'Frankfurter General-Anzeiger', which was published in Frankfurt from 1876 to 1943 under various names. As a result of this Marreco bought Port Hall in Lifford, Co Donegal in 1956 where he lived and farmed until 1983 when he sold the house as his money was running out.
Loelia, Duchess of Westminster (b.1902 d.1993)
Marrero was subsequently the lover of Lady Loelia Mary Lindsay of Dowhill, Duchess of Westminster who was a British peeress, needlewoman and magazine editor. Loelia was the
only daughter of the courtier Sir Frederick Ponsonby (b.1867 d.1935), later 1st Baron Sysonby, and Lady Victoria Lily (Kennard) Sysonby (b.1874 d.1955), the well-known cook
book author. Loelia spent her early years at St James's Palace in London, Park House at Sandringham and Birkhall in Aberdeenshire, Scotland. As one of the "Bright Young
People", she met the twice divorced Hugh Grosvenor (b.1879 d.1953), 2nd Duke of Westminster. They were married on 20 February 1930 in a blaze of publicity, with Winston Churchill as the best man, but were unable to have children. Her marriage to the enormously wealthy peer failed and was dissolved in 1947 after years of separation.
Loelia's private diaries were likewise filled with anxious questions as to Marrero's love and loyalty. She encouraged Marrero to invest in Weidenfeld & Nicolson, and for some
years in the 1950s he was a financial supporter of George Weidenfeld (b.1919 d.2016).
Lindsay's 2nd marriage, to the divorced explorer Sir Martin Lindsay (b.1905 d.1981), 1st Baronet. The couple were married on 1st August 1969. Sir Martin, a devoted husband, died in 1981, and Lady Lindsay chose to spend her last years in nursing homes. Her memoirs, written in 1961 and titled 'Grace and Favour: The Memoirs of Loelia, Duchess of Westminster', a significant record of aristocratic life between the First and Second World Wars.
Regina de Souza Coelho (b.1927 - ?)
In 1954 Marreco went to Brazil for S G Warburg and while in Brazil he met Regina (Gina) de Souza Coelho, only daughter of Dr. Roberto and Roberto de Souza Coelho of Rio de
Janeiro. Marreco, consummated his second marriage with Gina on 19th November 1955, but the marriage was dissolved in 1961.
Anthony and Gina resumed their relationship in 1990, buying a cottage in Aldbourne, Wiltshire in 1997 and re-marrying in 2004. Very little is known about Regina.
Anne Wignall (née Acland-Troyte) b.1912 d.1982
Daughter of Major Herbert Acland-Troyte (b.1882 d.1943) and Marjorie Florence Pym (b.1891 d.1977). Anne was born in Kensington, London and had previously been married to the
5th Lord Ebury, Rennie Hoare (b.1901, d.1981), and also Lt-Col Frederick Wignall (b.1906 d.1956)
Anne first married, Robert Egerton Grosvenor (b.1914 d.1957), 5th Baron Ebury, son of Francis Egerton Grosvenor (b.1883 d.1932), 4th Baron Ebury and Mary Adela Glasson
(b.1883 d.1960), on 1 July 1933. She and Robert were divorced in 1941. Anne & Robert had two sons:
1. Francis Egerton Grosvenor, 8th Earl of Wilton (b.8th Feb 1934)
2. Hon. Robert Victor Grosvenor (b.1936 d.1993)
A keen racing driver, Lord Ebury died in an accident at Prescott, Gloucestershire on 5 May 1957, aged 43, while driving a Jaguar C-type - XKC 046 (Registration MVC630). He
was cremated at Oxford Crematorium, where there is a plaque to him and his 3rd wife Sheila, who died in 2010.
Anne's 2nd marriage on 23 December 1941 was to, Henry Peregrine Rennie Hoare (b.1901 d.1981) son of Henry Hoare (b.1866 d.1956) and Lady Geraldine Mariana Hervey
(b.1869 d.1955). Anne and Henry were divorced in 1947.
Anne's 3rd marriage on 13 November 1947 was to Lt.Col. Frederick Edwin Barton Wignall (b.1906 d.1956). He gained the rank of Lieutenant-Colonel in The Life Guards and died
9 November 1956 and was buried in the churchyard of St Michael and All Angels, Poulton, Gloucestershire.
Anne's 4th marriage on 25 September 1961 was to Anthony Freire Marreco (his 3rd marriage) and as Anne Marreco she was the biographer of “Constance Markievicz - The Rebel
Countess” (1967). She changed her name back to Wignall by deed poll in 1969 and died on 23 June 1982 in Tiverton, Devon and was buried in the churchyard at All Saints Church,
Huntsham, close to her father's ancestral seat, Huntsham Court.
Port Hall House
At Port Hall Marreco bred a fine herd of Charolais cattle and was immediately accepted by that flamboyant section of Irish society known as "The Donegal Group". Anthony was a
convivial host, a considerable raconteur, his hospitality was legendary being a generous host at Port Hall, with it's spacious library and hand-painted wallpaper and at his summer house parties in Greece and in his book-lined flat in Shepherd Market in Mayfair in London.
His many guests ranged from Henry MacIlhenny (b.1910 d.1986), millionaire owner of Glenveagh Castle, Co. Donegal to historian R.B McDowell (b.1913 d.2011), who for 13 years
(1956 to 1969) was dean of discipline at Trinity College, Dublin and once castigated future President Mary Robinson.
Port Hall house was owned by Anthony Marreco from 1956 until 1983. He had a strong interest in building conservation and carefully repaired and conserved Port Hall during the
1960s. This important building is one of the most significant elements of the built heritage of Donegal, and forms the centrepiece of a group of related structures along with
the warehouses to the rear, the walled garden to the south, and the other surviving elements of the site.
Port Hall House was built in 1746 on the banks of the River Foyle, for Judge John Vaughan (b.1603 d.1674) also of Buncrana Castle, who served as a Grand Juror for County
Donegal which was based at Lifford a short distance to the south-south-west of Port Hall. The house design is attributed to Michael Priestley (d.23 September 1777), an architect who was also responsible for the designs of the county court house and gaol (Old Courthouse) in Lifford’s Diamond (were John Half-Hung MacNaghten was held), Strabane Canal, Prehen House on the outskirts of Derry City and possibly First Presbyterian Church in Magazine Street, Derry City.
Marreco strenuously opposed salmon poaching, then running at a value of £1 million of fish a year. He became chairman of the Foyle Fisheries Commission (now known as the ‘Loughs Agency’) and immersed himself in every aspect of Ireland's cultural and political life. In the last year of his life, he had wished to make his own documentary, The Rule of Law, tracing the development of international law from the time of Grotius, the 17th century philosopher, to the present day.
Anthony Freire Marreco died on 4th June 2006 aged 90 years and was buried in the graveyard of St. Michael's Church, Aldbourne, Wiltshire, England. Donations were requested for
the RSPCA.
A video interview with Anthony Marreco recalling moments from his life at aged 82 is available on YouTube via link.
Vitrail de Max Ingrand du collatéral nord de la nef de la cathédrale Saint Vincent de Saint-Malo figurant les fondateurs des évêchés bretons
The Gullfoss Waterfall forms one of the three main stops along Iceland's famed Golden Circle; along with Þingvellir National Park and the geothermal gesyer area in Haukadalur. Located in the canyon of the Hvítá river, Gullfoss translates to the “Golden Falls” and is where the Golden Circle derives its name. Sadly the weather that day wasn’t compliant in allowing us to see exactly why!
The wide Hvítá rushes southward, and about a kilometre above the falls it turns sharply to the right and flows down into a wide curved three-step "staircase" and then abruptly plunges in two stages into a crevice. As one first approaches the falls, the edge is obscured from view, so that it appears that the river simply vanishes into the earth.
(Iceland, 2016)
Common Lizard (Zootoca vivipara), melanistic form. Higher Bosistow Cliff, St Levan, Cornwall. Sunday 16th April 2017.
My Wild Guide describes the occurrence of this colour form as 'frequent', though this was the first time that I've encountered one.
Hier kann man anhand der Form des Teiches, der die Form eines Hufeisens hat, nachvollziehen, wie die Hufeisensiedlung zu ihrem Namen kam. Das Ensemble rund um diesen Teich hat in etwa die gleiche Form.
Die Hufeisensiedlung im Berliner Ortsteil Britz ist eine Siedlung des sozialen Wohnungsbaus und seit 2008 UNESCO-Welterbe. Sie entstand nach Plänen des Architekten Bruno Taut, des Architekten und späteren Berliner Stadtbaurats Martin Wagner sowie des Gartenarchitekten Leberecht Migge. Sie ist eines der ersten Projekte des sozialen Wohnungsbaues und gilt als eine Ikone des modernen Städtebaus und des Neuen Bauens.
Die Siedlung wurde zwischen 1925 und 1933 in mehreren Bauabschnitten errichtet, von denen die zwischen 1925 und 1930 errichteten ersten sechs Abschnitte seit 1986 gemeinsam als Ensemble unter Denkmalschutz stehen. 2008 wurde die Hufeisensiedlung gemeinsam mit fünf anderen Berliner Wohnsiedlungen zum UNESCO-Welterbe Siedlungen der Berliner Moderne ernannt. Die seit 2010 zudem als Gartendenkmal eingetragene, nach dem zentralen Bauteil in Form eines Hufeisens benannte Siedlung ist außerdem Teil der ab 1925 in direkter Konkurrenz von zwei unterschiedlichen Wohnungsbaugesellschaften (GEHAG und Degewo) errichteten Großsiedlung Britz. Der dem Hufeisen gegenüberliegende Bauteil der DeGeWo, die so genannte „Krugpfuhlsiedlung“, wurde ebenfalls ab 1925 errichtet und von den Architekten Ernst Engelmann und Emil Fangmeyer in deutlich traditionellerer Formensprache entworfen
de.wikipedia.org/wiki/Hufeisensiedlung
www.stadtentwicklung.berlin.de/denkmal/liste_karte_datenb...
de.wikipedia.org/wiki/Berlin-Britz
de.wikipedia.org/wiki/Siedlungen_der_Berliner_Moderne
de.wikipedia.org/wiki/Bruno_Taut
de.wikipedia.org/wiki/Martin_Wagner_(Architekt)
"The Bad Lands grade all the way from those that are almost rolling in character to those that are so fantastically broken in form and so bizarre in color as to seem hardly properly to belong to this earth." ~ Theodore Roosevelt
Did you know??? The yellow and red layers in the badlands formations are fossilized soils, called paleosols. Fossil root traces, burrows, and animal bones found within the soils provide scientists with evidence of environmental and climatic changes that occurred in the badlands over time.
Have a great Friday...and as always, thanks for stopping by to visit :-)