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CKO tinplate trailer with two opening sides, originally supplied in a set with a tractor as no. 365, made in West Germany.
LOST & FOUND - Art made of found objects
In this exciting exhibition we show artworks made of surprising materials by internationally and nationally outstanding artists: Christoph Pöggeler, Marian Bijlenga, Reiner Seliger, Stephan Marienfeld, Stephi Friedrich, L.E.T., Goncalo Mabunda, Bernd C. Dietrich.
Location: Galerie Kellermann City Center, Heinrich-Heine-Allee 12, 40213 Düsseldorf
Exhibition duration: October 14 - November 20
© Mathias Kellermann 2012 - This work is protected under international copyright laws and agreements. No part of this photostream may be reproduced, stored in retrieval system (except Flickr Expo system and Faves) , or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior written permission.
Love is a right that has for only law the hearts freedom of those who engage in it...
L'amour est un droit qui n'a pour seule loi que la liberté des coeurs de ceux qui s'y engagent...
L'exploitation et la reproduction à des fins commerciales ou non commerciales d'une oeuvre sans autorisation ecrite de son auteur constitue un acte de contrefaçon pénalement sanctionné au titre des articles L.122-4, L335-2 et L335-3 du CPI.
Click on the image to see with black frame.
My Best ☆ FAVES by you, on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157625...
11.06.2022, Berlin:
Alternative Ausspielungskanäle journalistischer Recherchen – Mit Alexander Prinz / Der Dunkle Parabelritter, Melanie Stein, Sham Jaff und Georgine Kellermann auf der .txt Stage.
Die .txt-Konferenz ist das neue Netzwerkformat der re:publica und feiert das lebendige Wort. Sie findet in diesem Jahr am 11. Juni im Glashaus und Badeschiff der Arena Berlin statt. Foto: Anne Barth/re:publica
Tile by Ayzit Bostan for edition van Treeck (curated by Katja Zukic)
Fused glass / 3colours / 5sizes / 10x10x0,6 cm / 10x10x0,9cm / 10x10x1,2cm / 10x20x0,6cm / 20x20x0,6mm moresizes and colours on request
Photo by Gerhardt Kellermann
Avenue d'Italie 03/05/2023 10h38
Avenue d'Italie as seen from the station Porte d'Italie and the corner of Boulevard Kellermann. In the middle Tour Super-Italie.
The Tour Super-Italie is a residential skyscraper in the 13th arrondissement of Paris, France. Its exact address is 121-127, Avenue d'Italie. The mainly residential tower was built by the architect Maurice Novarina, assisted by the architects Jacques Giovannoni and Léger. It includes a private indoor swimming pool and a solarium accessible by a staircase from the 34th floor.
Inaugurated in February 1974, with a total height of 112 metres, Super-Italie is the tallest tower of an urban planning operation, known as Italie 13, which consisted of building residential towers in Paris' 13th arrondissement. A second tower of identical shape was planned to be built in the same block. However, the pausing of Italie 13 ordered during the mandate of the French President Valéry Giscard d'Estaing has led to the cancellation of the project.
Height: 112 m
Construction: 1970 - 1974
Floor count: 38
[ Wikipedia - Tour Super-Italie ]
Avenue d'Italie
The avenue d'Italie is one of the main communication axe of the 13th arrondissement of Paris. It goes from Place d'Italie to Porte d'Italie, crossing the Rue de Tolbiac. Line 7 of the Paris metro has 4 stations along the avenue. The avenue has a length of 1 294 m and a width of 70 m. It takes its name from the destination of the travellers who used to continue straight after porte d'Italie : it is indeed there that starts Nationale 7, a road linking Paris to the Italian border. The avenue d'Italie is part of the Maison-Blanche district, and separates two very different parts of the 13th arrondissement : the Butte-aux-Cailles district, on one side, and the Chinese district on the other.
Until the middle of the nineteenth century, the avenue only contained a few houses and guinguettes. Prices were cheaper than in Paris, because it was outside of the wall of the Ferme Générale (mur des Fermiers généraux).
The avenue d'Italie got its current name on May 23, 1863, after Haussmann decision to extend Paris limits, in 1860.
Tagungsleiter Dr. Gero Kellermann eröffnete die Kooperationstagung zwischen Akademie für Politische Bildung Tutzing und Evangelischer Akademie Tutzing.
Tile by Ayzit Bostan for edition van Treeck (curated by Katja Zukic)
Fused glass / 3colours / 5sizes / 10x10x0,6 cm / 10x10x0,9cm / 10x10x1,2cm / 10x20x0,6cm / 20x20x0,6mm moresizes and colours on request
Photo by Gerhardt Kellermann
LOST & FOUND - Art made of found objects
In this exciting exhibition we show artworks made of surprising materials by internationally and nationally outstanding artists: Christoph Pöggeler, Marian Bijlenga, Reiner Seliger, Stephan Marienfeld, Stephi Friedrich, L.E.T., Goncalo Mabunda, Bernd C. Dietrich.
Location: Galerie Kellermann City Center, Heinrich-Heine-Allee 12, 40213 Düsseldorf
Exhibition duration: October 14 - November 20
VW T2 Bus 'Feuerwehr' (fire service) – re-issue by Kovap of the Czech Republic of the CKO model originally produced in West Germany.
The original CKO was, I think, only ever issued as an ambulance, or as a plain bus, although I have also seen a CKO promotional bus in cream for Pfaff sewing machines.
The originals had friction motors, the Kovap reissues do not, although they retain the bulge in the baseplate.
See the CKO album for a Polizei version of this, also original CKO T1 and T2 ambulances.
CKO 441 Tinplate Bus - DB (Deutsche Bundesbahn) - an original made in West Germany 1970s with friction motor. Kovap made reproductions of this in the same colour scheme, but there was no friction power and the metal wheels are slightly different; some Kovap versions had plastic wheels. Kovap also produced a version with a clockwork motor.
As far as I know CKO originals only appeared in this livery, and in plain blue.
© Mathias Kellermann 2014 - All rights reserved - This work is protected under international copyright laws and agreements.No part of this photostream may be reproduced, stored in retrieval system (except Flickr Expo system and Faves) , or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior written permission.
L'exploitation et la reproduction à des fins commerciales ou non commerciales d'une oeuvre sans autorisation ecrite de son auteur constitue un acte de contrefaçon pénalement sanctionné au titre des articles L.122-4, L335-2 et L335-3 du CPI d'une peine allant jusqu’à 3 ans de prison et 300 000 euros d’amende.
Click on the image to see with black frame.My best pics on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157625...
To visit my personal website : mathiaskellermann.wix.com/photography. Thank you all for your comments, invitations and support.
Tile by Ayzit Bostan for edition van Treeck (curated by Katja Zukic)
Fused glass / 3colours / 5sizes / 10x10x0,6 cm / 10x10x0,9cm / 10x10x1,2cm / 10x20x0,6cm / 20x20x0,6mm moresizes and colours on request
Photo by Gerhardt Kellermann
89er Softail Custom Umbau
Motor: Typ: Evo Big Twin ,
Dyna Single Fire Doppelzündung,
2 mal Rev Tech,
Primär: Automat. Spanner,
Vergasser: Screaming Eagle, Ölpumpe: S & S,
Nockenwelle: Screaming Eagle, Kurbelwelle: Feingewuchtet,
Luftfilter: Forcewinder
Luftfilteradapter:Küryakün
Kupplung: Pro One
Fahrwerk: Rahmen: Original Softail, Schwinge: wurde leicht geändert,
Gabel: S.J.P 300 mm breit,
Rad vorne: 120/70 ZR17, Rad hinten: 190/50 ZR17,
Stoßdämpfer: Progressiv voll einstellbar (50mm) höhenverstellbar, Felgen: Alu poliert und lackiert, Bremsen: 3 mal 4 Kolben (Spiegler), Br.Scheiben: 2 mal 320 mm (Spiegler)Bre. u. Kpl. stahlummantelt (schwarz) Accessories:
Tank: 6 Gallonen Stretch,
Tacho: DAKOTA Digitaltacho, Tankdeckel: Alu Flugzeugtankdeckel, Benzinhahn: Arlen Ness,
Ölfilteraufn.: Jim`s,
Öltank: S.C.S Alu poliert,
Regler: Compu Fire,
Primärdeckel: Pro One,
Zünd.deckel: Pro One,
Fender hinten: Giovanni (2 Personen zugel.),
Fender vorne: Hardcore Cycles,
Griffe: O.M.P schwarz Alu,
Fußrasten: Jay Brake schwarz Alu, Riser: Jim`s,
Blinker: Kellermann Alu
Armaturen: Arlen Ness Alu,
Spiegel: Küryakyn
Lampe: Shin yo IOWA
Seitlicherkennzeichenhalter von Genscher
Auspuff: Supertrapp
Sitzbank: Leder Schwarz, Seitenständer: Edelstahl (höhenverstellbar)und vieles mehr...
German postcard by Ross Verlag / W.J. Morlins, Berlin, no. 427/1, 1919-1924. Photo: Karl Schenker.
Austrian-American soprano singer and actress Fritzi Massary (1882-1969) was one of the greatest 20th century operetta divas. She was a superstar in Berlin and Vienna in the Weimar era, but after the rise of the Nazis, Massary was forced to flee Germany. In London, she appeared in an operetta Noel Coward wrote for her. The popular singer also starred in several early German ‘sound pictures’ and other silent films.
Fritzi Massary was born Friederike Massaryk in Vienna in the Austro-Hungarian Empire in 1882. She was the eldest of three daughters of a Jewish family, and her father was a businessman. Her parents, and especially her mother, encouraged her talent via singing lessons, with the result that their daughter, now renamed Fritzi Massary, received her first engagement in a small part at the Landestheater in Linz in 1899/1900. In 1900 she appeared in another minor role at the Carl Schultze Theatre in Hamburg, returning to Vienna in the following year and being employed at a summer theater, Danzer’s Orpheum, until 1904. At around this time, she was baptised as a Protestant and in 1903 she gave birth to a daughter, Liesl. She had her first sensational success in a revue at the Metropol-Theater in Berlin in 1904. She refined her vocal abilities in the next years and soon belonged to the most elegant performers of her time. In 1907, she made her cinema debut for Messter Film in the short 'tonbild' (sound picture) Komm du kleines Kohlenmädchen (1907) opposite Joseph Giampietro. The next year, she made several more of such short films with a song on a sound disk for Deutsche Bioscop GmbH, like Trallala Lied/Trallala Song (1908), Donnerwetter, tadellos/Gosh, faultless (1908) with Henry Bender, and Auf ins Metropol/On to the city (1908). For Deutsche Film, she made Viola (1912). On stage, her real breakthrough occurred in 1911, when she appeared as a guest artist at Max Reinhardt’s Künstlertheater in Jacques Offenbach’s La Belle Hélène, alongside Maria Jeritza. From then on “der Massary” reigned over the Berlin stage, which was at the time the centre of cabaret, revue, and operetta. Among the works created especially for her was the operetta Die Kaiserin (The Empress) by Leo Fall (1915). Under Bruno Walter she sang the title role in Franz Lehar’s Die lustige Witwe (The Merry Widow) and Adele in Johann Strauss’s Die Fledermaus (The Bat). During World War I, she performed for the soldiers of the Imperial German Army in theatres in occupied Belgium. In 1915 she appeared in the silent film Der Tunnel/The Tunnel (William Wauer, 1915) starring Friedrich Kayßler and Hermann Vallentin. It was the first of several film adaptations of Bernhard Kellermann's 1913 novel Der Tunnel about the construction of a vast tunnel under the Atlantic Ocean connecting Europe and America. The film was made by Paul Davidson's PAGU production company, with sets designed by art director Hermann Warm, five years before he designed Das Cabinet des Dr. Caligari/The Cabinet of Dr. Caligari (Robert Wiene, 1920). Massary’s later films were Die Rose von Stambul/The Rose of Stamboul (Felix Basch, Arthur Wellin, 1919) and Narrentanz der Liebe/Mie (Arthur Wellin, 1920), opposite Ernst Stahl-Nachbaur.
Fritzi Massary was closely associated with the composer Oscar Strauss, creating roles in six of his operettas. In 1920, she worked with Strauss on the hit Der letzte Walzer (The Last Waltz). Her biographer Robert Wennersten explained her popularity in an interview with Kevin Clarke: “Her singing voice was not exceptional, but her delivery of the songs certainly was. Take “Oh-la-la” from Der Letzte Walzer: every time those syllables came around she sang them differently, and every variation was funny or slightly salacious.” Massary was so popular that she had an important impact on the fashion of her times. At the height of her career – between 1918 and 1932 – Massary asked for and was given complete control over her productions. Everything – the supporting cast, the costumes, the sets, the props, and lighting – was subject to her approval. Massary’s career in Germany came to an abrupt end when she became a butt of the anti-Semitic propaganda because of her Jewish marriage with actor Max Pallenberg. In late 1932 the couple left Germany, shortly before the Nazis seized dictatorial power in a paramilitary revolution and declared a Third Reich. The couple travelled through Austria and Switzerland, but in 1934 Max Pallenberg died in a plane crash in Karlsbad. Fritzi had now lost everything. She moved to London, where she became friends with Noël Coward and starred in his theatrical musical Operette in 1938. In February 1939, shortly before the outbreak of World War II, she moved to Beverly Hills, California to join her daughter’s family, and lived there among other exiles such as Elisabeth Bergner, Fritz Kortner, Ernst Lubitsch, Thomas Mann, and Max Reinhardt. She put an extended effort into continuing her career, going to New York to look for Broadway roles and talking to Hollywood directors about film roles. To no avail, unfortunately. From then on, she focused on her garden and her dogs. Beginning in 1952, she regularly spent summers in Germany. In 1957, Germany honoured her with the Großes Bundesverdienstkreuz (Grand Cross of Merit). She continued to reside in Beverly Hills until her death in Los Angeles in 1969. Fritzi Massary was married twice, first to an eye doctor Bernhard Pollack in 1914. Massary's second marriage was to the Austrian actor Max Pallenberg, from 1917 till his death in 1934. With Karl-Kuno Rollo Graf von Coudenhove, she had her only child, Elisabeth Maria Karl (called Liesl) (1903–1979). Liesl later married the author Bruno Frank. Though Coudenhove was Liesl's father, Massary was never married to him.
Sources: Beatrix Borchard (Jewish Women’s Archive), Kevin Clarke (Operetta Research Center), Stadtmuseum Berlin (German), Wikipedia (English and German), and IMDb.
Cérémonie funéraire en terre Toraja – Une culture à cheval entre tradition animiste et chrétienté
Avant d’entrer plus en avant dans ce reportage, je dois prévenir que certaines photos de sacrifices d’animaux en place publique, peuvent choquer les âmes sensibles. J’en ai volontairement limité le nombre. Mon but n’est pas d’encenser ces pratiques que notre culture occidentale condamne et peut juger comme «barbares » (Je n’aime pas le sens péjoratif qui se cache derrière ce terme). Je ne cherche pas la polémique sur ce thème, mais je ne me donne pas plus le droit de cacher ces pratiques pour éviter de choquer. Il s’agit avant tout pour moi de témoigner et d’aider à comprendre. C’est pourquoi il est de mon devoir d’expliquer et de commenter les photos qui vont suivre lorsque c’est nécessaire.
Il est facile d’être choqué par la différence lorsqu’on ne la comprend pas. Certains penseront qu’il n était pas utile de montrer ces images et qu’en le faisant je cautionne ces pratiques en m’en rendant complice. A ceux-là je tiens à expliquer ceci : Mon travail en tant que photographe est de témoigner de la richesse et de la diversité des cultures de ce monde. Celui de mes contemporains. Si je possède certaines valeurs de par mon éducation, elles ne représentent pas la vérité universelle, immuable. Elles me restent donc personnelles et n’ont pas à influencer mon travail. Je n’aime pas l’idée que nos valeurs, parce que nous sommes nés avec et qu’elles ont forgé notre façon de penser valent mieux que celles de notre voisin qui en possède d’autres. Je respecte avant tout le droit à la différence dès lors que l’on peut en expliquer le ou les sens. Je défends la vie par d’autres combats personnels et d’autres actions. Lorsque je témoigne par l’image, je ne m’autorise aucun jugement. Je n’en ai ni la légitimité, ni le devoir, ni l’envie. Car si je m’octroyais ce droit, alors je devrais commencer par balayer devant ma porte. Et je ne traiterais plus d’aucun sujet.
Je m’explique : je serais incapable d’effectuer un sacrifice, ma sensibilité et mon éducation judéo-chrétienne ne m’y ont pas habituées. Pourtant je comprends et respecte les rituels des cultures qui les pratiquent. Animistes ou non. Je ne suis pas végétalien, j’aime me nourrir de viande, même si je fais de plus en plus attention au sens de ce que cela implique en amont de ce qui m’est offert dans mon assiette. Qui serais-je alors pour avoir le droit de juger du bon ou du mauvais droit de ces peuples a exercer ces pratiques depuis la nuit des temps ? Quelle que soit la méthode, le processus qui mène à la mort n’est pas un plaisir pour celui qui le vit. Le plus important reste qu’il ne soit pas mis à mort pour rien mais pour nous nourrir. C’est un des sens de la vie. La seule vraie différence réside alors dans la méthode. La notre, bien que plus discrète, n’en est pas plus défendable. L’hypocrisie qui consiste à se cacher derrière une pseudo bonne conscience aseptisée, bien à l’abri des regards, dans nos abattoirs, ne vaut pas mieux. Il n’y a donc pas à débattre sur ce point.
Merci de votre compréhension et bon voyage en Terre Toraja…
© Mathias Kellermann 2011 - Please do not copy, reproduce or use this image in any way without my written permission.
My best pics on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157625...
11.06.2022, Berlin:
Alternative Ausspielungskanäle journalistischer Recherchen – Mit Alexander Prinz / Der Dunkle Parabelritter, Melanie Stein, Sham Jaff und Georgine Kellermann auf der .txt Stage.
Die .txt-Konferenz ist das neue Netzwerkformat der re:publica und feiert das lebendige Wort. Sie findet in diesem Jahr am 11. Juni im Glashaus und Badeschiff der Arena Berlin statt. Foto: Anne Barth/re:publica
© Mathias Kellermann 2015 - All rights reserved - This work is protected under international copyright laws and agreements.No part of this photostream may be reproduced, stored in retrieval system (except Flickr Expo system and Faves) , or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior written permission.
L'exploitation et la reproduction à des fins commerciales ou non commerciales d'une oeuvre sans autorisation ecrite de son auteur constitue un acte de contrefaçon pénalement sanctionné au titre des articles L.122-4, L335-2 et L335-3 du CPI d'une peine allant jusqu’à 3 ans de prison et 300 000 euros d’amende.
Click on the image to see with black frame.My best pics on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157625...
To visit my personal website : www.mathiaskellermannphotography.com Thank you all for your comments, invitations and support.
11.06.2022, Berlin:
Alternative Ausspielungskanäle journalistischer Recherchen – Mit Alexander Prinz / Der Dunkle Parabelritter, Melanie Stein, Sham Jaff und Georgine Kellermann auf der .txt Stage.
Die .txt-Konferenz ist das neue Netzwerkformat der re:publica und feiert das lebendige Wort. Sie findet in diesem Jahr am 11. Juni im Glashaus und Badeschiff der Arena Berlin statt. Foto: Anne Barth/re:publica
Jardin du Moulin-de-la-Pointe 09/06/2023 08h26
Early morning before 9 in this park in the 13ème arrondissement of Paris. At the right the Tour Chambord located along the Boulevard Kellermann.
Jardin du Moulin-de-la-Pointe
This 1.45 ha park is located in the 13ème arrondissement of Paris in the quartier Maison-Blanche. The garden is accessible by rue du Moulin-de-la-Pointe, after no. 57, by allée Alexandre-Vialatte, by 166, avenue d'Italie and by rue du Colonel-Dominé.
The name recalls the presence of the “Moulin de la Pointe” which was positioned at the entrance, at the tip, of the road to Fontainebleau. July 8, 2022 is added to the name of the garden Paul Quilès (1942-2021), French politician.
The garden was created in 1992, then extended in 2003. The northern part of approximately 3,000 m2 is a slab above the Petite Ceinture line.
In September 2015, the garden became one of the ends of the Petite Ceinture du 13th.
[ Wikipedia - Jardin du Moulin-de-la-Pointe - Paul Quilès 11/2023 ]
Tile by Ayzit Bostan for edition van Treeck (curated by Katja Zukic)
Fused glass / 3colours / 5sizes / 10x10x0,6 cm / 10x10x0,9cm / 10x10x1,2cm / 10x20x0,6cm / 20x20x0,6mm moresizes and colours on request
Photo by Gerhardt Kellermann
© Mathias Kellermann 2013 - All rights reserved - This work is protected under international copyright laws and agreements. No part of this photostream may be reproduced, stored in retrieval system (except Flickr Expo system and Faves) , or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior written permission.
L'exploitation et la reproduction à des fins commerciales ou non commerciales d'une oeuvre sans autorisation ecrite de son auteur constitue un acte de contrefaçon pénalement sanctionné au titre des articles L.122-4, L335-2 et L335-3 du CPI d'une peine allant jusqu’à 3 ans de prison et 300 000 euros d’amende.
Click on the image to see with black frame.
My best pics on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157625...
To visit my personal website :
mathiaskellermann.wix.com/photography
Thank you all for your comments, invitations and support :)
© Mathias Kellermann 2011 - Please do not copy, reproduce or use this image in any way without my written permission.
My best pics on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157625...
The smallest (legal) indicators I could find: Kellermann "Atto". Really nice , almost invisible when inactive - and very visible when switched on.
The bike is a 2013 Harley-Davidson Night Rod Special (1250 cc, 122 hp)
Tile by Ayzit Bostan for edition van Treeck (curated by Katja Zukic)
Fused glass / 3colours / 5sizes / 10x10x0,6 cm / 10x10x0,9cm / 10x10x1,2cm / 10x20x0,6cm / 20x20x0,6mm moresizes and colours on request
Photo by Gerhardt Kellermann
Tile by Ayzit Bostan for edition van Treeck (curated by Katja Zukic)
Fused glass / 3colours / 5sizes / 10x10x0,6 cm / 10x10x0,9cm / 10x10x1,2cm / 10x20x0,6cm / 20x20x0,6mm moresizes and colours on request
Photo by Gerhardt Kellermann
89er Softail Custom Umbau
Motor: Typ: Evo Big Twin ,
Single Fire Doppelzündung, 2 mal Rev Tech,
Primär: Automat. Spanner,
Vergasser: Screaming Eagle, Ölpumpe: S & S,
Nockenwelle: Screaming Eagle, Kurbelwelle: Feingewuchtet,
Luftfilter: O.M.P,
Kupplung: Pro One
Fahrwerk: Rahmen: Original Softail, Schwinge: wurde leicht geändert,
Gabel: S.J.P 300 mm breit,
Rad vorne: 120/70 ZR17, Rad hinten: 190/50 ZR17,
Stoßdämpfer: Progressiv voll einstellbar (50mm) höhenverstellbar, Felgen: Alu poliert und lackiert, Bremsen: 3 mal 4 Kolben (Spiegler), Br.Scheiben: 2 mal 320 mm (Spiegler)Bre. u. Kpl. stahlummantelt (schwarz) Accessories:
Tank: 6 Gallonen Stretch,
Tacho: DAKOTA Digitaltacho, Tankdeckel: Alu Flugzeugtankdeckel, Benzinhahn: Arlen Ness,
Ölfilteraufn.: Jim`s,
Öltank: S.C.S Alu poliert,
Regler: Compu Fire,
Primärdeckel: Pro One,
Zünd.deckel: Pro One,
Fender hinten: Giovanni (2 Personen zugel.),
Fender vorne: Hardcore Cycles,
Griffe: O.M.P schwarz Alu,
Fußrasten: Jay Brake schwarz Alu, Riser: Jim`s,
Blinker: Kellermann schwarz Alu, Armaturen: Arlen Ness Alu,
Spiegel: Perucini,
Lampe: Alu (4 teilig) lackiert, Rücklichter: sind eingetragen,
Auspuff: V4A Edelstahl/Flugzeugalum, Krümmer: Drag Pipes 2 Zoll,
Sitzbank: Leder Schwarz, Seitenständer: Edelstahl (höhenverstellbar)und vieles mehr...