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Title : March clouds
Year : 2016
Location:Port Lincoln, Eyre Peninsula,
South Australia
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Title: Pastel pallet
As the winds build again to near gale force an archive image for today, Enjoy your weekend everyone
Location : Port Lincoln
Year : 2016
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Winged Victory
Bronze statue
Height: cm 191
Second half of 1st century AD
Prodotta nel secondo quarto del I secolo d.C. da un’officina bronzistica di alto livello dell’Italia settentrionale. Si tratta di una figura femminile, volta leggermente verso sinistra; è vestita di una tunica fermata sulle spalle (kiton) e di un mantello (himation) che avvolge le gambe.
È realizzata con il metodo della fusione a cera persa indiretta e risulta costituita da almeno trenta parti fuse singolarmente e saldate poi tra loro; è inoltre rifinita, come i ritratti, con strumenti a punta che ne definiscono con precisione i dettagli. Ad essa è stata poi aggiunta una agemina in argento e rame che ne cinge la capigliatura.
La statua, scoperta il 20 luglio del 1826 e la sua fama si diffuse in tutta Europa, al punto che Napoleone III, ospite a Brescia prima della battaglia di Solferino, nel giugno 1859, volle visitare il Museo Patrio e rimase così colpito dalla bellezza della statua che chiese di poterne avere una copia, ora visibile presso il museo del Louvre. Grato per l’omaggio bresciano, l’imperatore donò alla città due monumentali vasi in porcellana di Sèvres, che riportano i ritratti ufficiali di Napoleone III e della consorte, esposti nel Museo del Risorgimento della città.
It is a feminine figure, slightly turning her body to the left; she is wearing a cloth pinned on her shoulders (kiton) and a mantle (himation) wrapped around her legs.
The statue was realised with the technique known as investment casting and is composed of at least 30 parts cast separately and later soldered together. Just like in portraits, the finish touch is given with pointed tools that define traits neatly. With the technique of damascening, silver has been woven to her hair.
It must have been created in the second half of the 1st century AD by a professional workshop specialised in bronze art in the north of Italy.
The statue was discovered on July 20th 1826 and the fame of the Victory in Brescia had been spreading all around Europe, so much so that Napoleon III, who was staying in Brescia before the Solferino battle in June 1859, wanted to visit the Archaeological and historical museum. He was so impressed by the beauty of the statue that he asked to have a copy of it, now exhibited at the Louvre. Thankful for this gift from Brescia, the Emperor donated to the city two monumental Sèvres porcelain vases bearing the portraits of Napoleon III and his wife, now on show at the Museo del Risorgimento in the city.
Winged Victory
Bronze statue
Height: cm 191
Second half of 1st century AD
Prodotta nel secondo quarto del I secolo d.C. da un’officina bronzistica di alto livello dell’Italia settentrionale. Si tratta di una figura femminile, volta leggermente verso sinistra; è vestita di una tunica fermata sulle spalle (kiton) e di un mantello (himation) che avvolge le gambe.
È realizzata con il metodo della fusione a cera persa indiretta e risulta costituita da almeno trenta parti fuse singolarmente e saldate poi tra loro; è inoltre rifinita, come i ritratti, con strumenti a punta che ne definiscono con precisione i dettagli. Ad essa è stata poi aggiunta una agemina in argento e rame che ne cinge la capigliatura.
La statua, scoperta il 20 luglio del 1826 e la sua fama si diffuse in tutta Europa, al punto che Napoleone III, ospite a Brescia prima della battaglia di Solferino, nel giugno 1859, volle visitare il Museo Patrio e rimase così colpito dalla bellezza della statua che chiese di poterne avere una copia, ora visibile presso il museo del Louvre. Grato per l’omaggio bresciano, l’imperatore donò alla città due monumentali vasi in porcellana di Sèvres, che riportano i ritratti ufficiali di Napoleone III e della consorte, esposti nel Museo del Risorgimento della città.
It is a feminine figure, slightly turning her body to the left; she is wearing a cloth pinned on her shoulders (kiton) and a mantle (himation) wrapped around her legs.
The statue was realised with the technique known as investment casting and is composed of at least 30 parts cast separately and later soldered together. Just like in portraits, the finish touch is given with pointed tools that define traits neatly. With the technique of damascening, silver has been woven to her hair.
It must have been created in the second half of the 1st century AD by a professional workshop specialised in bronze art in the north of Italy.
The statue was discovered on July 20th 1826 and the fame of the Victory in Brescia had been spreading all around Europe, so much so that Napoleon III, who was staying in Brescia before the Solferino battle in June 1859, wanted to visit the Archaeological and historical museum. He was so impressed by the beauty of the statue that he asked to have a copy of it, now exhibited at the Louvre. Thankful for this gift from Brescia, the Emperor donated to the city two monumental Sèvres porcelain vases bearing the portraits of Napoleon III and his wife, now on show at the Museo del Risorgimento in the city.
Winged Victory
Bronze statue
Height: cm 191
Second half of 1st century AD
Prodotta nel secondo quarto del I secolo d.C. da un’officina bronzistica di alto livello dell’Italia settentrionale. Si tratta di una figura femminile, volta leggermente verso sinistra; è vestita di una tunica fermata sulle spalle (kiton) e di un mantello (himation) che avvolge le gambe.
È realizzata con il metodo della fusione a cera persa indiretta e risulta costituita da almeno trenta parti fuse singolarmente e saldate poi tra loro; è inoltre rifinita, come i ritratti, con strumenti a punta che ne definiscono con precisione i dettagli. Ad essa è stata poi aggiunta una agemina in argento e rame che ne cinge la capigliatura.
La statua, scoperta il 20 luglio del 1826 e la sua fama si diffuse in tutta Europa, al punto che Napoleone III, ospite a Brescia prima della battaglia di Solferino, nel giugno 1859, volle visitare il Museo Patrio e rimase così colpito dalla bellezza della statua che chiese di poterne avere una copia, ora visibile presso il museo del Louvre. Grato per l’omaggio bresciano, l’imperatore donò alla città due monumentali vasi in porcellana di Sèvres, che riportano i ritratti ufficiali di Napoleone III e della consorte, esposti nel Museo del Risorgimento della città.
It is a feminine figure, slightly turning her body to the left; she is wearing a cloth pinned on her shoulders (kiton) and a mantle (himation) wrapped around her legs.
The statue was realised with the technique known as investment casting and is composed of at least 30 parts cast separately and later soldered together. Just like in portraits, the finish touch is given with pointed tools that define traits neatly. With the technique of damascening, silver has been woven to her hair.
It must have been created in the second half of the 1st century AD by a professional workshop specialised in bronze art in the north of Italy.
The statue was discovered on July 20th 1826 and the fame of the Victory in Brescia had been spreading all around Europe, so much so that Napoleon III, who was staying in Brescia before the Solferino battle in June 1859, wanted to visit the Archaeological and historical museum. He was so impressed by the beauty of the statue that he asked to have a copy of it, now exhibited at the Louvre. Thankful for this gift from Brescia, the Emperor donated to the city two monumental Sèvres porcelain vases bearing the portraits of Napoleon III and his wife, now on show at the Museo del Risorgimento in the city.
Winged Victory
Bronze statue
Height: cm 191
Second half of 1st century AD
Prodotta nel secondo quarto del I secolo d.C. da un’officina bronzistica di alto livello dell’Italia settentrionale. Si tratta di una figura femminile, volta leggermente verso sinistra; è vestita di una tunica fermata sulle spalle (kiton) e di un mantello (himation) che avvolge le gambe.
È realizzata con il metodo della fusione a cera persa indiretta e risulta costituita da almeno trenta parti fuse singolarmente e saldate poi tra loro; è inoltre rifinita, come i ritratti, con strumenti a punta che ne definiscono con precisione i dettagli. Ad essa è stata poi aggiunta una agemina in argento e rame che ne cinge la capigliatura.
La statua, scoperta il 20 luglio del 1826 e la sua fama si diffuse in tutta Europa, al punto che Napoleone III, ospite a Brescia prima della battaglia di Solferino, nel giugno 1859, volle visitare il Museo Patrio e rimase così colpito dalla bellezza della statua che chiese di poterne avere una copia, ora visibile presso il museo del Louvre. Grato per l’omaggio bresciano, l’imperatore donò alla città due monumentali vasi in porcellana di Sèvres, che riportano i ritratti ufficiali di Napoleone III e della consorte, esposti nel Museo del Risorgimento della città.
It is a feminine figure, slightly turning her body to the left; she is wearing a cloth pinned on her shoulders (kiton) and a mantle (himation) wrapped around her legs.
The statue was realised with the technique known as investment casting and is composed of at least 30 parts cast separately and later soldered together. Just like in portraits, the finish touch is given with pointed tools that define traits neatly. With the technique of damascening, silver has been woven to her hair.
It must have been created in the second half of the 1st century AD by a professional workshop specialised in bronze art in the north of Italy.
The statue was discovered on July 20th 1826 and the fame of the Victory in Brescia had been spreading all around Europe, so much so that Napoleon III, who was staying in Brescia before the Solferino battle in June 1859, wanted to visit the Archaeological and historical museum. He was so impressed by the beauty of the statue that he asked to have a copy of it, now exhibited at the Louvre. Thankful for this gift from Brescia, the Emperor donated to the city two monumental Sèvres porcelain vases bearing the portraits of Napoleon III and his wife, now on show at the Museo del Risorgimento in the city.
Hà Nội, Vietnam, 2008 - Leica M7, Summilux 35, Fuji Reala
If you need a necktie to make you feel professional, you’re probably incompetent. However I keep on loving the unique Italian handmade ties crafted by Borrelli, Brioni, Corneliani, Ermenegildo Zegna, Kiton, Loro Piana...
Two Late Geometric Amphorae. To left, amphora with ritual procession and mourning scene; to right, geometric amphora (Inv. 31005) with depiction of animals.
In the lower continuous frieze painted on the left amphora (H 1 1.5 cm), procession of warriors equipped with round shield, two lances and a high-crested helmet. The shields richly decorated are drawn with compasses (diameter 4.1 cm), and cover the body and part of the thighs of the warriors. Rows of angular lines between the warriors and some small birds between their feet fill the surface of the frieze.
In the upper frieze (height 8.3 cm) procession of eight charioteers wearing a kiton. Their heads are small, round with pronounced noses. The charioteers standing in single-axle racing chariot drawn by a single horse attached to the drawbar, hold a staff in their right hand and three reins in their left. The wheels of the chariots are drawn with a compass (diameter 2.9 cm) and have spokes. The surface between the charioteers teams is decorated with different filling patterns: angle rows, double ax motifs, x-shaped patterns and latticed diamonds with a diagonal cross. Between some teams a single bird is painted between the hindquarters and tail of the horses.
On the shoulder three geometrical strip friezes. On the upper one a varnished snake is applied.
On the amphora neck a central metope decorated with a mourning scene. Nine women, portrayed with high and narrow waists and harmonious silhouettes, raise the arms on their heads in a mourning gesture; the hair fall in two strands on their shoulders; the long dark dresses are decorated with a vertical white wavy line.
CAV / CAVI @ www.beazley.ox.ac.uk
Attic geometric amphora
H. 69,5 cm; Diam. 24,8 cm
Ca. 720 BC
Berlin, Antikensammlung, Inv. 3203
A young rider is represented, without saddle, reining in his horse. He must have held a whip in his right hand, and the reins in his left. He wears a kiton and a chlamys fastened on his right shoulder, a petasos, and sandals. The horse rears up on its hind legs, its forelegs extended well forward and its neck arched back. The dynamic of the composition, based upon and suffused by the contrasting strengths of horse and rider, is developed in even the slightest details.
This harmony of freedom and constraint is characteristic of Greek classicism of about 400 BC.
On the right corner, behind a small altar, a standing youth wrapped in his cloack, greets the rider raising his hand.
In format, this small relief belongs to the class of funerary.
Greek funerary marble relief
late 5th or early 4th cent. BC
Vatican Museums, Museo Gregoriano Profano
Achilles is at the center of the scene. As the daughters of Lycomedes, he is wearing a large kiton but his hair are loose. Deidamia, the daughter of Lycomedes, is at his feet, and is embracing the knees of the hero. She is clearly in love with him as the Erotes carved near her reveal. Achilles has a shield in his left hand and with his right hand is grasping a sword. An overly great helmet is at his feet. The daughters of Lycomedes are freightened and Achilles looks back at them. One of them holds a lyre. This musical instrument recalls both a symbol of femininity and the musical education imparted to Achilles by the centaur Chiron. It is the symbol of a world from which the young hero will be separated forever. Deidamia is looking to the left, towards the Greeks who are rushing. On the right of the scene are represented Ulysses and Diomedes. The first readily indicates to the second the unveiled Achilles.
This scene contains a clear message of separation from the loved one represented with connotations both heroic and lyric.
Source: Zanker P. et alt., “Vivere con i Miti. L’iconografia dei sarcogagi Romani”
Roman Sarcophagus
Early 3rd cent. AD
Paris, Musée du Louvre
The Kōmos was a ritualistic drunken procession performed by revelers in ancient Greece.
Kylix inner part shows a barbed man and a woman playing pipes moving toward left. The man has his stuff and walking stick, the woman dresses a kiton. The pipe' case gang from her right harm.
Made in Athens,
Painter of the Paris Gimantomachy, 500 – 450 BC
From Vulci, Etruria
Munich, Antikensammlungen
The Luxury Mall occupies 3 floors of the Ocean Park Office Building at 01 Dao Duy Anh Street. It covers a gross floor area of over 5,000 square metres, providing space for more than 30 luxury fashion and accessory boutiques and high-end luxury consumer goods. This is one of the most expensive mall in Vietnam.
Brands: Gianfranco Ferre, Roberto Botticelli, Versace, Kiton, D&G, Jut Cavalli, Moreshi, C'N'C, Exté, Umberto Bilancioni, GF Ferre, Vicini Giuseppe Zanotti, Glass Robeto Cavalli, Roberto Scarpa, R.E.D. Valentino, 2DIE4, XXX Kisses Gai Mattiolc...
Grave inscribed stele of Epiprosodo Sotirichou. Two elegant standing women faces the observer. They wear a full-length garment, the peplos, and above it, a kiton. The hairstyle is arranged in locks of hair, parted in the center of the forehead, tied and gathered at the nape. A long braid wraps the top of their head.
Marble stele
3rd - 4th century AD
Chalkis, Archaeological Museum of Chalkida – Inv. No. 26
Juin 1955.
Voici le trajet effectué par le roi en juin 1955 au Congo Belge et au Ruanda-Urundi.
Léopoldville, Matadi, Boma, Moanda, Kitona, Coquilhativille, Luluabourg, Kamina, Elisabethville, Jadotville, Kolwezi, Usumbura, Kitega, Kigali, Bukavu et Stanleyville.
Collection Pierre Gallez, carte postale.
Tableau réalisé en 1960 par Jacqueline Octavien depuis la 'colline du Belvédère' située à l'est de Usumbura.
Jacqueline a vécu dans la Région des Grands Lacs de 1951 à 1977 (Usumbura, Bukavu, Kirotshe) avec des détours à Stanleyville, Kalima, Kitona et Kananga et quelques brefs séjours en Belgique. Elle a toujours adoré dessiner. Elle nous a confié « Je crois avoir commencé à dessiner en même temps qu'écrire en gardienne ». A l’Athénée Royal de Bukavu, en travail de groupe, c’était elle qui se chargeait d'illustrer les sujets que l’enseignant proposait. Depuis, elle a peint près de 150 tableaux, pour des amis ou pour son propre plaisir, portraits, nus et paysages. Nombre d’entre eux décorent aujourd’hui les murs de sa maison.
Ceux qui ont connu Jacqueline se rappelleront qu’elle a fréquenté l’école Stella Matutina à Usumbura et l’Athénée Royal à Bukavu. Ses parents ont tenu l’hôtel-restaurant ‘Le Relais’ à Kirotshe (Sake – Goma), la Rotonde à Bukavu et le ‘Pourquoi Pas’ à Usumbura, mais ils ont aussi vécu ailleurs dans la colonie. Du temps où elle vivait à Kirotshe, elle a tenu un rôle dans un film sur le Rwanda produit par les Pères Blancs et mis en scène par le Révérend Père Weymeersch. Cela lui donna l’occasion de côtoyer le Mwami Mutara Rudahigwa, la Mwamikazi Rosalie Gicanda, la mère du Mwami Radegonde Nyiramavugo Kankazi et l'historien rwandais Alex Kagame. Après un court séjour en Europe, elle retourna vivre au Congo avec son mari Lucien Vandenberghe, dans le cadre de l’aide technique belge, où ils séjournèrent jusqu’en 1977.
Commentaire de A. Maes-Geerinckx
Antonio Meccariello 是我初期鎖定的四間義大利手工鞋廠之一，是最早下單也是最晚入手的。
從他官網自述得知，約在1950年代，他所居住的區域投入了製鞋產業，當時是以家庭工坊的方式進行，大家都在家裡製作，而每一家可能只做一部分，整雙鞋要經過幾個家庭才完成，後來因為製鞋業工業化，義大利的製鞋逐漸集中到了 Marche 地區，他家附近的製鞋業也逐漸沒落。
他的祖父是 Bespoke Shoemaker，後來他的父母也開了間工坊專做鞋履的上部，並且獲得一些法國與義大利品牌的青睞，而他自己則是前往了米蘭學藝，學成之後回鄉效法祖父當起了 Bespoke Shoemaker，隨著名聲逐漸傳開，受到了奢華品牌 Kiton 創辦人邀請，幫 Kiton 開創了鞋履部門，自己擔任首席設計師，兩年之後他決定回到家鄉專心經營自己的品牌。
Juin 1955.
Sur l'aéroport de Usumbura (Urundi), J.P. Harroy, Gouverneur Général du Ruanda - Urundi, le Mwami Mutara III Rudahigwa du Ruanda (avec sa cape bleue) et tout à droite, le Mwami Mwambutsa du Burundi (en tenue militaire européenne), attendent le Roi Baudouin qui, venant du Congo Belge voisin, arrive en avion à Usumbura.
Certains moments du voyage du Roi Baudouin au Ruanda - Urundi sont accessibles via le lien vidéo suivant :
youtu.be/SAh7DTcUmVQ . Une vidéo de 15'en couleur et sonorisée.
Remarque : Pendant près d'un mois, du 16 mai au 11 juin 1955, il accomplit un tour complet du Congo Belge et visita aussi le Ruanda - Urundi, territoires dont la tutelle avait été confiée à la Belgique par la Société des Nations, mandat confirmé par l'ONU.
Voici le trajet effectué : Léopoldville, Matadi, Boma, Moanda, Kitona, Coquilhatville, Luluabourg, Kamina, Elisabethville, Jadotville, Kolwezi, Usumbura, Kitega, Kigali, Bukavu et Stanleyville.
A ce moment-là, le Roi Baudouin n'a que 25 ans et vient d'être intronisé, depuis 4 ans environ, cinquième Roi des Belges, à la suite de l'abdication de son père, Léopold III, le 16 juillet 1951.
Gbadolite, Province Equatoriale, RD Congo : Une membre du personnel du Bureau conjoint des Nations Unies pour les droits de l’homme recueille les témoignages des ex-combattants en instance de transfert vers les sites de regroupement de Kitona et Kamina. Photo MONUSCO/Abel Kavanagh
==
Gbadolite, Equatorial Province, DR Congo: A staff member of the United Nations Joint Human Rights Office collects the testimonies of ex-combatants to be transferred to Kamina and Kitona cantonment sites. Photo MONUSCO/Abel Kavanagh
Uvira, Province du Sud-Kivu : La Section DDRRR (Désarmement, Démobilisation, Rapatriement, Réintégration et Réinstallation des groupes armés étrangers) de la MONUSCO-Uvira assiste à la remise officielle des kits de réinsertion aux ex-combattants démobilisés d’Uvira et de Fizi par l’Unité d’Exécution du Programme National de Démilitarisation, Démobilisation et Réinsertion (UE-PNDDR/Uvira). L’opération cible initialement 43 ex-miliciens Maï Maï rentrés récemment des centres démobilisation de Kamina et de Kitona après quelques années de formation en mécanique, agriculture, pêche, élevage ou informatique. Toutefois, la distribution de ces kits de réinsertion sociale pourra se poursuivre en direction des autres démobilisés et à travers les Territoires de Fizi et d’Uvira Photo MONUSCO/DDRRR Section
==
Uvira, South Kivu Province: The MONUSCO DDRRR (Disarmament, Demobilization, Repatriation, Reintegration and Resettlement of foreign armed groups) Section attends the official presentation of reintegration kits to demobilized ex-combatants of Uvira and Fizi by the Implementation Unit of the National Demilitarization, Demobilization and Reintegration Programme (UE-PNDDR / Uvira). The operation initially targets 43 former Mai-Mai militiamen recently returned from the Kamina and Kitona demobilization centers after several years of training in mechanic, farming, fisheries, livestock production or computer use. However, the distribution of these reintegration kits will be extended to other demobilized ex-combatants and through the territories of Fizi and Uvira. Photo MONUSCO/DDRRR Section
#iic #iai #imageconsulting #personalshopping #styling #menswear #mensfashion #styleformen #madetomeasure #custom #suits #kiton
Asesoria de Imagen Personal para Hombres #iic #iai #asesoriadeimagen #moda #estilo #trajes #hechoamedida #hombres #miami #milan #dubai #uae #gcc
Foto: Museo Arqueológico Nacional de Madrid
Estatua femenina sedente de Livia, esposa de Augusto. De todas las efigies suyas conocidas hasta la fecha es la más hermosa y mejor conservada. El rostro, la expresión suave e idealizada es sereno y hermoso. Viste doble kitón y sobre él, el himation le cubre la cabeza y todo el cuerpo dejando ver solamente el lado derecho de cintura para arriba y la parte inferior del kitón.
El brazo derecho avanza un poco y con la mano sostendría probablemente una pátera; en la izquierda llevaría el cetro. Va peinada con raya en medio, con ondas grandes y moño bajo, que se aprecia por detrás en un bulto bajo el velo y tiene una delgada banda y cuatro agujeros en los que en su tiempo debió sujetarse una diadema imperial o una corona de espigas, según se la representa en una moneda de bronce, acuñada en Paestum -Cohen, I, 204, nº178- es decir: figurándola como una divinidad -Juno o Ceres-.
Está labrada en dos bloques de mármol, que se unen en la línea de los muslos. Una ligera desproporción entre tronco y piernas se explica por haber sido concebida para mirarla desde abajo. La parte inferior está labrada por detrás sin duda porque sería visible a través de la silla en que se sentaba -según parece de patas leoninas-.
Caria, Caunus
Stater circa 410-390, AR 11.71 g. Iris with curved wings, in a kneeling running position l., wearing long kiton and holding caduceus and wreath in outstretched hands. Rev. s − Γ Conical baetyl; All within partially incuse square. Kraay-Hirmer pl. 187, 636. Weber 7507 (these dies). BMC 11 and pl. 16, 7 (these dies). Kunstfreund 166. W.G. Sayles " ancient coins, Collection II, 1997 , K. 164 ( this coin ). K. Konuk, Essays Price, 1998, pl. 49, 112b (this coin illustrated).
Rare and by far the finest specimen known. A charming issue of masterly style perfectly
struck and centred on a very broad flan. Lightly toned and good extremely fine
Ex Leu sale 48, 1989, 239 (illustrated on the front page). The ‘Winged Carians’ is a coinage that until very recently was only understood in the broadest terms. Hoard evidence suggested a mint in south-western Asia Minor, but the true stumbling block to identification of the mint was the poor understanding of the ancient Carian script. Breakthroughs began in the 1960s, but it was not until researchers began to work with Carian inscriptions from the Nile delta where mercenaries from Caria were employed, that significant progress was made in the 1980s. Work on the script and language continues, with new conclusions being published continually. At present it would seem thtat the script has more than forty individual signs considered to be alphabetic, and although many of them resemble characters from the Greek language, their phonetic value typically is quite different. The language dates back at least to the 7th Century B.C. and seems to have been used into the 1st Century A.D. The three principal signs on the ‘Winged Carians’ are letters resembling an upside down Delta, a Gamma and an Iota from the Greek alphabet; it is now believed that they equate ‘kbi’, which matches well with Khbide, the Lycian name for Kaunos (modern Dalyan), a Carian port city close to the Lycian border and to the island of Rhodes. Thus, it is to Kaunos that this coinage is now generally attributed. As if the script and language were not hurdles high enough, researchers are still uncertain about the meaning of the designs. The winged female on the obverse has been described as Nike or Eirene, but since she holds a wreath and a kerykeion she is best identified as Iris (or an Anatolian equivalent of this Greek messenger goddess). Based on archaeological discoveries at the site of Kaunos, the reverse type seems to be a baetyl, in this case a conical stone apparently venerated as a ‘House of God’ which was the principal object of worship for the local cult.
NAC48, 98
Série de cartes postales qui ont été éditées en 1955 par l'entreprise 'Chocolat Côte d'Or' à l'occasion du premier voyage du Roi Baudouin à travers le Congo Belge et le Ruanda-Urundi en juin de cette même année.
Ce trajet a été le suivant :
'Léopoldville, Matadi, Boma, Moanda, Kitona, Coquilhatville, Luluabourg, Kamina, Elisabethville, Jadotville, Kolwezi, Usumbura, Kitega, Kigali, Bukavu et Stanleyville'.
Au dos de ces cartes est écrite une légende.
Vous trouverez celle-ci en passant votre souris sur chacune d'elles.
Collection famille Geerinckx
Grave inscribed stele of Epiprosodo Sotirichou. Two elegant standing women faces the observer. They wear a full-length garment, the peplos, and above it, a kiton. The hairstyle is arranged in locks of hair, parted in the center of the forehead, tied and gathered at the nape. A long braid wraps the top of their head.
Marble stele
3rd - 4th century AD
Chalkis, Archaeological Museum of Chalkida – Inv. No. 26
Few shots from STREFA INNE BRZMIENIA Festival 2008 (for Polish Radio)
Coverage in polish www.polskieradio.pl/muzyka/blogi/a/?id=59743:
Série de cartes postales qui ont été éditées en 1955 par l'entreprise 'Chocolat Côte d'Or' à l'occasion du premier voyage du Roi Baudouin à travers le Congo Belge et le Ruanda-Urundi en juin de cette même année.
Ce trajet a été le suivant :
'Léopoldville, Matadi, Boma, Moanda, Kitona, Coquilhatville, Luluabourg, Kamina, Elisabethville, Jadotville, Kolwezi, Usumbura, Kitega, Kigali, Bukavu et Stanleyville'.
Au dos de ces cartes est écrite une légende.
Vous trouverez celle-ci en passant votre souris sur chacune d'elles.
Collection famille Geerinckx
Série de cartes postales qui ont été éditées en 1955 par l'entreprise 'Chocolat Côte d'Or' à l'occasion du premier voyage du Roi Baudouin à travers le Congo Belge et le Ruanda-Urundi en juin de cette même année.
Ce trajet a été le suivant :
'Léopoldville, Matadi, Boma, Moanda, Kitona, Coquilhatville, Luluabourg, Kamina, Elisabethville, Jadotville, Kolwezi, Usumbura, Kitega, Kigali, Bukavu et Stanleyville'.
Au dos de ces cartes est écrite une légende.
Vous trouverez celle-ci en passant votre souris sur chacune d'elles.
Collection famille Geerinckx
Série de cartes postales qui ont été éditées en 1955 par l'entreprise 'Chocolat Côte d'Or' à l'occasion du premier voyage du Roi Baudouin à travers le Congo Belge et le Ruanda-Urundi en juin de cette même année.
Ce trajet a été le suivant :
'Léopoldville, Matadi, Boma, Moanda, Kitona, Coquilhatville, Luluabourg, Kamina, Elisabethville, Jadotville, Kolwezi, Usumbura, Kitega, Kigali, Bukavu et Stanleyville'.
Au dos de ces cartes est écrite une légende.
Vous trouverez celle-ci en passant votre souris sur chacune d'elles.
Collection famille Geerinckx