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below this bust of George Cadbury are the ashes of George Cadbury and his second wife Dame Elizabeth
He bought the land that was to become Bournville in 1878 and opened the factory here in 1879. He helped set up the Birmingham Civic Society in 1918.
I need a closer shot of the bust.
Published in the Birmingham Mail on Tuesday 16th February 2010. Your Flickr Cadbury special page.
The Friends' Meeting House in Bournville is a Grade II listed building.
1905, by W Alexander Harvey. Red brick with atone dressings; tiled roof. The main hall tall and cabled with an arched doorway of 5 plain orders flanked on either side by a small 2-light mullioned window and, above a tall 2-light mullioned window with 2 transoms. Left and right of this composition the lover subsidiary rooms project diagonally to terminate in gabled facades. In an alcove in the cable end of the right-hand projection the bust of George Cadbury (1839-1922) and a tablet recording the burial there of the ashes of himself and his wife. In the angle on the left an octagonal staircase turret with high pointed cap. Inside, the braces of the hall roof rise from the floor.
Assenbucher Straße, Leoni, Bayern, Deutschland.
Camera: Canon EOS 5D Mark II
Lens: Zeiss Makro-Planar T* 2/100 ZE
Focal Length: 100 mm
Exposure: ¹⁄₂₀₀ sec at f/3.2
ISO: 50
Published: www.bfmtv.com/planete/francais-aiment-energies-renouvelab...
www.theecoreport.com/green-blogs/technology/energy/utilit...
The Postcard
A postally unused postcard that was published by the Photochrom Co. Ltd. They state on the divided back of the card that it is an all-British production.
The Photochrom Co. Ltd.
The Photochrom Co. Ltd. of London and Royal Tunbridge Wells originally produced Christmas cards before becoming a major publisher and printer of tourist albums, guide books, and postcards.
These mainly captured worldwide views as real photos, or were printed in black & white, monochrome, and color.
They also published many advertising, comic, silhouette, novelty, panoramic, and notable artist-signed cards in named series as well. The huge number of titles that Photochrom produced may well exceed 40,000.
In 1896 they took over Fussli’s London office established three years earlier, and began publishing similar photo-chromolithographic postcards after securing the exclusive English licence for the Swiss photochrom process.
This technique was used to produce a great number of view-cards of both England and Europe. While they captured the same fine details as the Swiss prints, their colours were much softer and reduced.
Apart from their better known photochroms, they produced their Celesque series of view-cards printed in tricolor.
One of the largest unnamed series that Photochrom produced was of view-cards printed in brown rotogravure. Many of these cards were simply hand coloured with a dominant red and blue, which gives these cards a distinct appearance. They are similar to cards produced in their Photogravure and Velvet Finish Series.
Photochrom postcard series include:
-- Night Series - Line block halftone over a blue tint depicting London.
-- Carbofoto Series - Black & white real photo cards.
-- Sepiatone Series - Sepia real photo cards.
-- Grano Series - View-cards printed in black & white.
-- Exclusive Photo-Color Series - View-cards printed in colour.
-- Duotype Process Series - View-cards printed in two tones.
The Cumberland Hotel
The building on the left is the enormous Cumberland Hotel.
The www.kzwp.com/ website created by Kattie Zion has a detailed history of the Cumberland Hotel building. She writes that:
"In 1901 the island site bounded by Oxford Street, Old Quebec Street, Bryanston Street and Great Cumberland Place, was progressively acquired by Joseph Lyons for the erection of the Cumberland Hotel.
The Cumberland project was formidable. The excavations alone entailed the removal of over 100,000 cubic yards of material, during which historical relics from all periods were unearthed. All building work was carried out by Lyons' own staff.
The Cumberland Hotel featured all the latest developments of comfort. It was sound-proofed, double glazed, air conditioned, and all 900 bed-rooms had their own en-suite. All air entering the hotel was filtered, including the supply to the kitchen areas. Here the exhaust was treated in order to eradicate cooking smells.
The structure consisted of thirteen floors, ten of them above ground and three below. Part of the hotel backbone was an enormous 100-ton girder which required the world's largest lorry to convey it. Fifteen thousand tons of steel-work was used in the hotel's construction. Four hundred thousand square feet of 'Empire grown timber' was used in the making of bedroom furniture.
The Cumberland Hotel officially opened its doors on the 12th. December 1933.
Two thousand staff were employed at the hotel, and a specially built annex provided accommodation for 300 girls who slept in single or double rooms. There was one bath to every four girls, and they ate in their own restaurant on the ground floor of the annex."
The Cumberland has seen many famous guests over the years; in the music world these include Bob Dylan, Diana Ross, Jimi Hendrix and Buddy Holly.
In the Spring of 2019 the hotel changed its name to the Hard Rock Hotel, but reverted back to the Cumberland name four years later in May 2023.
The 2014 Cumberland Hotel Hammer Attack
In April 2014 the Cumberland Hotel was the scene of a devastating hammer attack.
Three sisters, Ohoud, Khaloud and Fatima Al-Najjar were staying in adjoining rooms at the Cumberland Hotel in Marble Arch, when Philip Spence hit all three of them violently with a claw hammer.
Spence was able to enter their seventh floor room, which was not locked, after he walked in off the street.
Philip Spence
Thirty-three year old Philip Spence from Harlesden in north-west London carried out his attack in front of Khaloud’s three children, aged seven, ten and twelve.
He hit one of his victims, Ohoud al-Najjar, 34, with such force that her skull split open as her nine-year-old nephew cowered under the sheets next to her.
Spence was permanently excluded from school at the age of eight, smoked cannabis from the age of 11, and was addicted to crack cocaine and heroin by 18.
Spence’s history of violence includes chasing his landlord with a hammer and punching a woman at council offices in 2007, as well as biting a passer-by in 2011.
Spence has 37 convictions for 62 offences dating back to 1993.
The three women left their hotel rooms unlocked on the night of the attack in order to allow a fourth sister to return later in the evening.
The fourth sister, Sheika al-Mheiri, on returning discovered her sisters lying injured on the floor, with blood spattered on the walls.
Spence had fled the scene with a suitcase stuffed with iPads, gold jewellery and mobile phones, having dumped the hammer just outside the hotel.
CCTV footage captured Spence on a bus examining items that he had stolen from the women after his attack.
The Criminal Trial
A year later at his criminal trial, Spence’s barrister, William Nash, said in mitigation that his client had consumed a large amount of drugs at the time of the attack:
“He didn’t know of any other crackhead
as big as him. He can’t forgive himself.
He describes himself as being a totally
different person. He is not unempathetic.”
Nevertheless Spence was convicted of three counts of attempted murder.
The "hotel creeper" was initially ordered to serve life with a minimum of 18 years, but this was increased to 27 years on appeal.
The High Court Case
The BBC provided the following information on the 7th. May 2019 relating to the attack and its legal consequences:
"Three sisters who suffered devastating injuries in a hammer attack by a thief are suing the owners of the London hotel where it happened.
At the start of the case at the High Court, lawyers described the injuries to the women, who were from Abu Dhabi in the UAE:
-- Ohoud was left with five per cent brain capacity, and will require care for the rest of her life.
-- Khaloud has had 20 operations to rebuild her head and face.
-- Fatima cannot taste or smell, and has problems with her memory.
Spence admitted the attack,, but denied attempted murder.
The family's barrister, Susan Rodway, said that Spence - who had a history of sneaking into hotel rooms to steal - had "great knowledge and familiarity" of the Cumberland Hotel.
She said that he told his criminal trial he was a regular intruder at the hotel, and had even been able to sleep in maids' cupboards.
She added that security "failures" led Spence to directly target the hotel, where he knew he could make an easy buck from the rich pickings there.
The court heard that it was "well-known" to the hotel that it was common for Middle Eastern guests to leave doors on the latch in order to enable family members to go between rooms.
The hotel's owners deny liability, arguing that by leaving their door open, the women voluntarily assumed the obvious risk of allowing anyone to enter the room while they were asleep inside.
Neil Block QC, for the hotel, said in a written submission:
"Each guest room was fitted with a heavy duty
fire door with efficient self-closers and automatic
locks, deadlocks, security chains and spy-glasses.
The rooms were designed so that guests could
not leave them open accidentally."
He said that after the incident, police tested a closed bedroom door, and found it impossible to gain access with a hammer similar to that used by Mr Spence.
Ms Rodway said that the hotel's CCTV system was "purely reactive" and that:
"it was clearly only there to enable review
should an incident occur, but not to enable
any anticipation or prevention of an incident".
But Mr Block said the fact that there was no system for live monitoring of all 130 CCTV cameras at the hotel "was, and indeed remains, the norm for similar hotels".
He concluded:
"But for the deliberate interference with
the door's locking mechanism, the attack
would not have occurred."
The case is expected to last for two weeks."
The High Court Judgement
On Friday the 21st. June 2019, the High Court judge Mr. Justice Dingemans ruled that:
"There was no liability on the part of the
Cumberland Hotel to Ohoud, Khaloud
and Fatima for the attack carried out by
Mr Spence".
He said that the case raised issues about whether a hotel proprietor owes a duty to guests to take reasonable care to protect against injury caused by the criminal actions of third parties, and if so whether the duty was breached in this case.
Dingemans concluded that there was such a duty of care, but based on the facts of the case, there was no breach of that duty.
The judge said that:
"The hotel acted with reasonable care to
protect guests at the hotel against injury
caused by the criminal acts of third parties".
However Khaloud and Fatima said in a statement after the ruling:
"Re-living the horrors of that terrifying night
where we almost lost our lives has been
extremely traumatic for us to endure, and
we are devastated that it has all been for
nothing.
We lost our sister, and our lives were
changed forever when we were attacked
by Spence in the privacy of our own room."
Khaloud and Fatima said that they felt the decision was "a travesty" and that "justice has not been done".
A spokeswoman for the owner of the Cumberland, GLH Hotels, said after the ruling:
"We believe today's judgement is the
correct outcome.
Regardless, the al Najjar family's
experience was deeply shocking and
wholly unprecedented and we reiterate
our heartfelt concern for their well-being
as they continue to receive all necessary
support."
Published by Amberley. In collaboration with my friend in Israel, Alon Siton. British steam locomotives are beautiful and foreign ones are not ;)
On the side of Ben's Chili Bowl
Published in Photos from PoPville – Ben’s Cosby Mural Commentary | PoPville
Published in Bill Cosby Still Gets Free Food at Ben’s Chili Bowl - City Desk
Published in Bill Cosby and the New Meaning of Integrity -
This photograph was published in the Illustrated Chronicle on the 6th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Advertisement published in the magazine "l'Illustration" dedicated to the 1928 motor show.
The brand, which sold very little in France, was then known as the symbol of the American luxury car.
Annonce publicitaire publiée dans la revue "l'Illustration" consacrée au salon de l'automobile de 1928.
La marque, très peu vendue en France, était alors connue comme le symbole de la voiture Américaine de Grand Luxe.
A collaborative book for those in the frontlines of healthcare. www.amazon.com/Whats-Right-Health-Care-Worthwhile/dp/0974...
Suspended Animation Classic #25
First published on Sun. June 25, 1989
Something for Everyone
By Michael Vance
Not all old comic books are worth thousands of dollars. In fact, there are hundreds of affordable titles that are entertaining, stretching even back into the 1940s!
The following choices are certainly tinged with a man’s nostalgia who first read these books with the sense of wonder of an inexperienced boy.
For teenagers and adults, I highly recommend the first half-dozen “Mad” paperbacks. These reprint much of the material edited, written, or drawn by Harvey Kurtzman from the early 1950s.
Kurtzman’s parodies and satires are brilliant, representing “Mad” at the peak of its creative power. The art and story are a high-water mark for comics, and many of these artists are now world famous. Inexpensive copies can be found at used bookstores. Look for “The Bedside Mad”, “Son of Mad”, “Like Mad” and “The Ideas of Mad”.
My seven-year-old daughter loves the art and story of Michael Esposito and Ross Andru in “Wonder Woman” comics. Choose from issues #111 to #157, published from 1960 to 1964. You’ll enter a world of mermen, bird-boys, Amazons, and gigantic Rocs.
These fantasy books were created for young children, and they’re still as fresh, imaginative, exciting and innocent as when they were new nineteen years ago. These fun issues in good, readable condition can be found at $1.50 or less in many comic book shops.
There’s also a wealth of material for children (secretly loved by lots of adults) that finds its way into the 25 cent boxes at comics shops. That’s an incredibly inexpensive price to pay for spending many wonderful hours reading to a child on your lap, teaching them to love to read in the process.
It’s great entertainment for long car trips or hospital stays. And you won’t go wrong if you choose from titles like “Walt Disney’s Comics and Stories”, “Bugs Bunny”, “Casper the Friendly Ghost”, “Hot Stuff” and “Archie” comics.
Published work: This is the latest release of the Wedding Directory featuring my portrait of Chuchay Maronilla on the cover.
I wanted to highlight the beautiful flow of the textile and the beautiful design of the wedding gown, while keeping the atmosphere classy and classic. I saw some antique colored bottles on location and decided to highlight these using a strobe back lit.
I have a conservative arsenal of 3 AC powered strobes and 3 Flash heads, but I always try to keep things simple, that is as a matter of taste. I used 3 strobes on this image.
Strobist Info: 250 Jinbei 3/4 power, 80x100 softbox, placed left side, another 150 Heinman Strobe at 1/4 power, bare, on the upper right rear. 430EX placed behind colored glass bottles. Triggered wireless Cactus type mixed in with remote optical triggers.
Using Silhouette Zebra background, tag, and sentiment.
Blogged: sarahjmoerman.blogspot.ca/2013/02/born-to-be-wild-card.html
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
Bagattelle d’Inverno, l’ultima grande sfida #snellobb04
Birichinate, cammuffamenti, trasvestimenti, scherzi… insomma, in una parola: Carnevale!
Comunque lo si dica e comunque lo si festeggi, il Carnevale è da secoli una festa in cui la parola d’ordine è “divertirsi”.
Quindi, bando all’austerità e bando alle restrizioni, potevamo, noi di MondoSnello, non cogliere quest’occasione perfetta di Gusto e di Benessere, per vivere l’ultimo grande appuntamento delle gare di cucina di Snello Blind Box?
Eccoci qui, allora, amici di Mondosnello, estimatori dei prodotti Snello Rovagnati e appassionati Food Blogger che partecipate con noi ormai da un tempo che comincia a farsi lungo, perfino “tradizionale” (proprio come ci piace ;-)) a darvi il benvenuto a questa quarta sfida tra pentole, fornelli e… qualcosa di speciale – sennò che Carnevale è!
I fantasiosi piatti saranno assaggiati e votati da una giuria di esperti gastronomi di altissimo livello, a cominciare da Gil Grigliatti, gourmet di cultura ed esperienza internazionale. Da giovane è stato fiduciario Slow Food, nonché ispettore della guida dei ristoranti del Gambero Rosso per diversi anni. Autore del blog bilingue di cultura enogastronomica isymposium.org. Ancora Paolo Barichella, esperto di Food Design, autore del blog barichella.it; Alessia Cipolla, architetto e sommelier, autrice de lacostruzionedelgusto.it; Alessandro Salamone, reduce dalla trasmissione di La7 Chef per un giorno, autore di spaghettibites.com e ancora Angela Tomaiuolo co-fondatrice del web magazine milanodabere.it. Inoltre sarà presente Giacomo Kratter, otto volte campione italiano ed ora allenatore della Nazionale Italiana Snowboard. Quella da snowboard però non è l’unica tavola che ama: infatti Giacomo è un grande appassionato di cucina e adora farsi coccolare in ristoranti di lusso.
La giuria per l’occasione sarà presenziata dallo chef stellato e pluripremiato Davide Scabin, uno dei più apprezzati in Italia e all’estero, noto al grande pubblico per la partecipazione, nei panni di giudice dei cuochi in gara, a La Prova del Cuoco condotto su Rai1 da Antonella Clerici.
Per questo, abbiamo deciso di mettere insieme una serie di ingredienti saporiti, variegati, originali, proprio come in ogni ricetta gourmet che si rispetti:
- un pizzico di tradizione – la sede di InKitchen Loft, che ormai è prontissima ad accoglierci, in qualunque veste ci presentiamo
- e uno di modernità – quello che emana netto dalle protagoniste della gara, giovani donne che si muovono agili tra vite professionali sfidanti e articolati ménage familiari
- una buona dose di fantasia - fatta di maschere, costumi e colori sgargianti
- e l’ingrediente segreto – le nostre amate BlindBox, chiuse fino all’ultimo secondo anche al più ardito degli sguardi
- il tutto cosparso con una spruzzata di giocosità bambina – grazie a un buon numero di piccoli “scavezzacollo” che avranno il loro tavolo, i loro ingredienti, i loro cibi, e soprattutto una chef d’eccezione - Stefania Corrado, la “Multitasking Chef” che più che presentazioni merita i nostri più sentiti complimenti ;-) – a guidarli alla scoperta del buon cibo, del gusto e del mangiare bene… sapendolo preparare.
Già, perché, in fondo, soprattutto in un’era estremamente tecnologica come la nostra e come quella di quell’immediato futuro in cui saranno loro i protagonisti del mondo – far mettere “le mani in pasta” ai nostri bimbi lo consideriamo un onore, oltre che un piccolo grande contributo all’educazione dei “buoni mangiatori” di domani…
Amanti della cucina, appassionate del gusto, attente all’armonia dei sapori e alla cura per la buona e la bella tavola
Estimatrici di ricette snelle - per velocità, capacità, leggerezza - esperte nella valorizzazione degli ingredienti di stagione e nella rivisitazione moderna di piatti tradizionali, si sfideranno, si concentreranno su pentole e fornelli dimenticando tutto il resto, per dare il meglio di sé.
Ecco le Food Blogger di Snello BlindBox 04 – Bagattelle d'Inverno, vere animatrici dell'evento, che con le loro ricette e la loro esperienza renderanno onore ai prodotti Snello, Gusto e Benessere.
Loro si presentano così...
Lina D’Ambrosio
spadellatissima.com
Quando le chiedi di descriversi ,lei si presenta così: "Sono industrial designer e grafica, con una grande passione, quella del Food Blogging". Eppure non è tutto: inguaribile amante del buon cibo, dei viaggi, dell'arte e della fotografia, è sempre irresistibilmente affascinata mdai molteplici modi in cui un animo creativo può riuscire a esprimersi. Una frase che la descrive: "Mi piacciono la semplicità e la genuinità delle cose fatte in casa."
Serena Oliva
cucchiaiodistelle.com
Nella vita professionale, è architetto e designer, e per questo studia la relazione tra gli esseri umani e la tecnologia. Tuttavia, ha anche un'altra vita, quella da foodie, in cui è innanzitutto una mamma e una Food Blogger che progetta ricette, cucina piatti colorati, sani e golosi, cuoce il pane in casa e disegna insieme ai suoi bambini. Il motto che ha scelto per sé? "If in doubt, bake a cake"
Irene Prandi
Psicologa, piemontese, animata da una vera passione per la comunicazione e la condivisione, ha trovato nell'arte del cibo un mezzo straordinario per celebrare entrambe. Il suo viaggio da Food Blogger inizia con un blog creato in sordina, tuttavia in molti la notano e in ancora di più la seguono. Insomma, et voilà, il suo cammino continua rigoglioso, condito da sapori, ricette, un grande amore per il territorio, e tanta curiosità per tutto ciò che è "altro".
Arianna Vianelli
unafranciacortinaincucina.com
Non c'è dubbio, il suo nome è già un affermazione forte e chiara. Dice subito chi è e da dove viene. Almeno tanto quanto il suo blog nato dal desiderio di ritagliarsi uno spazio tutto proprio dove raccogliere e condividere le sue più grandi passioni: la cucina, il vino, gli amici e la Franciacorta.
Insomma, semplicità e ironia, ricette ed eventi, vini locali
e non solo, sono gli ingredienti di "una franciacortina in cucina".
Quindi, tra la stuzzicante prospettiva di gustosissimi lecca lecca di parmigiano con crudo e bresaola e prove di formine su pasta sfoglia con fette di prosciutto, in attesa delle prelibatezze imprevedibili che ci prepareranno le nostre sfidanti – adulte ;-) – non resta che invitarvi a conoscere un po’ meglio Lina, Serena, Irene e Arianna, giovani, pimpanti e agguerrite Food Blogger che ancora una volta ci delizieranno di una versione inconsueta e sorprendente dei prodotti che amiamo di più, con un occhio attento, come sempre, alla stagionalità.
SnelloBlindBox_04_CucinaTuVi abbracciamo, dunque, in un turbinio di coriandoli che non lascia presagire niente di… scontato :-)
e invitiamo tutti voi a fare festa con noi a Snello Blind Box 04 – Bagattelle d’Inverno il 6 marzo 2014, alle ore 18.30 e – perché no – a cimentarvi, insieme alle nostre “chef per passione”, in ricette e piatti che, siamo sicuri, saranno gustosissimi. Come raccogliere la sfida? Semplice, partecipando a Snello BlindBox CucinaTu – l’iniziativa pensata apposta per la #gente_di_MondoSnello che ormai ci segue da molto tempo.
In attesa di assaporare tutto il meglio che Snello Blind Box 04 – Bagattelle d’Inverno saprà regalarci – e non abbiamo dubbi - a presto!
Published in 'Aeroplanes in Detail' a book of cutaway drawings of contemporary British aeroplanes and engines dating to roughly 1948.
Black Inc.Books used one of my photos as the cover for this book and credited me on the back cover. The book is only released in Australia and New Zealand - the book is about the coal boom in Australia. I was paid but that is secondary to being credited on the books back cover.
Created with fd's Flickr Toys
Apparently, I had the best photo of the worst thing in Nashville. But, as of yesterday, that worst thing (The I-65 Nathan B. Forrest statue which had no remaining defenders) was removed. It's actually a little bittersweet for me because it made me a little Internet famous, but I guess that won't happen any more. I'd sold the photo several times to comedy news shows, such as the Late Show with Stephen Colbert, Quibi's America Today and The Daily Show with Trevor Noah.
This photo has appeared seemingly everywhere without a photo credit, such as all over Twitter. MSNBC never contacted me to use this photo, and they used it without permission. Hopefully, they find me and resolve this.
Original photo: flic.kr/p/iisrQ
Published in the Denver Post's Reverb blog, here:
blogs.denverpost.com/reverb/2008/08/19/scott-h-biram-and-...
Left Lane Cruiser
www.myspace.com/leftlanecruiser
Scott H. Biram
Bob Log III
3 awesome bands on one awesome night. I feel like a boob scotch on the rocks.
This show was the second time I had seen Scott H. Biram, and the first time for Left Lane Cruiser and Bob Log III. They packed the Larimer Lounge on Wednesday, 081308.
I had searched for myspace pages of performers at this year's Deep Blues Festival, and discovered two more not-to-be-missed bands to add and catch if they came to town. Lo, and behold, a tour was soon set in motion and I was ready for this great night.
The night started with a raw set from the duo Left Lane Cruiser, with "Big Mama" and "Amy's In The Kitchen" as my personal favorites.
Scott H. Biram riled up the crowd with his energy, and just about destroyed my ear-plugged eardrums with his stack of amps, especially during a sweet Metallica cover. Too bad he had a drunk heckler a couple songs in who just didn't get it and wanted him to shut up and play some music. She apparently was not ready to laugh at his between-song banter, especially at her own expense. Good riddance.
I knew just a little of what to expect from Bob Log III from a couple YouTube videos, so I politely squeezed up front on the floor just in time to get crushed by a sweaty, eager crowd. He didn't disappoint, and surfed the crowd in an entirely novel way on a rubber boat, enjoyed two expertly prepared Boob Scotches, and tried his darndest to get the knees on his blue jumpsuit a little dirty. Search for explanatory videos on your own, and turn off your safe-search option if you view these shots on Flickr.
With work looming a few hours later for my girlfriend, and me exhausted from cramming up against the stage-front amps for several hours, we left a couple songs before the end of Bob Log's set. As far as I remember, it was well past time for last call. Totally worth the calf-soreness and a shower before I fell into bed.
Published by B. Kočí in Prague.
Scroll down to view the animated image. Animated gif generated with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes
cs.wikipedia.org/wiki/Soubor:Jindrich_Eckert_-_Prague_Cas...
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I came across this article in the The Wall Street Journal, with a predominant photo display of my work during a Miami Marlins game, almost by accident. Eventually I would have received the report from the agency.
I have countless tear sheets of published photos and captions in news articles. Somehow this was special. Being the WSJ such a prestigious publication I feel honored to have my photo capture chosen for publication among so many professionals that covered the injury incident of Mike Trout during the game.
This is a screen capture of of a section of the online article.
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Photo © Mario Houben. All Rights Reserved.
Unauthorized use or reproduction for any reason is strictly prohibited.
All my shown images are of my exclusive property, and are protected under International Copyright laws. Those images may not be reproduced, copied, transmitted or, in any way manipulated, without my written permission and use license.
If you wish to use or acquire any of my images, please contact me via Mario Houben | Photography - The Website
One of my photos was recently used for the cover of a shopping guide in Rio de Janeiro. They sent me a few copies today.
If you're in the North East of England, keep an eye out for the June edition of Etc magazine to read all about my trip to Vietnam. Now don't all rush at once ...
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The Postcard
A postcard that was published by G. D. & D. It was posted in Haslemere, Surrey on Thursday the 3rd. March 1910 to:
Miss P. Harrington,
14, Myrtle Villas,
Bright Hill,
Guildford,
Surrey.
The message on the divided back of the card was as follows:
"Dear Polly,
I shall be pleased if you
can make my skirt.
I shall be coming up on
Tuesday March 8th. by
the 11.22 train if I can
catch it. If not, the 1.28.
Give my love to all.
From Emmie."
A Paris Accord
So what else happened on the day that Emmie posted the card?
Well, on the 3rd. March 1910, Morocco signed accords with France in Paris, permitting the French to occupy Casablanca and Oujda in return for military training, as part of the refinancing of loans.
Stock in Sears
Also on that day, stock in Sears began trading for the first time on the New York Stock Exchange.
Joseph Yablonski
The 3rd. March 1910 also marked the birth in Pittsburgh, Pennsylvania of Joseph Yablonski, UMWA President. Joseph was murdered in Clarksville, Pennsylvania at the age of 59 by his rival in 1969.
Joseph Albert "Jock" Yablonski was an American labor leader in the United Mine Workers in the 1950's and 1960's known for seeking reform in the union and better working conditions for miners.
In 1969 he challenged Tony Boyle for the presidency of the union and was defeated. He asked for a Department of Labor investigation, claiming that the election was fraudulent. In addition, Yablonski filed suit against the UMWA on five different charges related to fraud.
On December 31, 1969, three hitmen fatally shot Yablonski, his wife Margaret, and his 25-year-old daughter Charlotte, as they slept in the Yablonski home in Clarksville, Pennsylvania. The bodies were not discovered until the 5th. January 1970 by one of Yablonski's sons, Kenneth.
The day after the bodies of the Yablonskis were discovered, 20,000 miners in West Virginia walked off the job in a one-day strike, protesting against Boyle, whom they believed was responsible for the murders.
An investigation found that the killings had indeed been ordered by Boyle, who had demanded Yablonski's death on the 23rd. June 1969, after a meeting with Yablonski at UMWA headquarters degenerated into a shouting match.
In September 1969, UMWA executive council member Albert Pass received $20,000 from Boyle (who had embezzled the money from union funds) to hire gunmen to kill Yablonski. He hired Paul Gilly, an out-of-work house painter, and two drifters, Aubran Martin and Claude Vealey.
The murder was ordered to be postponed until after the election, however, to avoid suspicion falling on Boyle. After three aborted attempts to murder Yablonski, the killers completed the assassinations, deciding to kill everyone in the house. They left so many fingerprints behind that the police identified and captured them within three days.
A few hours after Yablonski's funeral, several of the miners who had supported Yablonski met in the basement of the church where the memorial service was held. They met with attorney Joseph Rauh and drew up plans to establish a reform caucus within the United Mine Workers.
A total of seven persons were convicted of murder and conspiracy to commit murder; two of the assassins were sentenced to death for first-degree murder.
The Department of Labor completed its investigation, aided by the FBI, and won a suit to overturn the 1969 election by 1972. A new election was held in December of that year, and a reform candidate elected, defeating Boyle.
Boyle was indicted in 1973 for the three Yablonski murders; he was convicted in 1974 and received three life sentences. The union made important reforms.
Kittens Reichert
Also born on that day was the American silent film child actress Kittens Reichert, in Yonkers, NY.
The daughter of Mr. and Mrs. George C. Reichert, she was born Catherine Alma Reichert, but was nicknamed "Kittens", which she adopted as her stage name.
When she was 2 years old, Reichert was a stand-in for a film that was being made in Yonkers. Beginning in 1914, she played supporting juvenile roles to many of filmdom's biggest stars, including Theda Bara, Pauline Frederick and William Farnum.
Her career effectively ended when she was 9 in 1919 because her family did not want to move out to California, where the film industry had shifted, though she did make a further appearance in So's Your Old Man (1926), starring W. C. Fields.
In 1927, Reichert portrayed Hope Toombs in a Fiske O'Hara Players production of The Circus Girl at the New Warburton Theatre in Yonkers.
Reichert died in Louisville, Kentucky on the 11th. January 1990, at the age of 79.
Filmography of Kittens Reichert
Notable films of Kittens Reichert include:
-- The Eternal City (1915)
-- A Soldier's Oath (1915)
-- The Eternal Sapho (1916)
-- The Great Problem (1916)
-- The Fool's Revenge (1916)
-- Ambition (1916)
-- The Primitive Call (1917)
-- Every Girl's Dream (1917)
-- So's Your Old Man (1926).
The Toronto Zoo is one of my favorite places to go and spend a day. The animals are well looked after, have lots of space and for the most part the zoo is very photographer friendly and provides lots of great photo opportunities.
This is one of my photos of the female Sumatran Tiger. (there's a breeding pair and 2 babies from 2007 housed at the Zoo). There have been days that I've gone and ended up spending the whole day at the Sumatran exhibit, leaving time for nothing else.
I submitted it to their annual photo contest and was thrilled to win first place in the Animals category. I was even more thrilled that it made the cover.