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It looks as though an unfortunate accident has occurred and a Rapier dockside crane has taken a plunge into the water at Liverpool dock, actual location within the docks unknown.
One of Walter Woolfenden's crane is in attendance with fellow dockworkers watching on.
Date unknown but looks to be early 60's at a guess.
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photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,
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Bergpreis Tauplitzalm (c) 2008 Бернхард Эггер :: ru-moto images
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All Rights Reserved (c) 2019 Берни Эггерян :: rumoto images
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📷 photographer: Bernard Egger :: rumoto images
event:
ENNSTAL-CLASSIC 2008 Chopard Grand Prix
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📷 photographer: Bernard Egger :: rumoto images
event: 2009 Mille Miglia, SR 258, Tuscany IT
1950 Talbot Lago T26 Grand Sport :: rumoto images # 2459
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★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP | TT IOM ★ Fine Art
:: rumoto images of 110 CAR BRANDS:
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© 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 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.
Cette vieille dame qui s'active est en train de récupérer du bois de peuplier afin de préparer le feu qui servira à préparer à manger.
Le peuplier est avec l'abricotier, une des seules essence d'arbre que l'on retrouve à ces altitudes élevées. Elle sert de bois de chauffage mais aussi de charpente pour la construction des maisons, notamment des toitures.
This old lady is active in the process of recovering poplar wood for the fire that will be used to cook
Poplars are with apricot trees, the only trees found at these high altitudes. It will be used for firewood but also carpentry in houses, specially for roof structures.
More description in French & English will follow on the album page : www.flickr.com/photos/matkeller-as-titus1st/sets/72157630...
Click on the image to see with black frame.
My Best ☆ FAVES by you, on : www.flickr.com/photos/matkeller-as-titus1st/sets/72157625...
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★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP | TT IOM ★ fine art
:: Tags: Бернхард Эггер, фото, ru-moto, images, фотограф, 写真家, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Hill Climb, Bergrennen, Gleichmäßigkeitsveranstaltung, corse, Ecurie, veloce, speed, race trake, circuit, Rennstrecke, supershot, Racecar-Trophy, Tauplitzalm, Bergpreis, Bad Mitterndorf, Steiermark, Styria, Австрия, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,
:: ru-moto images of 100 CAR BRANDS:
Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,
Bergpreis Tauplitzalm (c) 2008 Бернхард Эггер :: ru-moto images
© LAWRENCE GOLDMAN 2016
This work is protected under international copyright laws and agreements. It cannot be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission.
© LAWRENCE GOLDMAN 2016
This work is protected under international copyright laws and agreements. It cannot be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission.
This work is protected under copyright laws and agreements.
All rights reserved © 2008 Бернхард Эггер :: ru-moto images
NO RELEASE • NO flickr API • No part of this photostream may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission!
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:: ru-moto is admin of 77 & member of 610 groups (3/2018)
☆ A big thankyou for incredible 60 MILLION VIEWS on flickr!
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★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP | TT IOM ★ fine art
:: Tags: Бернхард Эггер, фото, ru-moto, images, фотограф, 写真家, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Hill Climb, Bergrennen, Gleichmäßigkeitsveranstaltung, corse, Ecurie, veloce, speed, race trake, circuit, Rennstrecke, supershot, Racecar-Trophy, Tauplitzalm, Bergpreis, Bad Mitterndorf, Steiermark, Styria, Австрия, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,
:: ru-moto images of 100 CAR BRANDS:
Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,
Bergpreis Tauplitzalm (c) 2008 Бернхард Эггер :: ru-moto images
This work is protected under copyright laws and agreements.
All rights reserved © 2010 Бернхард Эггер :: ru-moto images
NO RELEASE • NO flickr API • No part of this photostream may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission!
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►my profile... |►collections.. |►sets.. |►facebook |►get a print
:: ru-moto is admin of 77 & member of 610 groups (3/2018)
☆ A big thankyou for incredible 60 MILLION VIEWS on flickr!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP | TT IOM ★ fine art
:: Tags: Бернхард Эггер, фото, ru-moto, images, фотограф, 写真家, Nikon, FX, full frame, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Hill Climb, Bergrennen, Gleichmäßigkeitsveranstaltung, corse, Ecurie, veloce, speed, race trake, circuit, Rennstrecke, supershot, Racecar-Trophy, Tauplitzalm, Bergpreis, Bad Mitterndorf, Steiermark, Styria, Австрия, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,
:: ru-moto images of 100 CAR BRANDS:
Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,
This work is protected under copyright laws and agreements.
All rights reserved © 2010 Бернхард Эггер :: ru-moto images
NO RELEASE • NO flickr API • No part of this photostream may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission!
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
►my profile... |►collections.. |►sets.. |►facebook |►get a print
:: ru-moto is admin of 77 & member of 610 groups (3/2018)
☆ A big thankyou for incredible 60 MILLION VIEWS on flickr!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP | TT IOM ★ fine art
:: Tags: Бернхард Эггер, фото, ru-moto, images, фотограф, 写真家, Nikon, FX, full frame, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Hill Climb, Bergrennen, Gleichmäßigkeitsveranstaltung, corse, Ecurie, veloce, speed, race trake, circuit, Rennstrecke, supershot, Racecar-Trophy, Tauplitzalm, Bergpreis, Bad Mitterndorf, Steiermark, Styria, Австрия, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,
:: ru-moto images of 100 CAR BRANDS:
Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,
Alpine Renault A110 Tauplitzalm Bergpreis (c) 2010 Бернхард Эггер :: ru-moto images 1692
This vehicle replaced a previous one which was stolen and destroyed by inconsiderate thugs. www.bbc.co.uk/news/uk-scotland-glasgow-west-15449033
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★ Fine Art photography ★ landscapes | alpine & mediterranean ☆
Europe | Greece | Austria | Австрия | Армения ★ Россия | Russia
:: Tags: Берни Эггерян, Бернхард Эггер, фото, ru-moto, images, фотограф, photographer, 写真家, Nikon FX, full frame, fine art, old stile, photography, Fotografie, Fotográfico, Fotografo, supershot, top shots, gorgeous, stunning, digital, Canvas Prints, Poster, posters, art print, Kunstdruck, print, prints, quality, authentic, exclusive, calendar, postcard, greeting card, gallery, collection, best, Lichtbildwerk, Werk, Art, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, Griechenland, Elláda, Ελλάδα, φιλοξενία, Filoxenía, φιλία, Greece, greek, یونان, Grecia, Grèce, Grècia, Grécia, Grecja, Grčka, Graikija, Grieķija, Griekenland, Ellas, Ellás, Hellas, Ελληνικά, Helénica, Греция, Грэцыя, Греція, Грција, Грек, ギリシャ, Grækenland, גריכנלאַנד, Görögország, 希腊, 希臘, Kreikka, Kreeka, Grekland, Грекъ, Yunanistan, საბერძნეთი, Հունաստան, יוון, κυνουρια, ελληνεσ, φωτογράφοι, ambience, Ambiente, trip, Tour, Vacanze, tourism, holidays, Urlaub, Travel, Travelling, GR, aegean, ionnian, mediterranean, Europe, Südeuropa, Peloponnese, Πελοπόννησος, Pelopónnisos, Peloponnes, Μάνη, Máni, Mani, κρήτη, ηράκλειο, Κορώνη, Koróni, Koroni, Ναύπλιο, Thessalia, Θεσσαλία, Arkadia, Αρκαδία, Arkadien, Λακωνία, Lakonía, Lakonia, Μεσσηνία, Messinía, Messenia, Thessaly, κορινθία, sea, Meer, Strand, beach, Θάλασσα, παραλία, landscape, εξοχή, νησί, Νησί, Insel, Nisi, Plaka, boat, Boot, Leonidio, Flagge, Fahne, flag, blue, blau, white, Plaka, Leonidio, Finikunda, Finikounda, Voidokilia, Pilos, Methoni, Gythio, Githio, Githion,
Greece Ελληνικά Ελλαδα - I'm lovin' it since 1985
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All rights reserved © 2016 Bernard Egger :: rumoto images
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★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP ★ fine art
:: Бернард Эггер, фото, rumoto, images, фотограф, Nikon, FX, full-frame, 写真家, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, Rennstrecke, Rally, Rallye, supershot, Racecar-Trophy, Planai Classic, Gröbming, Австрия, Sberbank, Сбербанк, ZENITH, Ennstal-Classic, Styria, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
motorsport photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,
driver legends, Champions, Fahrer, driver, Legenden, Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jo Gartner, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Hans Joachim Stuck Volkswagen Classic VW Käfer Mille Miglia 1956 Planai-Classic (c) Bernard Egger :: rumoto images 8583 ccx
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:: ru-moto images of 100 CAR BRANDS:
Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, ГАЗ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,
motorsport photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,
driver legends, Champions, Fahrer, driver, Legenden, Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Ford Capri 2600 RS Copyright © 2011 Bernhard Egger :: ru-moto images 2826 cc
The Emergency Medical Retrieval Service (EMRS), provides patients with life threatening conditions in remote and rural areas of Scotland, with rapid access to the skills of a consultant in emergency or intensive care medicine. The consultants are ready to respond to requests for help, by helicopter or plane, within minutes.
SGHD funded a west coast pilot of EMRS for 18 months commencing in June 2008. Over the 18 months to the end of November 2009 EMRS has undertaken 356 retrievals and given advice on a further 283 patients.
Visit their website to find out more.
24 January 2015 at the Open Event, McAslan Display Space.
(Photo by Martin Ball posted here with his permission.)
Yea, though Haringey families walk through the valley
of the shadow of Cllr Claire Kober's cuts, developers
and starchitects fear no retrieval. For thou art chosen
and public cash shall always comfort thee.
The photo above is part of the scale model proudly displayed at the publicly funded McAslan shop at 451-453 High Road, Tottenham. The model was also a freebie for the world renowned starchitect. We are told it cost some £18,000.
Despite horrendous cuts to Haringey frontline services there is always spare cash to scatter like confetti over a few privileged projects. So we also heard that - at a cost of another £3000 - the model would be shipped to Cannes on the French Riviera to attend MIPIM - International Real Estate Property Market. (Le marché international des professionnels de l’immobilier).
(N.B. Update: I later heard that plans to take the model to MIPIM were scrapped. It would be nice to think this was a response to criticism. But I suspect the reason might be that the model is not completely accurate.)
Haringey is not alone in frittering away public money in this way. In March 2015 many senior officers (staff) and Leaders (councillors) from local councils across the country will join this jolly junket with the "developer community".
In March 2014 two people attending MIPIM on behalf of Haringey Council had their air fares and hotel bills paid by "sponsors" - commercial interests who stand to benefit from the deals made. Haringey Cllr Alan Strickland was lunched and dined by Arup on the yacht Clara One. Sadly, in response to a Freedom of information Act request, Haringey told me they could not obtain the menu.
In Cannes in March 2015, elected representatives of local councils and their staff will again discuss deals to sell-off publicly owned land. In some cases this will result in demolition of their residents' homes and businesses. It will probably generate lucrative work for architects and substantial profits for developers.
In exchange, elected representatives are likely to receive warm promises that development projects will "kickstart", "unlock", or be "a catalyst" for "regeneration", "renaissance" , "revitalisation" , "mixed communities"; and other largely meaningless buzzwords. Noise which I think of as 'regenero-burble'.
It may not occur to many of the elected councillors that there are lessons to be learned from both the fabled and historical past. That it's not always the best plan to take such promises, proffered deals and gifts at face value. Whether in the form of wooden horses, strings of beads, bags of magic beans, or crocks of gold at the end of the rainbow.
________________________________________
§ News report by Tim Lamden in Broadway Ham&High 14 March 2014. Demands for probe into £16,000 networking event attended by Haringey Council on luxury Cannes yacht.
§ In 2017, elected councillors and senior officials were still pouring money into planned trips to Cannes on the French Riviera for the March MIPIM event. Inside Croydon local website criticised their own borough's participation.
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All rights reserved © 2008 Бернхард Эггер :: ru-moto images
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:: Tags: Бернхард Эггер, фото, ru-moto, images, фотограф, 写真家, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Hill Climb, Bergrennen, Gleichmäßigkeitsveranstaltung, corse, Ecurie, veloce, speed, race trake, circuit, Rennstrecke, supershot, Racecar-Trophy, Tauplitzalm, Bergpreis, Bad Mitterndorf, Steiermark, Styria, Австрия, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,
:: ru-moto images of 100 CAR BRANDS:
Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,
Bergpreis Tauplitzalm (c) 2008 Бернхард Эггер :: ru-moto images
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All Rights Reserved © 2012 Берни Эггерян :: rumoto images
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English: Emperor Tiberius's triumph. Silver skyphos with repoussé decoration, late 1st century BC–early 1st century AD. From the villa della Pisanella at Boscoreale, 1895.
Français : Triomphe de l'empereur Tibère. Skyphos en argent repoussé, fin du Ier siècle av. J.-C.-début du Ier siècle ap. J.-C. Provenance : villa della Pisanella à Boscoreale, 1895.
Dimensions H. 9.2 cm (3 ½ in.), W. 21 cm (8 ¼ in.)
Credit line Dation in payment, 1990
Accession number Bj 2367
Location Department of Greek, Etruscan and Roman antiquities, Sully, first floor, room 33, case 8
Source/Photographer Marie-Lan Nguyen (User:Jastrow), 2009
Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/
--------------------------------------------------------------------------------
Conclusion: The Boscoreale Cups and Roman Art
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Conclusion:
The Boscoreale Cups and Roman Art
I should like to do two things here. One is to sum up the major art-historical findings of this study, as the last chapter commented on its historical findings. The other is to speak directly about my own methodology as a Roman art historian; this might seem to be more appropriate in an introduction to a study of this kind, but I feel that only the reader who has absorbed at least some of this work will be critically equipped to judge the efficacy and clarity of my approach. Its first principle is simply to ask of any period, What works of art existed, and what did they look like? So much has been lost, and lost permanently beyond all hope of retrieval; thus all fragments, hints, and indications become, like the BR cups, extremely valuable. Although it is difficult to keep always in mind an imaginative construct to supplement the poor reality of the tangible remains, the rewards of such effort are considerable. For instance, Eck stresses how the arrangement of inscriptions, often all we have left of ancient dedications, can indicate the basic structure of the lost statuary above; his point seems simple, but he was the first to consider in this light inscriptions known for over fifty years and to reconstruct from its base an actual monument of the kind long postulated as prototype for the famous Puteoli base of Tiberius (figs. 47, 62)[1]
The reader will have noted throughout a concern with the relationship of spectator to object, in terms of the intent of the original designer(s) and patron(s) who engendered Roman images, with regard to the audiences whom they wished to comprehend these images' didactic content and to appreciate their esthetic structures. In visual, as in verbal, communication, true comprehension depends on a shared language of forms and symbols; an iconographer must, like a historian, strive to the best of her necessarily limited powers to reconstruct the relevant prior experience and assump-
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tions of the persons whose perceptions she investigates. This truism is very seldom made explicit. I stand here behind T. Hölscher's unparalleled 1984 essay on the question of the Publikum for the state monuments we seek to interpret today, though I am more optimistic that one can know something of audiences besides those of the elite "senatorial" level. This optimism—though austere and limited—is founded on the principle of the lowest common denominator, the value of badly made and/or mass-produced, relatively cheap artifacts. I believe that the basic symbolic language available to classes other than the elite can be discerned in the often drastically simplified elements of "high" ideology and iconography that make it onto the crude glass pastes that crowd the back pages of gem catalogues, onto matrix-stamped military armament decoration, onto Arretine ware pottery molds, and so forth. Obviously, I also believe that numismatic designs were very often intended to disseminate legible imagery for political purposes, that the state coinage did indeed function as a vehicle for political propaganda directed toward the uneducated, as well as educated, classes; I also think these messages were usually obvious and simple.
I have been speaking of audiences and messages in the plural. A natural consequence of the multiple stratifications of society in the Roman Empire was a differentiation of culture and a variation in cultural sophistication among different classes, peoples, and regions in the Empire. It is also plain that the most capable Roman patrons were (like Greeks before them) interested in creating monuments and images that spoke to more than one segment of society and that had more than one symbolic message. To describe this quality in a work of art, multi- or polyvalency is a common image usefully borrowed from the vocabulary of atomic structure. I find useful the notion of resonance, transferred from the realm of musical effects to the world of artifacts. As the striking of a piano key produces a sound with multiple tones, so the impact of the Gemma Augustea (fig. 16) or Arch of Constantine on thoughtful vision sets off not a unitary impression but a series of related multiple impressions; the proximity and/or prior existence of related monuments known to the spectator weaves a kind of web of associations comparable to the resonant effects produced by the proximity of other strings to the piano key actually struck.
The danger in reconstructing the original resonances of an extant monument is that one will read into the work messages not intended for the original Roman audience. One can so easily become oversubtle, assert too much rather than too little. There are two brakes on exegetical speed-
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ing; first, to be explicit and knowledgeable about the historical audience postulated for an artifact; second, always to look for parallels to show that the reading one proposes was at least possible in a given context. Truisms again, but not always appreciated or observed. Only multiple occurrences of a given symbol or form justify the assertion of a pattern of action, whether formal (style) or symbolic (iconography). One needs also a plausible hypothesis to account for such patterns: one must try to document the means by which an artist or his audience could have seen the images by which they are held to have been influenced, and this takes one back to the question of a given audience and the imagery accessible to it. To cite a classic instance, it is often asserted that the architectural form of the Ara Pacis deliberately echoes that of the Athenian Altar of Pity. If true, the quote can have been expected to be legible only to the elite, who would have traveled to Athens, not to the Roman plebs; on the other hand all segments of the urban population can be expected to have recognized the parallel with the Januum, one of the oldest, most prestigious, and most central of all sanctuaries in the capital.
I have acknowledged my debt to the investigative approach formulated by Hölscher. I have gained much from the implicit and explicit definitions developed by many others of what evidence is relevant to interpreting Roman political art. It should be clear by now that often I find myself in the company of the contemporary German art historians Zanker, Simon, Fittschen, et al., asking similar questions of similar material; asked to assign myself to a "school," I should name also the Italians, F. Coarelli and M. Torelli. My real debt to Coarelli's efforts to understand artistic production in terms of patronage and the politically charged architectural geography of Rome is obscured here by the fact that this work explores mainly imperial, rather than Republican, art. Even where I disagree with Torelli's conclusions, I have tried to keep in mind the imperative heading his essays on Roman historical relief: Roman narrative and commemorative art can be illuminated by Roman texts, but they must be texts with a cognate function. Finally, in all projects I have ever undertaken with regard to Roman art, I am in debt to Otto Brendel's Prolegomena to the Study of Roman Art (New Haven, 1979): his definitions of the essential questions asked (and not asked) of Roman art and his vision of multiple lines of development separated by medium and genre have irrevocably marked my own perceptions of Roman images.
The consequences of holding to these tenets are evident in my readings of the Boscoreale Cups and of many other monuments besides. The Boscoreale Cups, and the monument from which they were copied, have been
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demonstrated primarily on political grounds to be works of Augustus' reign, specifically of the period between Tiberius' triumph in 8/7 B.C. and his exile in 6 B.C. Now firmly dated, these panels are important to the stylistic history of Roman relief; they illuminate the early occurrence not only of stock figures common in the later canon but of experiments with complex figure groupings and the depiction of "space" that are not usually associated with Augustan art. No aspect of compositional structure in these panels is discordant with the date reached on iconographic grounds; the three-beat structure of the allegory BR I:1, for instance, is typical of classicizing Augustan work in many media. Indeed, if it were absolutely necessary, the pieces could be plausibly dated between the Ara Pacis (13-9 B.C.) and the Gemma Augustea (A.D. 10–14) purely by stylistic analysis. I have discussed at many points the formal congruence of the cups with the Ara Pacis; the Gemma Augustea's upper register has compositional structures very similar to the BR audience scenes and displays a different, but no less complex, exploration of the alignment of figures in space (fig. 16). The "dating" value of the Ara Pacis is as a public sculptural monument exemplifying the best work of the court ateliers; the Gemma Augustea indicates a familiarity on its artist's part with monuments on a similar scale, for radical stylistic (as opposed to iconographic) experimentation is not to be expected of any gem cutter's workshop.
This book has tried to explain, as completely as possible, the imagery of the Boscoreale Cups. The listing of parallels as a mode of scholarship is mere antiquarianism if it is seen as an end and not as a means; inevitably, some of my "lists" have remained at this level, but these investigations have always tried to ask the primary questions What does image X signify, why is it used, and what is it doing on the Boscoreale Cups? In the search for a compelling argument I have tried to cast my net as wide as possible, to bring forward all relevant available evidence from textual and visual sources; my lapses will, I hope, be corrected by others in the same benevolent spirit of argument in which I have critiqued the interpretations of the scholars whose work fed mine.
The effort to explain generated many tangents and thematic excursuses. The process of explanation works both ways: images adduced to explain the BR cups are themselves illuminated by the process of explanatory ordering. Thus the cups prove to be valuable points of comparison for understanding many other works, under two main headings: the modes of policy and propaganda that much Roman art was intended to serve, and the complex patterns of form, temporality, and causation with which Roman narrative and commemorative arts concerned themselves as pri-
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mary objects of artistic endeavor. The purview of the book ranges from the earliest to the latest products of the Roman city-state, from terracotta pediments erected by nameless Republican nobiles to the monuments of the generals contesting and defending the late Empire; it takes in the Anaglypha Traiani and the Hadrianeum, the Ludovisi sarcophagus and the arches of Galerius and Constantine, the Beneventum Arch of Trajan, the Throne of Claudius and the Puteoli base, cuirass statues famous (Primaporta, Cherchel) and obscure (Castello d'Aglie, Amphipolis), famous and not-so-famous cameos, Arretine ware, military decoration, the imperial fora and the Aphrodisias Sebasteion, the cenotaph of Gaius at Limyra and of Drusus at Mainz . . .
The central contribution of this book to Roman art history is, I hope, a better understanding of Augustan artistic production, reached in the process of embedding the BR cup panels firmly in the high road of the Augustan monumental tradition. This enlarged understanding has two aspects. First, these investigations have radically enlarged and deepened our knowledge and comprehension of many individual works of art and coin images. The monument most significantly illuminated in this way is that marble microcosmos the Ara Pacis Augustae, especially in regard to its celebration of the worldwide Roman imperium and the imperial nature of Augustus' pax; for it is now clear beyond a shadow of a doubt that children of foreign rulers march in the processions of the Ara Pacis, and I have tried to stress the importance of others' findings that the peoples of empire were personified on the inner altar. Hardly another aspect of the Ara Pacis, whether of iconography, temporal or conceptual structure, landscape or relief style, cannot benefit from comparative analysis of the BR cups.[2]
Second, these investigations have significantly expanded our knowledge of specific Augustan artistic genres and themes. One can now be much more specific about that acknowledged phenomenon, the paradigmatic influence of Augustan monuments and imagery on later imperial artistic production. No longer will it be possible to contemplate Hadrianic ethnic personification groups in ignorance of the many Augustan examples, their Republican roots, and their Julio-Claudian "offspring"; the seated togate statue will not be a mysterious, ill-considered figure type; no longer will the great Flavian and second-century achievements in historical relief seem to have arisen from a near vacuum. At the same time, the book has tried to show how the Augustan production was itself grounded in Republican political and creative culture, even as Augustus' artists draw on all the resources of their Classical and Hellenistic heritage to put an Augustan stamp on this latest phase of Republican culture.
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This widened perspective strengthens the appreciation of certain themes as peculiarly Augustan. For instance, the observable Augustan interest in images of children, especially very little children, is exemplified by BR I; this theme seems to be consciously evoked only and to a limited extent in Trajanic art, although the institution (alimenta ) with which it is there associated was important politically both under Trajan's predecessor Domitian and his successor Hadrian. Under both headings, individual monuments and genres, our understanding of the self-images that Augustus sought to promulgate has been enhanced. The parameters often ascribed to the terms of his self-glorification have been permanently broadened: the public Augustus must now include the Jupiter-consul of BR I:1, who joins the naked, heroized Augustus of (lost) commemorative statuary whom Zanker, Coarelli, and others have stubbornly brought to our attention in recent years.
Comprehensive stylistic comparison with the extant canon of Republican and Julio-Claudian art has not been my aim. Now that the BR cups are more firmly dated, such comparison becomes possible; one can hope to see them enter broader discussions of Roman relief style. In closing I would like to comment on an artistic aspect of BR I:1 not previously discussed that may illustrate the inherent possibilities of such comparative analysis for enlarging our appreciation of Augustan art in general.
On BR I:1 in the allegory of Augustus' world rule Venus is about to "make" the Curia Actium Victory group (cf. fig. 20). Mars too is about to "make" a sculpture group, of a type well documented in the Augustan and Julio-Claudian periods (see pp. 41f); a class of honorific monuments in Rome showed a Roman magistrate standing or seated in the midst of a group of personifications of peoples or communities whom he had benefited. In the implied narrative here, once Mars brings up his group and they range themselves before the emperor, such a grouping will come to pass. The viewer's full appreciation of the narrative is conditional upon his knowledge of such public monuments. It was by now commonplace in Greco-Roman art to show the performance of simple acts of construction such as the decking of a trophy or the inscribing of an honorific shield by a goddess. It seems, however, to be a mark of Augustan political art that narrative at all levels, physical and symbolic, should so often be structured by such visual puns.
This characteristic indicates a high level of sophistication on the part of the artist and the audience expected to appreciate and relish such an aspect; it also assumes a high degree of familiarity with prominent individual examples of official monuments. This kind of narrative-visual structure
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can be observed on the Augustan Arcus Novus panel (fig. 12), where Amor floats through the air toward Venus' shoulder, intending to land there, as on the Ravenna relief (fig. 8), where his legs still kick in the air. It is also evident on the Belvedere altar's main panel (fig. 11); between the two laurel trees of Augustus' Palatine abode Victory floats to earth to place Augustus' clipeus virtutis on its pillar, as it appeared in the Curia.[3] And it structures the literal narrative of the bottom half of the Gemma Augustea (fig. 16), as well as the symbolic narrative of the entire cameo. In the lower exergue a trophy group is being put together—soldiers haul up the central wooden post, a captive barbarian couple are already positioned at its foot on the left, as another pair of soldiers haul over a man and woman meant to flank the post on the right, to build a Roman trophy group of classic type known from countless representations in art and probably enacted in actual triumphal parades. The soldiers at left heave the main tree toward Augustus as Tiberius overhead moves down toward him in the upper panel along a converging path; the strong sense of two dynamic lines of motion converging simultaneously on Augustus, in the two fields/worlds on the cameo, is conceptually very like the BR panel, where the two surges of motion occur within a single panel. (The lower exergue as an isolated unit has a structure parallel to the cup panel: motion from the sides toward the center.) This parallelism already sets up a symbolic narrative that is given more definite shape in the implied "future" when the trophy will be exactly between Augustus (note the position of its foot) and Tiberius, who will be immediately before him—emperor and heir aligned on a "real" historical axis of victory.
Presented with such compositions, the viewer gets double for his money: he gets the composition as it exists, a glimpse of figures in action aligned in a meaningful pattern, and he is also given an evocation of an alignment that is about to evolve out of the one that he sees. This implicit second alignment not only extends the symbolic message he can read but also anchors the artistic construct he sees to other artistic constructs he already knows; because the mind is tugged toward the familiar composition just over the temporal horizon, these tableaux are given a real temporal dynamism.
Self-conscious artistic reference to other works of art is a well-known hallmark of Hellenistic and Roman literary art. In the visual arts it operates at a basic level in all iconographic correspondence, as in the individual figures and pairings of the BR allegory. It has not, however, been noted before as operating at the narrative level and in a temporal dimension, as here in these Augustan pieces.[4] The Boscoreale Cups testify that even if
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written discourse on art was mainly limited (as in Pliny) to "Old Masters," at least some Romans some of the time noticed and enjoyed the contemporary products of Augustus' sculptors. And the kind of visual game just outlined is further proof that we are not different from the Romans of 7 B.C. in giving serious attention to and finding pleasure in the world of Augustan art.
--------------------------------------------------------------------------------
Conclusion: The Boscoreale Cups and Roman Art
--------------------------------------------------------------------------------
Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/
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Austin Mini Cooper S 1964 Kunz (c) 2011 Bernhard Egger :: ru-moto images6797
Solomon leads his friends into the Forbidden Halls, only to discover the weapon that could end the reign of a dangerous king before it even begins...
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The "Racecar-Trophy" is an independent competition, that takes place on the three Ennstal-Classic days (Thursday until Saturday). The owners of historic race- and rallye-cars are able to drive their jewels in a beautiful surrounding and at the same time experience the legendary aura of Ennstal-Classic.
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Ferrari 330 GTC 1966, 3966 ccm, 300 PS - Ennstal-Classic 2011
Ferrari 330 GTC 1966 pininfarina (c) 2011 Бернхард Эггер :: ru-moto images 1643cs3
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All rights reserved © 2008 Бернхард Эггер :: ru-moto images
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:: Tags: Бернхард Эггер, фото, ru-moto, images, фотограф, 写真家, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Hill Climb, Bergrennen, Gleichmäßigkeitsveranstaltung, corse, Ecurie, veloce, speed, race trake, circuit, Rennstrecke, supershot, Racecar-Trophy, Tauplitzalm, Bergpreis, Bad Mitterndorf, Steiermark, Styria, Австрия, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,
:: ru-moto images of 100 CAR BRANDS:
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Bergpreis Tauplitzalm (c) 2008 Бернхард Эггер :: ru-moto images
"© All Rights Reserved"
Cover art for Retrieval by author Regina Clarke
~
All images use are from the public domain.
All rights reserved © 2017 Бернхард Эггер :: ru-moto images
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☆ Берни Эггерян :: rumoto images
differs from all the turkeys out there
KTM engine Made in Austria (c) 2017 Бернхард Эггер :: rumoto images 3602 cc
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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.
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Le lac Tsomoriri est un des plus grand et des plus fascinant lac d'altitude du Cahemire. Situé à 4500 mètres d'altitude, il fait plus de 30km de long sur 8km de large. Gelé sur toute sa surface en hiver, les nomades le traversent avec leurs troupeaux de yaks pour atteindre les montagnes et aller chercher le bois nécessaire à leur survie. En mars, lorque la couche de glace se restreint, il est de plus en plus fréquent de voir toute ou partie du troupeau disparaître sous leur poids dans le lac aux eaux gelées. C'est qu'ici comme ailleur, le réchauffement climatique a des conséquences terribles sur les habitudes millénaires des hommes, des animaux et de la nature. la légende veut qu'il y a quelques milliers d'années, une femme nommée "Tsomo" (prénom très commun chez les bouddhistes ladakhis) a découvert ce lac avec son âne et s'y est perdu. Cette femme, très petite "riri" a finallement donné son nom à cet endroit exceptionnel.
En 2010, alors que je me rendais en Indonésie en tant que volontaire de l'ONG Kalaweit au ceour de la jungle de Borneo, tout ou partie de l'Asie du Sud est connaissait une pénurie de pluie sans précédent. La mousson ne venait pas. Au même moment, du 14 au 18 aôut, cette partie de l'Hymalaya qui s'ouvre vers le Pakistan et la vallée de L'indus connu la plus grande innondation de mémoire d'homme dans la région (les textes les plus anciens écrits par les moines datent de mille ans). Ce sont des milliards de mètres cubles d'eaux qui se sont abattus sur le haut des montagnes entraînant boues et milliards de tonnes de rochers vers les vallées, dévastant tout sur leur passage, village, cultures, vies humaines et animales. le bilan officiel n'a jamais été communiqué.
Tsomoriri Lake is one of the largest and most fascinating high altitude lake of Cahemire. Located at 4500 meters altitude, it is more than 30km long and 8km wide. Frozen over its entire surface in winter, nomads cross it with their yak herds to reach the mountains and get wood for their survival. In March, When the course is restricted ice, it is increasingly common for all or part of the herd disappear under the lake. Here as everywhere else, global warming has a devastating effect on the habits of humans, animals and nature.
According to the legend, few thousand years ago, a woman named "Tsomo" (very common name among Ladakhi Buddhists) found that lake with his donkey and got lost. This woman, very small "riri" has finally given her name to this special place.
In 2010, when I went to Indonesia as a volunteer for the Kalaweit NGO in the Borneo's jungle, all or part of Southeast Asia was experiencing a shortage of unprecedented rain. The monsoon did not came. At the same time, from 14 to 18 August, this part of the Himalayas that opens to Pakistan and the Indus valley experienced the largest flood in living memory in the region (the oldest texts written date by the monks a thousand years never told about such disaster). Cubles billion meters of water that hit the top of the mountains causing sludge and billions of tons of rocks to the valleys, devastating everything in their way, village, crops, human and animal lives. The official death toll has never been reported.
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Photo Credit: NASA / Rockwell
Scanned from press photo (19x19cm) on 6 OCT 2018
Reverse side:
Rockwell International
51-A RETRIEVAL COMPLETE - Astronaut Dale A. Gardner, left, holds a "For Sale" sign, making light reference to the status of the recaptured communications spacecraft, which has been stranded since its initial deployment. Astronaut Joseph P. Allen stands on the mobile foot restraint (MFR), which in tandem with the RMS arm controlled by Dr. Anna L. Fisher inside Discovery's cabin, served as a cherrypicker for capture efforts. This photograph of the Westar VI post-retrieval activity was taken Nov. 14, 1984
----End
Recently I came across a large lot of NASA press photos. I couldn't get the entire box and picked a couple I enjoy viewing. So I thought I'd scan them and share.
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All rights reserved © 2011 Берни Эггерян :: rumoto images
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:: Бернхард Эггер, фото, rumoto, images, фотограф, 写真家, Nikon, FX, full frame, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, Rennstrecke, Rally, Rallye, supershot, Racecar-Trophy, Planai Classic, Gröbming, Австрия, Sberbank, Сбербанк, ZENITH, Ennstal-Classic, Styria, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,
motorsport photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,
driver legends, Champions, Fahrer, driver, Legenden, Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jo Gartner, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl, Skoda R110, orange,
Skoda R110 1972 Pilz (c) 2011 Берни Эггерян :: rumoto images 6777
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Design, Bizzarrini, Bertone, BAT, Berlinetta Aerodinamica Tecnica, Bizzarrini Giotto, Felice Mario Boana, Carrozzeria Castagna, Carrozzeria, Carrozzeria Colli, Carrozzeria Fissore, Italdesign Giugiaro, Callum Ian, Dallara Gianpaolo, Miura, De Tomaso Pantera, De Tomaso Alejandro, Gandini Marcello, Lamborghini Miura, Countach, De Simon, Diablo, Lancia Stratos, Carrozzeria Francis Lombardi, Carrozzeria Marazzi, Carrozzeria Scaglietti, Carrozzeria Touring Superleggera, Carrozzeria Varesina, Maserati Khamsin, Friedrich Indra, Fuhrmann, Gamine, Giugiaro Giorgio, Carrozzeria Ghia, Maserati Bora, Pininfarina, Scaglietti, Modena, Christian Nell, Stanzani Paolo, Bugatti EB110, Campogalliano, Touring Milano, Vignale, Zagato, Pedrazza, Werner Zinke,
motorsport photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,
driver legends, Champions, Fahrer, driver, Legenden, Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Fiat Abart 850 TC cockpit Tauplitzalm Bergpreis Hill Climb (c) 2005 Bernard Egger :: rumoto images 5013
Type: Agusta A109E Power
Operator: Careflight
Rego: VH-IAG
Serial: 11122
Location: Blair Oval - St Marys - New South Wales
Date: 14/04/2008
Notes: Between April 2005 and March 2011 the NRMA Careflight helicopter was used for the HIRT (Head Injury Retrieval Trial). The aircraft would respond to calls where a person had suffered head injury from things such as falls, vehicle collisions or assaults and would bring specialist medical personnel to the scene to commence advanced medical treatment as early as possible. The service also responded to incidents involving children such as drownings however this was not part of the HIRT trial functions. The program was credited with a redcution in the death rate for head injury patients who were not conscious from 45% to 29% of patients over the course of the trial. The helicopter was not a patient transport service, rather it was a rapid response for medical personnel to get to the scene of the incident quickly.
Thank you for your service.
This work is protected under copyright laws and agreements.
All rights reserved © 2012 Бернхард Эггер :: ru-moto images
NO RELEASE • NO flickr API • No part of this photostream may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission!
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★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports passion ★ Oldtimer GP ★ Fine Art
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Harley Davidson Tauplitzalm Bergpreis (c) 2012 Бернхард Эггер :: ru-moto images 7242
© Lawrence Goldman 2015 All Rights Reserved
This work is protected under international copyright laws and agreements. It cannot be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission.