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:: ru-moto is admin of 77 groups • 67 MILLION VIEWS (11/'18)
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:: Tags: Берни Эггерян, Бернхард Эггер, фото, ru-moto, images, фотограф, photographer, 写真家, Nikon FX, full frame, fine art, photography, Fotografie, Fotográfico, Fotografo, supershot, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Oldtimer, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, Rennstrecke, Jaguar SS 100, 1937, Ennstal-Classic, Gröbming, Styria, Austria, Австрия, Racecar-Trophy, Sberbank, Сбербанк, Россия, ZENITH, Mille Miglia, Targa Florio, Rally, Rallye, Automobilsport, Techno Classica, Moto d'Epoca, Goodwood, FOS, FIA Founding Members Heritage Cup, Passione senza Tempo, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, 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, color, british,
:: 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, March, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Mitsubishi, Morgan, Morris, Maybach, Nissan, 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,
Design - coachbuilders:
Carrozzeria Allemano, Autodromo, Balbo, Bertone, BAT, Berlinetta Aerodinamica Tecnica, Bizzarrini Giotto, Bizzarrini, Felice Mario Boana, Boneschi, Carrozzeria Castagna, Carrozzeria Colli, Carrozzeria Fissore, Frua, Fuhrmann, Gamine, Giugiaro Giorgio, Carrozzeria Ghia, 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, Maggiora, Carrozzeria Marazzi, Paolo Martin, Modena, Maserati Khamsin, Friedrich Indra, Maserati Bora, Giovanni Michelotti, Christian Nell, OSI, Pedrazza, Pininfarina, Rocco Motto, Stanzani Paolo, Bugatti EB110, Campogalliano, Carrozzeria Scaglietti, Supperleggera, Carrozzeria Touring Superleggera, Touring Milano, Carrozzeria Varesina, Vignale, Carrozzeria Alfredo Vignale, Carrozzeria Viotto, Zagato, 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, 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,
Jaguar SS 100 1937 Moser (c) 2011 Бернхард Эггер :: ru-moto images 2002
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
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►my profile... |►collections.. |►sets.. |►facebook |►get a print
:: ru-moto is admin of 77 groups • member of 610 groups (3/18)
☆ 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
Maserati 250F/V12 1957 - M.T. de Filippis at Ennstal-Classic 2010
Maria Teresa de Filippis (born 11 November 1926 in Naples, Italy / † 9.1.2016 Scanzorosciate) was the first of five female Formula One racing drivers in the sport's history. She participated in five World Championship Grands Prix, debuting on 18 May 1958. She scored no championship points. She also participated in several non-Championship Formula One races. The four other women who attempted to start in Formula One were Lella Lombardi, Divina Galica, Desiré Wilson and Giovanna Amati.
- - - - -
Maria Teresa de Filippis (* 11. November 1926 in Neapel / † 9.1.2016) war eine ehemalige italienische Automobilrennfahrerin.
Sie war die erste Frau, die bei einem Formel-1-Weltmeisterschaftslauf startete, und zwar beim GP von Belgien 1958 auf Maserati. Sie beendete das Rennen als Zehnte. Zuvor hatte sie bereits, ebenfalls auf Maserati, Sportwagenrennen bestritten und erfolglos versucht, sich für den GP von Monaco 1958 zu qualifizieren. Bei zwei weiteren Rennen im gleichen Jahr schied sie jeweils aus.
In der Formel-1-Saison 1959 trat sie zum Großen Preis von Monaco auf Porsche an, für den sie sich allerdings nicht qualifizieren konnte. Nach dem Unfalltod ihres guten Freundes Jean Behra auf der AVUS 1959 beendete sie ihre Karriere.
Die gebürtige Neapolitanerin fuhr 1948 ihr erstes Rennen und gewann auf einem Fiat Topolino auf Anhieb ihre Klasse. Bei ihren ersten Rennen traf sie noch mit dem wohl größten italienischen Rennfahrer aller Zeiten zusammen: mit Tazio Tuvolari.
Zwischen 1949 und 1953 holte sie sich viele Siege in einem Fiat-Giannini Sportwagen. 1954 wurde sie Zweite im Straßenrennen Giro die Sicilia. 1955 wurden ihr von Maserati ein Werkswagen zur Verfügung gestellt. Mit einem A6GCS 2000 belegte sie Rang neun in der Targa Florio und Rang drei in den 10 Stunden von Messina. 1956 sah man Maria Teresa wieder auf Maserati bei der Mille Miglia. Beim 1000 km Rennen von Monza schied sie in ihrer Klasse führend aus, bei den 1000 km von Buenos Aires lag sie auf Rang sieben im Gesamtklassement, als sie einen Unfall hatte.
1958 sorgte sie für eine Sensation. Ehrgeizig und furchtlos wie sie nun mal war, debütierte sie in der Formel 1 auf einem Maserati 250F. Immerhin ein Auto, mit dem Fangio im Jahr davor Weltmeister wurde. Im Grand Prix von Syrakus, auf einer besonders gefährlichen Straßenrennstrecke, wurde sie Fünfte, in Monaco hatte sie Motorschaden, im Grand Prix von Europa, in Spa-Francorchamps, wurde sie Zehnte, in Monza schied sie 12 Runden vor Schluss auf Rang fünf liegend aus.
1959 konnte sie sich in Monaco mit dem Spezial-Porsche von Jean Behra nicht qualifizieren. Im 10 Stunden Rennen von Messina wurde sie auf Maserati Dritte. Als Jean Behra am 1. August 1959 beim Sportwagenrennen auf der Avus tödlich verunglückte, beendete sie ihre Karriere. Die Frau, der von Fangio abwärts ein ganzes Grand Prix-Startfeld den Hof machte, heiratete den gebürtigen Wiener Theo Huschek, mit dem sie heute in Oberitalien lebt. Sie ist nicht nur Ehrenpräsidentin des Clubs der einstigen Grand Prix-Piloten, sondern zusammen mit Theo Herz und Seele dieser elitären Vereinigung, zu deren Gründungsmitgliedern der fünffache Weltmeister Juan Manuel Fangio gehörte.
de.wikipedia.org/wiki/Maria_Teresa_de_Filippis
- - - - -
:: 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, Oldtimer, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, supershot, Австрия, Россия, Ennstal-Classic, Gröbming, Styria, Austria, Racecar-Trophy, Sberbank, Сбербанк, ZENITH, Mille Miglia, Targa Florio, Rally, Rallye, Automobilsport, Techno Classica, Moto d'Epoca, Goodwood, FOS, FIA Founding Members Heritage Cup, Passione senza Tempo, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, 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,
:: 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, March, 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,
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, 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, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Maria Teresa de Filippis RIP Maserati 250F/V12 12-Cyl # 2522 1957 (c) 2010 Бернхард Эггер :: ru-moto images 3752
Recovery teams participate in helicopter training in preparation for the retrieval of the sample return capsule from NASA's OSIRIS-REx mission, Wednesday, July 19, 2023, at the Department of Defense's Utah Test and Training Range. The sample was collected from the asteroid Bennu in October 2020 by NASA’s OSIRIS-REx spacecraft and will return to Earth on September 24th, landing under parachute at the Utah Test and Training Range. Photo Credit: (NASA/Keegan Barber)
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 groups • member of 610 groups (3/18)
☆ 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
Maserati 250F/V12 1957 - M.T. de Filippis at Ennstal-Classic 2010
Maria Teresa de Filippis (born 11 November 1926 in Naples, Italy / † 9.1.2016 Scanzorosciate) was the first of five female Formula One racing drivers in the sport's history. She participated in five World Championship Grands Prix, debuting on 18 May 1958. She scored no championship points. She also participated in several non-Championship Formula One races. The four other women who attempted to start in Formula One were Lella Lombardi, Divina Galica, Desiré Wilson and Giovanna Amati.
- - - - -
Maria Teresa de Filippis (* 11. November 1926 in Neapel / † 9.1.2016) war eine ehemalige italienische Automobilrennfahrerin.
Sie war die erste Frau, die bei einem Formel-1-Weltmeisterschaftslauf startete, und zwar beim GP von Belgien 1958 auf Maserati. Sie beendete das Rennen als Zehnte. Zuvor hatte sie bereits, ebenfalls auf Maserati, Sportwagenrennen bestritten und erfolglos versucht, sich für den GP von Monaco 1958 zu qualifizieren. Bei zwei weiteren Rennen im gleichen Jahr schied sie jeweils aus.
In der Formel-1-Saison 1959 trat sie zum Großen Preis von Monaco auf Porsche an, für den sie sich allerdings nicht qualifizieren konnte. Nach dem Unfalltod ihres guten Freundes Jean Behra auf der AVUS 1959 beendete sie ihre Karriere.
Die gebürtige Neapolitanerin fuhr 1948 ihr erstes Rennen und gewann auf einem Fiat Topolino auf Anhieb ihre Klasse. Bei ihren ersten Rennen traf sie noch mit dem wohl größten italienischen Rennfahrer aller Zeiten zusammen: mit Tazio Tuvolari.
Zwischen 1949 und 1953 holte sie sich viele Siege in einem Fiat-Giannini Sportwagen. 1954 wurde sie Zweite im Straßenrennen Giro die Sicilia. 1955 wurden ihr von Maserati ein Werkswagen zur Verfügung gestellt. Mit einem A6GCS 2000 belegte sie Rang neun in der Targa Florio und Rang drei in den 10 Stunden von Messina. 1956 sah man Maria Teresa wieder auf Maserati bei der Mille Miglia. Beim 1000 km Rennen von Monza schied sie in ihrer Klasse führend aus, bei den 1000 km von Buenos Aires lag sie auf Rang sieben im Gesamtklassement, als sie einen Unfall hatte.
1958 sorgte sie für eine Sensation. Ehrgeizig und furchtlos wie sie nun mal war, debütierte sie in der Formel 1 auf einem Maserati 250F. Immerhin ein Auto, mit dem Fangio im Jahr davor Weltmeister wurde. Im Grand Prix von Syrakus, auf einer besonders gefährlichen Straßenrennstrecke, wurde sie Fünfte, in Monaco hatte sie Motorschaden, im Grand Prix von Europa, in Spa-Francorchamps, wurde sie Zehnte, in Monza schied sie 12 Runden vor Schluss auf Rang fünf liegend aus.
1959 konnte sie sich in Monaco mit dem Spezial-Porsche von Jean Behra nicht qualifizieren. Im 10 Stunden Rennen von Messina wurde sie auf Maserati Dritte. Als Jean Behra am 1. August 1959 beim Sportwagenrennen auf der Avus tödlich verunglückte, beendete sie ihre Karriere. Die Frau, der von Fangio abwärts ein ganzes Grand Prix-Startfeld den Hof machte, heiratete den gebürtigen Wiener Theo Huschek, mit dem sie heute in Oberitalien lebt. Sie ist nicht nur Ehrenpräsidentin des Clubs der einstigen Grand Prix-Piloten, sondern zusammen mit Theo Herz und Seele dieser elitären Vereinigung, zu deren Gründungsmitgliedern der fünffache Weltmeister Juan Manuel Fangio gehörte.
de.wikipedia.org/wiki/Maria_Teresa_de_Filippis
- - - - -
:: 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, Oldtimer, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, supershot, Австрия, Россия, Ennstal-Classic, Gröbming, Styria, Austria, Racecar-Trophy, Sberbank, Сбербанк, ZENITH, Mille Miglia, Targa Florio, Rally, Rallye, Automobilsport, Techno Classica, Moto d'Epoca, Goodwood, FOS, FIA Founding Members Heritage Cup, Passione senza Tempo, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, 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,
:: 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, March, 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,
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, 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, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Maria Teresa de Filippis RIP Maserati 250F/V12 12-Cyl # 2522 1957 (c) 2010 Бернхард Эггер :: ru-moto images 3754
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Maserati 250F/V12 1957 - M.T. de Filippis at Ennstal-Classic 2010
Maria Teresa de Filippis (born 11 November 1926 in Naples, Italy / † 9.1.2016 Scanzorosciate) was the first of five female Formula One racing drivers in the sport's history. She participated in five World Championship Grands Prix, debuting on 18 May 1958. She scored no championship points. She also participated in several non-Championship Formula One races. The four other women who attempted to start in Formula One were Lella Lombardi, Divina Galica, Desiré Wilson and Giovanna Amati.
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Maria Teresa de Filippis (* 11. November 1926 in Neapel / † 9.1.2016) war eine ehemalige italienische Automobilrennfahrerin.
Sie war die erste Frau, die bei einem Formel-1-Weltmeisterschaftslauf startete, und zwar beim GP von Belgien 1958 auf Maserati. Sie beendete das Rennen als Zehnte. Zuvor hatte sie bereits, ebenfalls auf Maserati, Sportwagenrennen bestritten und erfolglos versucht, sich für den GP von Monaco 1958 zu qualifizieren. Bei zwei weiteren Rennen im gleichen Jahr schied sie jeweils aus.
In der Formel-1-Saison 1959 trat sie zum Großen Preis von Monaco auf Porsche an, für den sie sich allerdings nicht qualifizieren konnte. Nach dem Unfalltod ihres guten Freundes Jean Behra auf der AVUS 1959 beendete sie ihre Karriere.
Die gebürtige Neapolitanerin fuhr 1948 ihr erstes Rennen und gewann auf einem Fiat Topolino auf Anhieb ihre Klasse. Bei ihren ersten Rennen traf sie noch mit dem wohl größten italienischen Rennfahrer aller Zeiten zusammen: mit Tazio Tuvolari.
Zwischen 1949 und 1953 holte sie sich viele Siege in einem Fiat-Giannini Sportwagen. 1954 wurde sie Zweite im Straßenrennen Giro die Sicilia. 1955 wurden ihr von Maserati ein Werkswagen zur Verfügung gestellt. Mit einem A6GCS 2000 belegte sie Rang neun in der Targa Florio und Rang drei in den 10 Stunden von Messina. 1956 sah man Maria Teresa wieder auf Maserati bei der Mille Miglia. Beim 1000 km Rennen von Monza schied sie in ihrer Klasse führend aus, bei den 1000 km von Buenos Aires lag sie auf Rang sieben im Gesamtklassement, als sie einen Unfall hatte.
1958 sorgte sie für eine Sensation. Ehrgeizig und furchtlos wie sie nun mal war, debütierte sie in der Formel 1 auf einem Maserati 250F. Immerhin ein Auto, mit dem Fangio im Jahr davor Weltmeister wurde. Im Grand Prix von Syrakus, auf einer besonders gefährlichen Straßenrennstrecke, wurde sie Fünfte, in Monaco hatte sie Motorschaden, im Grand Prix von Europa, in Spa-Francorchamps, wurde sie Zehnte, in Monza schied sie 12 Runden vor Schluss auf Rang fünf liegend aus.
1959 konnte sie sich in Monaco mit dem Spezial-Porsche von Jean Behra nicht qualifizieren. Im 10 Stunden Rennen von Messina wurde sie auf Maserati Dritte. Als Jean Behra am 1. August 1959 beim Sportwagenrennen auf der Avus tödlich verunglückte, beendete sie ihre Karriere. Die Frau, der von Fangio abwärts ein ganzes Grand Prix-Startfeld den Hof machte, heiratete den gebürtigen Wiener Theo Huschek, mit dem sie heute in Oberitalien lebt. Sie ist nicht nur Ehrenpräsidentin des Clubs der einstigen Grand Prix-Piloten, sondern zusammen mit Theo Herz und Seele dieser elitären Vereinigung, zu deren Gründungsmitgliedern der fünffache Weltmeister Juan Manuel Fangio gehörte.
de.wikipedia.org/wiki/Maria_Teresa_de_Filippis
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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, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Maserati 250F/V12 Nr 2522 1957 cockpit (c) 2010 Бернхард Эггер :: ru-moto images 3610
If you know where this photograph was taken or can identify anyone in the image, please contact the Halifax Municipal Archives or leave a comment below.
Date: late 1950s or early 1960s
Photographer: Building Inspector, Works Department
Format: 1 photograph : b&w negative, 8.25 x 10.8 cm (3.25 x 4.25 inches)
Retrieval Code: Halifax Works Works Department photograph, 102-39-1-1401.25
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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,
Planai-Classic 2012 # 27 VW Käfer, 150 HP, 1971 - P. Harrach / M. Glöckner
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© Lawrence Goldman 2015 All Rights Reserved
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ISS031-E-067328 (24 May 2012) --- The SpaceX Dragon commercial cargo craft approaches the International Space Station on May 24, 2012 for a series of tests to clear it for its final rendezvous and grapple on May 25. At 3:58 a.m. (EDT), Dragon performed a height adjust burn to bring it to a path 2.4 kilometers below the station. During this “fly-under,” Dragon established UHF communication with the station using its Commercial Orbital Transportation Services (COTS) Ultra-high frequency Communication Unit (CUCU). Dragon performed a test of its Relative GPS system, which uses the relative positions of the spacecraft to the space station to determine its location. On May 25, Expedition 31 Flight Engineers Don Pettit and Andre Kuipers will use the Canadarm2 robotic arm to grapple the supply ship about 8:06 a.m., with the berthing to the Earth-facing side of the station’s Harmony node following about 11:20 a.m. Dragon is scheduled to spend about a week docked with the station before returning to Earth on May 31 for retrieval.
Augustus receiving the surrender of barbarians.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
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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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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― 203 ―
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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― 204 ―
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
--------------------------------------------------------------------------------
― 205 ―
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
--------------------------------------------------------------------------------
― 206 ―
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/
Outside the Karibuni Restaurant on Pinel Island. The guy had just plucked a lobster from the green mesh crate it was kept in after it was caught. It would soon be somebody's lunch.
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Meanwhile, at Blues Point, on the northern side … …
Sydney Metro prepares for the arrival of TBM Kathleen, currently being prepared at Barangaroo. Here are a series of shots taken on the morning of 21 March 2019 These show the partly constructed acoustic shed, the crane that will lift the tunnel boring machine out of the ground, and the ramp that will connect to the barge which will transport Kathleen back to Barangaroo in readiness for her return trip!
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Geertgen tot Sint Jans
Alrededor de 1460/1465, después de 1490, activo en Haarlem
El destino de los restos terrenales de Juan el Bautista, despues de 1484
En el fondo el entierro por separado de la cabeza y el cuerpo después de la decapitación de Juan el Bautista por Herodes; en el primer plano la apertura dGeertgen tot Sint Jans
Around 1460/1465, after 1490, active in Haarlem
Fate of the earthly remains of John the Baptist, after 1484
In the background the separate burial of head and body after the beheading of John the Baptist under Herod; in the foreground the opening of the tomb and burning of the bones on the orders of the emperor Julian the Apostate in the year 362, in the middle distance the retrieval of the rescued remains in the 13th century. This scene is, however, relocated into the late 15th century, the members of the Haarlem St. John Convention having themselves represented in a group portrait - the earliest in the history of painting.
Geertgen tot Sint Jans
Alrededor de 1460/1465, después de 1490, activo en Haarlem
El destino de los restos terrenales de Juan el Bautista, despues de 1484
En el fondo el entierro por separado de la cabeza y el cuerpo después de la decapitación de Juan el Bautista bajo Herodes; en el primer plano la apertura de la tumba y la quema de los huesos por orden del emperador Juliano el Apóstata en el año 362; en el centro, la recuperación de los restos salvados en el siglo 13. Esta escena, sin embargo, se transfiere en los finales del siglo 15, los miembros del convento de Haarlem de los Caballeros de San Juan se haciendo representar en un retrato de grupo - el primero en la historia de la pintura.
Geertgen tot Sint Jans
Um 1460/1465, nach 1490, tätig in Haarlem
Schicksal der irdischen Überreste Johannes des Täufers, nach 1484
Im Hintergrund die getrennte Bestattung von Haupt und Leichnam nach der Enthauptung des Täufers unter Herodes; im Vordergrund die Öffnung des Grabes und Verbrennung der Gebeine auf Befehl Kaiser Julian Apostatas im Jahr 362; im Mittelgrund die Wiederauffindung der geretteten Überreste im 13. Jahrhundert. Diese Szene ist jedoch ins späte 15. Jahrhundert verlegt, wobei sich die Mitglieder des Haarlemer Johanniterkonvents in einem Gruppenporträt - dem frühesten der Malereigeschichte - darstellen ließen. e la tumba y la quema de los huesos por orden del emperador Juliano el Apóstata en el año 362; en el centro, la recuperación de los restos salvados en el siglo 13. Esta escena, sin embargo, se transfiere en los finales del siglo 15, los miembros del convento de Haarlem de los Caballeros de San Juan se haciendo representar en un retrato de grupo - el primero en la historia de la pintura.
Geertgen tot Sint Jans
Um 1460/1465, nach 1490, tätig in Haarlem
Schicksal der irdischen Überreste Johannes des Täufers, nach 1484
Im Hintergrund die getrennte Bestattung von Haupt und Leichnam nach der Enthauptung des Täufers unter Herodes; im Vordergrund die Öffnung des Grabes und Verbrennung der Gebeine auf Befehl Kaiser Julian Apostatas im Jahr 362; im Mittelgrund die Wiederauffindung der geretteten Überreste im 13. Jahrhundert. Diese Szene ist jedoch ins späte 15. Jahrhundert verlegt, wobei sich die Mitglieder des Haarlemer Johanniterkonvents in einem Gruppenporträt - dem frühesten der Malereigeschichte - darstellen ließen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building.
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währinger street/Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the Opera ring, and Ludwig Zettl the southeast side of the Grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience of Joseph Semper with the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper subsequently moved to Vienna. From the beginning on, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times.
Dome hall
Entrance (by clicking on the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891, the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol needs another two years.
1891, the Court museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his "Estensische Sammlung (Collection)" passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d'Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The Court museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain on 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House", by the Republic. On 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of Ancient Coins
Collection of modern Coins and Medals
Weapons collection
Collection of Sculptures and Crafts with the Collection of Ancient Musical Instruments
Picture gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the German Reich.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to bring certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. To this end was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief, in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections, in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections, in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum also belon the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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All rights reserved © 2012 Бернхард Эггер :: ru-moto images
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Us surrogates & egg donors go through many discomforts that come along with pregnancy and having our ovaries bursting at the seams with eggs for retrieval. 24 eggs, the egg donors dozen!
While we love being surrogates & egg donors, don’t kid yourself, we have had our own (sometimes hilarious) experiences with it. Please enjoy some of the confessions that surrogates and egg donors have been so sweet to share with me. I laughed pretty hard at some of these, I hope you get as much entertainment from them as I did.
“I became a surrogate because I was unfulfilled by the lack of excitement from my own partner over our natural children. I wanted to vicariously live through people who would be thrilled about the baby I was carrying for them.”
“every time I need to pee I think ‘ I should have bought more tests!”
“I boiled a crochet hook to sterilize it and used sterile gloves I had acquired from a hosp to try and break my own water. I could reach my cervix with my hand, but I just couldn’t get the hook anywhere near where it needed to be. Needless to say, it didn’t work!”
“I’m excited to not to have to stay up nursing a newborn and listening to my IPs tell me how tiring their first days as new parents are”
“after big meals I look in the mirror and stick my ‘food baby’ out and look at my husband and say ‘I MUST be pregnant! Look at this stomach’. He kindly reminds me that there’s no way a little embryo would be the size of my supper that night… men “
“I enjoy pregnancy, labour and birth but I don’t want anymore of my own children. I found a pretty cool way to satisfy this desire.”
“During my surrogate pregnancy, my farts got so bad that some nights, my husband slept with an actual gas mask on. According to him it was the only solution for survival.”
“The best thing about surrogacy is helping grow/make a family and watching these people become parents. I never understood why I enjoyed being pregnant until I became a surrogate!“
“While going through screening I logically knew nothing should come up, I was worried results would show something I was unaware of.”
“There were days near the end where I skipped my PIO because I just couldn’t take the thought of another.“
“Traveling for transfer was suppose to be a break from my kids. Instead I ended up bringing them with me”
“Those pregnancy hormones do a lot of things to you. MAke you feel up and down. For me, OMG my sex drive was CRAZZZYYY. I felt I could not get enough of sex and foreplay and was always horny.“
“I spent nearly $300 trying to induce labor. I was done.“
“My surrogacy journey was the only time I was excited to have morning sickness and constipation.”
“I wish I could have breastfed in the hospital to kick start my milk production. Exclusively pumping is hard and maintaining a supply without a baby is even more difficult.“
“My siblings and in laws don’t know I was a surrogate“
“Never thought I would gain friends from this experience that would become like family.“
“I feared going for my ultrasound recently. I knew they shouldn’t find a baby already on ultrasound but I had been sexually active. I mean I knew I shouldn’t be pregnant but WHAT IF. NOW, I’m stressing. Like am I the only one who fears ultrasounds and all the things they COULD find. What if…”
“My husbands favorite thing was to tell everyone that his wife was knocked up…and it wasn’t his. Then he would sit & watch their reactions. For fun.”
“I felt the IF wasn’t onboard with the whole journey and that the IM forced him through everything and even the week the baby was born he didn’t fly in until 2 days before the scheduled c section and the IM was here for a week and a half. She was excited but she tried to “cheap” out on everything“
“Having to fly to another province for the transfer was a mini vacation for me. I visited friends, went sight-seeing, and ordered room service at the hotel. It was a nice break from my kids.“
“I never had hemorrhoids with my own kids, however, I had mild ones after the 1st journey and mild to medium with 2nd journey. I had no clue how to handle this.”
“I stole the hook [for breaking the water] from the maternity ward but couldn’t get to through the cervix!”
“When I signed up to be a surrogate I thought it would be easy with no issues. It turned out be harder on my body than I thought it would be.”
The post Hormones, Heartburn & Hemorrhoids…OH MY! appeared first on ANU Fertility Consultants.
www.surrogacyincanada.com/hormones-heartburn-hemorrhoids-oh/
The excavation of the shaft at the Blues Point Retrieval Site is now complete and preparations are being made for the arrival of the tunnel boring machines. Over the next three months TBMs Kathleen, Wendy and Mabel with complete their journeys (the former from Barangaroo, the latter from Chatswood). Each will be winched from the floor of the shaft and barged to Barangaroo. Kathleen will complete a second tunnel before the task is completed in the first few moths of 2020.
A Community and Information day was held, on site, on Saturday 28 September. Representatives from Sydney Metro, Transport for NSW, and the contractors, John Holland GPB Ghella were on hand to answer questions.
The latter are building the 15.5 km twin railway tunnels between Chatswood and Sydenham, and excavating six new metro stations.
mission:
retrieve shoes from telephone wires. return to hideout and string up on the wall.
result:
success.
possible topics for discussion:
1] gentrification:
when andrew first started trying to pull down the shoes, a neighbourhood kid came by to say "leave em up! that's how people know this is the ghetto!" to which andrew replied "man, it's cool ~ someone'll toss up another pair"
2] eccentricity:
in this day and age if one elects to wear a bowler hat, should he be expected to perform eccentric acts?
3] converse shoes:
why might these shoes "represent" the ghetto more than the other sneakers further down the line, which andrew had no interest in.
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All rights reserved © 2006 Бернхард Эггер :: rumoto images
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MV AGUSTA Giacomo Agostini Team MV Agusta GP 500 1970
Selten standen eine Motorradmarke und ein Rennfahrer in so engem Zusammenhang wie die MV Agusta und Giacomo Agostini. Als Reaktion auf die Anfang der 60er dominierenden Honda-Werksmaschinen ordnete Conte Domenico Agusta 1964 die Entwicklung eines Dreizylindermotors an. Dieser war im Ergebnis kleiner und leichter als die Konkurrenz - bei vergleichbarer Leistung, aber damit entsprechend handlicher. Conte Domenico Agusta stellte eine Bedingung: Ein Italiener sollte die Maschine pilotieren - Agostinis Siegeszug begann und der Name Agusta wurde zur Legende.
Insgesamt 15 Weltmeistertitel gewann Giacomo Agostini, davon alleine sieben Titel in der 500 ccm-Klasse auf einer Dreizylinder-Viertakt MV Agusta. So auch im Jahr 1970, als er auf einer Werksmaschine unterwegs war. Die mit sieben Gängen ausgestatte 500er erreichte mit 78 PS bei 12000/min eine Höchstgeschwindigkeit von 260 km/h. Die drei Zylinder hatten 62 mm Bohrung und 55 mm Hub, das ergab einen Hubraum von 498 cm³. Gebaut wurde die erfolgreiche 500er Dreizylinder von 1967 bis 1972.
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Giacomo Agostini MV Agusta мотоциклы Rupert-Hollaus Gedächtnisrennen GP von Österreich Salzburgring (c) Bernhard Egger :: rumoto images
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Harley Davidson Tauplitzalm Bergpreis (c) 2012 Бернхард Эггер :: ru-moto images 7240
A retrieval from the archives.
Manchester Trafford Park shed & Class 24 diesel D5124 tows away Black 5 4-6-0s 45316 45258 44804 44895 (nearest camera) on their final journey to the scrapyard a month after this ex- Cheshire Lines Committee closed. They were all cut up, like many others from the end of BR steam, at Draper's yard in Hull.
These were the last engines on shed so the photo really does record the end at Trafford Park. The entrance to the shed was off to the left distance where a footbridge from the estate crossed over the old Midland main line & led to a cinder track into the shed yard.
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Sidecar Tauplitzalm Bergpreis Motorräder (c) 2012 Бернхард Эггер :: ru-moto images 7367
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Lancia 037 Rallye (c) 2010 Бернхард Эггер :: ru-moto images | pure passion
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Bartol WMB 250 - Eder Christopher Oldtimer Grand Prix 2012 Schwanenstadt (c) 2013 Берни Эггерян :: rumoto images 0234 bw
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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,
Planai-Classic 2012 # 19 BMW Group Classic - 1999 cm, 190 HP, 1969
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:: ru-moto images of 100 CAR BRANDS:
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Bergpreis Tauplitzalm (c) 2008 Бернхард Эггер :: ru-moto images
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:: 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, 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,
Planai-Classic 2012 # 21 Dr. Albert Kröpfl (A), 1430 ccm, 120 HP, 1967
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photographer... |►collections.. |►mysets.. |► LOTUS
★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports passion ★ Oldtimer GP ★ Fine Art
:: rumoto images of 115 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 photographers, 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,
LOTUS Meeting Altaussee Austria Joe Willenpart R.I.P. (c) 2007 Bernard Egger :: rumoto images
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📷 photographer: Bernard Egger :: rumoto images
event | 2008 ENNSTAL-CLASSIC
----
Lotus 49R6 B/C - Car of F1-Champion Jochen Rindt, Austria (1969/1970):
Es handelt sich bei dem Lotus 49 um jene Chassisnummer R6 auf der Graham Hill 1968 den Mexico-GP und Jochen Rindt 1970 durch ein exzellentes Überholmanöver in der letzten Runde den Grand Prix von Monaco gewann.
1969 kollabierte bei Hill und Rindt in Barcelona der Heckflügel, ab Zanvoort saß Rindt in Hills reparierter Chassisnummer R6, er fuhr sofort Pole, im Rennen riß die Halbachse.
In Watkins Glen gewann Rindt damit seinen ersten Grand Prix. Das Auto mit dem 450 PS starken Coswort DFV-Achtzylinder wurde bei Hall & Hall in England komplett restauriert und war im Besitz von Joe Willenpart aus Scheibbs (A).
Mehr über den Jochen-Rindt-Lotus 49:
Wie so viele Konstruktionen von Colin Chapman wurde auch der Lotus 49 bei einem Abendessen auf einer Serviette skizziert.
Was dann am 4. Juni 1967 in Zandvoort unter Jim Clark und Graham Hill seine Rennpremiere hatte, und Clark zum Sieg führte, war der erste Formel 1, dessen Motor (Cosworth DFV) speziell für das Auto und das Auto speziell um diesem Motor herum gebaut wurde.
Der Lotus 49, der 13 Jahre nach dem Mercedes W196 erschien, sollte die Formel 1 verändern.
Am 9. Juni 1968 debütierte ein Lotus 49 mit Chassisnummer R6 im Belgien GP. In Monza erschien ein neues Chassis mit Nummer R6.
Hill fuhr R6 in Canada auf Rang vier, in Watkins Glen wurde er zweiter und dann gewann er mit R6 den Mexiko Grand Prix.
Ab Zandvoort 1969 saß Jochen Rindt in Hills reparierter Chassisnummer R6, er fuhr Pole, doch im Rennen riss die Halbachse.
In Clermont Ferrand gab Rindt mit einer Magenverstimmung auf, im GP von England wurde er von der Pole startend Vierter, am Nürburgring fiel er mit Zündungsdeffekt aus, in Monza wurde er Zweiter, in Mosport Dritter und in Watkins Glen gewann Jochen mit R6 seinen ersten Grand Prix.
1970 fuhr Jochen den R6 noch ein einziges Mal, in Spa-Francorchamps. Zweiter im Training, fiel er im Rennen mit Motorschaden aus.
1971 fuhr Willson Fittipaldi das Auto im Grand Prix von Argentinien mit 29 Runden Rückstand auf Platz neun.
Bei der Rothmans Trophy in Oulton Park war das Auto am 9. April 1971 zum letzten Mal im Einsatz und kam auf Platz sechs.
Insgesamt war die Chassisnummer R6 in der 49B/C Konfiguration 24 Mal im Renneinsatz. 19 Mal bei Grand Prix. Drei wurden gewonnen.
Joe Willenpart kaufte den Wagen von dem US-Sammler Bruce McCaw, bei Hall&Hall in England wurde er komplett restauriert. [Quelle: Ennstal-Classic, Helmut Zwickl]
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.
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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, 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, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Audi Sport Quattro Rallye Blomqvist Akropolis Rally 1985 (c) 2010 Bernhard Egger :: ru-moto images 3646
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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, 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, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
Audi Quattro Rallye Blomqvist Acropolis Rally1985 (c) 2010 Бернхард Эггер :: ru-moto images | pure passion
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BMW 507 Roadster # 003 1955 - 3168 ccm, V8-Motor, 150 PS, 220 km/h, Mario Theissen.
Der 507 gilt als einer der schönsten Sportwagen aller Zeiten >i>
Er ist nach den Entwürfen des Raymond Loewy-Schülers Albrecht Graf Goertz
entstanden und wurde erstmals 1955 in New York vorgestellt.
:: 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, Oldtimer, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, supershot, Австрия, Россия, Ennstal-Classic, Gröbming, Styria, Austria, Racecar-Trophy, Sberbank, Сбербанк, ZENITH, Mille Miglia, Targa Florio, Rally, Rallye, Automobilsport, Techno Classica, Moto d'Epoca, Goodwood, FOS, FIA Founding Members Heritage Cup, Passione senza Tempo, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, 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,
:: 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, March, 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,
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, 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, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,
BMW Classic group 507 V8 1955 (c) 2010 Бернхард Эггер :: ru-moto images 3694