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Installation views, Guggenheim UBS MAP Global Art Initiative: Under the Same Sun: Art from Latin America Today, Solomon R. Guggenheim Museum, New York, June 13–October 1, 2014.
Photo: David Heald © Solomon R. Guggenheim Foundation
Learn more at www.guggenheim.org/map.
We're stuck in a pattern where the weekends feature lousy weather and the weekdays, when we're stuck at work, are nice. It seems all spring and summer it's been like this. It's getting depressing! This is a photo of the 24-7 weather feed from HD broadcast channel 7.2 - I don't have cable, but do have an HDTV, with low-tech rabbit ears, and receive several additional channels.
Blogged:
gigaom.com/cleantech/googles-next-energy-play-weather-for...
Gottfried Helnwein (1948), Sleep, 2008 (oil, acrylic on canvas), Albertina
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
exact same set up, both pictures 30 second exposures, 30 seconds apart, at 2:30 in the morning.
The first picture is just 30 seconds at night, nothing happening. the second picture is another 30 second exposure with a lightning flash occurring during it.
no photoshop or alterations on anything except putting them together.
Probably on the occasion of receiving his comission as an officer.
Do not use this image on websites,
blogs or any other media without my explicit permission.
Estate of Milorad D. Jevtic © All rights reserved
Shrewsbury, Shropshire, UK
This dry cleaning shop has been in Wyle Cop, Shrewsbury since 1959. I don’t know if the sign is the original but is certainly looks the part.
Polaroid SX-70 Folding SLR Camera
Impossible Project Colour SX70 Film
Virtually the same as the Nuvis S, but in a more conventional, plastic body - with a rather impractical matt-black finish that shows the slightest scratch, speck of dirt or fingerprint. Introduced in 2000, contemporary with the Nuvis S 2000.
All the APS features, and, as usual, a CR2 battery. Shown at full zoom.
Protest gathering at the front of the State Library of Victoria aimed at legalising same sex marriage (now re-branded 'marriage equality'). The timing was deliberate as it is during the Australian Federal Election campaign with polling day three weeks after this event.
The State Library is a common place for such demonstrations, nearly always from the political left. It is located RMIT and the University of Melbourne, as well as Trades Hall, home to several unions and left-wing minor political parties.
A selection of the posters constantly plastered around the city centre for events such as this, along with the next Marxist convention from the Socialist Alternative - usually held at nearby Trades Hall. A Melbourne City Council team then goes around removing the lot soon after!
David Coleman and Sameer Patel join JP Finnell on stage at Network 2010 in San Francisco.
Photograph copyright Pınar Özger.
All rights reserved. Please contact via email to inquire about licensing for other usages.
Beach volleyball is a team sport played by two teams of two players on a sand court divided by a net. It has been an Olympic discipline since the 1996 Games.
As in indoor volleyball, the object of the game is to send the ball over the net and to ground it on the opponent's court, and to prevent the same effort by the opponent. A team is allowed up to three touches to return the ball across the net. The ball is put in play with a serve —a hit by the server from behind the rear court boundary over the net to the opponents. The rally continues until the ball is grounded on the playing court, goes "out", or is not returned properly.[1][2]
The team winning a rally scores a point and serves to start the following rally. The four players serve in the same sequence throughout the match, changing server each time a rally is won by the receiving team. Beach volleyball Originated at the Outrigger Canoe Club, on the shores of Waikiki Beach (in Hawaii, USA), and has achieved worldwide popularity.
source: wikipedia
Same Bench. Different Days.
Subway Series.
Eh had less than a minute to take this because I had to catch my train. :/
Go to Page with image in the Internet Archive
Title: Atlas and essentials of gynecology
Creator: Schaeffer, Oskar. b. 1863
Publisher: New York : W. Wood
Sponsor: Open Knowledge Commons and Harvard Medical School
Contributor: Francis A. Countway Library of Medicine
Date: 1897
Language: eng
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
While I was on my way to visit my mum in hospital (this was on the same day I'd taken a few photos of Mount Pleasant multi-storey), I decided to take a few shots of the more modern of two former bridewells (as police stations were once known in Liverpool) in the area.
Not only was this in the old 'A' division, but it was also known as 'The Cottage' to those who were based there and one of those officers was PC 2425 Ron Turner...the only Merseyside bobby with a handlebar moustache.
I have a personal link with this former bridewell (now used by the force's Professional Standards Department) because when I was eight a girl cop took me there after school when I told her that no-one had come to pick me up.
Needless to say, my mum wasn't pleased at this and looking back, it was irrational of me to tell a girl in blue that but what ELSE would you expect of an eight-year-old?
The reason I know why it was dubbed 'The Cottage' is through reading a book by James McClure called Spike Island: Portrait of a British Police division, which provides a fascinating insight into policing in Liverpool in the late 70s. Put it this way, once you pick it up, it's hard to put down!
And then we went to Paignton where they had a Bikers gathering (always feel uneasy what with me being a scooter boy) but like the Pirates it was all leather and long beards and a strange smell,the guy at the bottom was quite scary but the ear ring shot was a have to do.The candy stipe BMW was a Cafe Racer type at £14000. i would have loved it (Harleys on the top left do nada for me) but as it was my Wifes weekend it was a no go.Did have a test ride on the New LAMBRETTA 200 but it's plastic and a twist and go...booo.
Dennis and Marina
Our love story is simple, but unusual at the same time.
Dennis and I met through a dating site. What happiness can you expect when you look for your other half in this way? The dating site, as a rule, tends to strip the relationship of intrigue when two people are trying to get to know each other, as it is clear in advance “why we have gathered here today”. However, after years of experience (more negative, than positive) with the opposite sex, and a skeptical approach towards relationships, I thought it was time to give it a try.
Obviously, it didn’t all happen at once: I selected an agency and they accepted me, but it was decided fairly easily. At the end of December 2009, Dennis sent me his first letter which was very intelligent, but not without a sense of humor. After this our correspondence became very active, and in a month we were ready to meet face to face and spend a few days together.
Dennis and Marina Dennis and Marina
Is it worth saying that I was slightly worried and a little nervous? I had hundreds of questions: “What if he doesn’t like me?”, “What if he’s not the same in real life as he is in his photos and letters?”, “What if someone helped him to write the letters, and he’s actually pretty boring?”, etc, etc.
Then the moment came! I went into the restaurant, where we’d arranged to meet. My heart was in my throat, and I thought it would just jump right out! Finally I saw him, sitting calmly (or at least he gave that impression) at a table drinking coffee. In one moment my nervousness went away, and it was as if everything had landed in its place. We had a great time together. It was comfortable between us, and we didn’t want to go our separate ways. In a month, Dennis came again, but already with the intention to ask for my hand (and my heart).
I didn’t need to think even for a minute, as I was 100% sure that my man, around whom I was sure, would offer me support, protection, care, and of course, love. He got on so well with my 2 year old son, and my son responded to him in the same way. What could be more important for a woman from her partner than a sincere relationship, and love for her child?
Dennis and Marina Dennis and Marina
Dennis and I got together on 2nd June 2010. His parents also came across to share in their son’s happiness. His dad made the sense according to Danish tradition (as they live in Denmark). He gave us 2 very important pieces of advice. So that our life together is long and full of happiness:
Don’t let the sun go down if you feel some level of anger towards each other. Every day should end with a kiss and a hug before bed.
Love is something that you need to fit for. Every day discover something new and positive in each other, and most importantly, talk to each other about it.
So that something amazing happens, it isn’t essential that it comes from the outside. Our life is the way we see it. We are inexhaustible sources of the amazing and the unknown.
Dennis and I will never stop discovering how similar, yet different we are, but everything that happens between us is so natural and amazing, that it seems like it has been that way forever, and will be that way forever more.
Relationships need constant work, and we are ready to work FOREVER, so that this lasts to the end of our days.
St. Paul, Minnesota
May 13, 2013
Thousands of people gathered at the Minnesota state capitol building during the Minnesota Senate debate on a same sex marriage bill. The bill passed the Minnesota House of Representatives on May 9 by a vote of 75 to 59. The Minnesota Senate passed the bill this day by a vote of 37 to 30. The law delineates the rights of gay and lesbian couples to marry.
2013-05-13 This is licensed under the Creative Commons Attribution License. Give attribution to: Fibonacci Blue
I see Spaz,Chew, Doubt and Red. Can anyone out there identify any of the other artists? Fifty Four just added the tags Same,Tan, Regs, Lewy, BTM, KH1 and 357.Thanks.
Photo taken April, 2011
FUTURA GALLERY
June 2013
/ALEVTINA KAKHIDZE:
IT ONLY LOOKS THE SAME
Opening: May 31st, 7pm
The exhibition runs until June 30th, 2013
Curator: Michal Novotný
The work of artist Alevtina Kakhidze lies between the still valid borders of East and West within Ukraine. It reflects both of those worlds within an anarcho feudalist society: huge geographical differences, a non caring state and extremely wealthy oligarchy. The western European desire is not anymore for the accumulation of goods or property, but rather experiences, visage and brands, regardless of actual promoted quality or real value of production.
Her artwork of a journey to the sky in a private jet plane therefore should not just be read as commentary on the class stratification of Ukrainian society. The price of taking a private jet flight just to see the land from the window is absurd, but however good a joke it is for the oligarch to spend this money which is inconsequential for him, the act also can be read symbolically. In Ukraine some people dispose of the power of taking others into heaven. Alevtina refused to produce drawings from the jet, which was the very reason for the flight in the first place. Not only is this in the frame of "I would prefer not to", Bartleby's passive resistance towards the system, but also a comment on the absurdity of the western post-fordist attitude towards life; to be filled with more new, exotic
and extreme experiences.
Alevtinas position however is neither contra or anti. She doesn't follow the simplification of many western leftist movements, reading everything through the pattern of "us against them", nor is she satisfied with a simple proclamation or illustration of the Eastern European situation as many other "East" labelled artists. While reacting to the situation and actual place, Alevtina instead takes action: opening a residency program in her rural village of Muzychi, creating a business plan independent of the supply/demand rule for local artisanals, or lecturing on Berlin Biennale for collectors. Alevtina is not separating herself from her surroundings, but rather becomes a motor of change. Her reactions are multilayered and complex, as much as the reading of them should be. In her exhibition at FUTURA gallery she therefore presents several of her works in multiple different ways.
Alevtina Kakhidze attended the National Academie Of Fine Art and Architecture in Kiev and Jan van Eyck Academie in the Netherlands. She exhibits in Ukraine as well as internationally since 2002. Alevtina Kakhidze took part on the 7th Berlin Biennale, Kiev Arsenale 2012 among many other solo and group exhibitions and was awarded the Kasimir Malevich artist award in 2008.
Michal Novotný
The annual exhibition program of Futura is supported by:
Ministerstvo kultury ČR, Magistrát hl.m. Prahy
Main Media Partner: Radio Wave,
Media Partners: Protišedi.cz Artmap, Artyčok.tv, Radio 1, Prague Galleries
source: www.futuraproject.cz
Special thanks to: Czech Center in Kiev
This is a fantastic find, perhaps one of the finest I have ever made.
These three mortice chisels were found together in the same lot. The seller had brought them with him from Sweden. Two of them are marked B.O. Libergs FABR. AB and the third is marked Erik Anton Berg with the three tail logotype.
Why is this so great? Because B.O. Liberg was a small Swedish maker of top quality chisels in Rosenfors, very near Eskilstuna. Liberg operated from 1868 to 1921, until the company was bought by the larger local competitor Jernbolaget.
So this lot of three tells me that the chisels ought not have been made after 1921. And the tangs are stamped with "B.O. Libergs Fabriks Aktiebolag Rosenfors", the name the company took in the year 1896. This creates a timespan of 25 years for the production of these chisels.
That again creates a frame timespan for my rather more important quest to date the various Berg stamps.
These three chisels are fitted with identical user made handles and owner's name. They all share the same amount of rust and dirt, so I am very confident that they were purchased at the same time.
If I'm right about this, the variation of the Berg logotype stamped on this mortice chisel would at least partially coincide with these dates. It's only a lead, but it is a good one.
Now, going back to the mortice chisels themselves. In four years of rust hunting I have so far been able to by a set of three Berg mortice chisels. So these kind of chisels are very rare where I live.
By the look of it, both Liberg chisels haven't even been used. They certainly have not been sharpened once since leaving the factory. The Berg chisel must have been used as the handle has been split. It has also suffered from pitting at the edge, but should become perfectly good once I remove about a quarter of an inch in the damaged end of it.
The handles look like birch to me, which is sad, because it cracks easily. But I will try to soak the handles in linseed oil and see if they can be used.
NEW YORK, NY - OCTOBER 14: Selena Gomez Visits "The Tonight Show Starring Jimmy Fallon" at Rockefeller Center on October 14, 2015 in New York City. (Photo by Theo Wargo/NBC/Getty Images for "The Tonight Show Starring Jimmy Fallon")
Thanks for stopping by! I hope you all know that I appreciate your comments, faves, visits and such. If I don't get to answer you all please know that I am busy either looking at your photos or with life in general.