takeartcollection

PW 100 series of engines are the forefront in modern, state of the art regional and commuter turboprop engines. With its three spool design, easy to maintain modular construction, and high power rating, the engine is a logical choice for medium to large turboprops including the Bombardier Q400, DeHavilland Dash 8 and Embraer EMB 120. Some consider the PW 100 to be the replacement to the venerable PT6, but in reality the PW 100 picks up where the PT6 Large version left off in terms of power, fuel economy, and reliability. The PW 100 series consists of a number of variations. There is no actual PW 100 engine; the engines start with the PW118 engine and end at the PW127J.

The engines are essentially the same, with, for the most part, a steady increase in power output, as well as slight variations in engine output speed and in the proportion of mechanical shaft horsepower vs. thrust produced. In other words, each turboprop is rated in equivalent shaft horsepower, (eshp) which is a combination of the actual mechanical horsepower provided at the output shaft combined with the amount of horsepower available as a conversion of the thrust that is produced at the tailpipe. The proportion varies, but is typically in the range of 80% power produced by the propeller, 20% produced by the tailpipe.

The Powerful Model PW 100 Engine is completely modular in its construction; that is, it is made up of a number of interchangeable modules that can easily be removed and replaced in the event that there is a problem with the engine. The modules consist of the turbo-machine, the power turbine assembly, the inlet housing, and the output reduction gearbox. The compact turbo-machine consists of the twin spool gas generator and the accessory gearbox. The power turbine connects to the rear of the turbo-machine and features a two stage power turbine which drives a shaft that runs forward up the center of the turbo-machine shafts. The inlet housing mounts to the front of the turbo-machine and provides the space for air to be drawn into the compressor and the support for the output reduction gearbox. The output reduction gearbox mounts to the front of the inlet housing and takes the high speed input from the power turbine shaft and converts it to a high torque, low rpm output taken off the propeller flange at the front of the gearbox.

Atmospheric air is drawn in through the engine nacelle behind the propeller into a passive particle separator, which is part of the nacelle. Clean intake air is drawn upward into the downward facing scroll type engine inlet. Air is drawn into the turbo-machine by the single stage, centrifugal compressor. The air is accelerated outward by the compressor and fed into numerous curved diffuser ducts which smoothly deposit the airflow to the face of the single stage, centrigugal, high pressure compressor. The high pressure compressor raises the pressure to a design pressure ratio of nearly 15:1 on some of the later models. The high pressure compressor feeds the airflow to a diffuser which converts the dynamic pressure into static pressure, as it enters the annular, reverse flow combustor. The compressed air enters the inner combustion liner where it is mixed with jet fuel and ignited. The resultant gas is expanded through the high pressure nozzle to impinge upon the single stage axial high pressure turbine, which drives the high pressure compressor and the accessory gearbox. The gas is then further expanded through the low pressure nozzle to drive the low pressure turbine, which drives the low pressure compressor. Finally, the gas is expanded through the two stage power turbine to drive a concentric shaft up to the front of the engine, which drives the output reduction gearbox. The exhaust is then directed out of the short, axial flow, fixed area exhaust outlet to provide close to 2,000 lbs. of thrust on some Popular Models of PW-100 Engine. The output reduction gearbox reduces power turbine speed down to a usable 1,200 or 1,300 rpm, to drive a four bladed, constant speed propeller. Accessories include a generator, oil pumps, fuel pumps, hydraulic pumps, and a FADEC fuel control.

The twin spool compressor offers many advantages over a similar single spool compressor. By allowing the two compressors to run at different speeds, the compressors can be optimized a wide range of airflows. This allows for a higher design pressure ratio, much better part power efficiency, and very rapid engine response. High pressure ratios and high turbine inlet temperatures allow for very low specific fuel consumption, and advanced cooling techniques and state of the art materials allow for long time between overhaul periods.

There are a couple of other variants of the PW 100 that are worth mentioning. The PW150 engine is a high power development of the PW 100; it is very similar in overall design and dimensions to the PW 100, except that the low pressure compressor is a single stage axial followed by a single stage centrifugal. Pressure ratio is a higher 18:1, and the engine produces power in the 5000 es-hp class, which makes it a suitable replacement for the Allison T56 or an alternative to the Rolls Royce AE1107C. There are also turbo-shaft versions of the PW 100, where the output reduction gearbox and inlet are removed and replaced with a screened bell-mouth inlet and a carrier bearing. The engine output is at power turbine speed. The engine could be an alternative to the CT7 (T700) turbo-shaft in medium helicopters, although so far it hasn’t been used in this application. There is a marine variant of this turbo-shaft available for modern military surface effect ships, however. These models are referred to as the ST18M. Power output is approximately 3,200 shaft horsepower.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Jhon Miller

This article discusses quite in detail what is needed, from a beginner point of view, to make contact prints in platinum-palladium with a particular emphasis on digital negatives. We will also see what is needed to present the fine print, i.e. spotting and mounting. Finally, how you can prepare your own chemicals and, since some equipment can be home built, DIY instructions are also included.

Equipment and parts required and where to get them.

Making the negatives:

Computer w/Photoshop………………………………………………you probably already have it

Ink-jet printer………………………………………………………….you probably already have it

Darkroom/Printing:

UV unit……………………………………………………………………DIY / electrical materials suppliers

Contact printing frame………………………………………………..DIY

1,5″ Wash brush (best quality not cheap)…………………………art shop or online

Short glass, 2ml syringes…………………………………………….hardware shop / chemist

Amber bottles with dropper………………………………………….Bostick&Sullivan

Dryer……………………………………………………………………..hardware shop + DIY

Blotting paper…………………………………………………………..local art shop

Electronic Timer………………………………………………………..shops /online

Mechanical timer……………………………………………………….darkroom equip. supplier / online

5 Trays, 2 tongs………………………………………………………..darkroom equip. supplier

Drying rack………………………………………………………………DIY

Scales…………………………………………………………………….eBay / shops

Hot air heater……………………………………………………………bathroom furniture supplier

Press………………………………………………………………………DIY / hardware store

Spotting:

Scalpel (good quality)………………………………………………….framing equip. supplier

Loupe (large size)………………………………………………………photo equip. supplier

0000 brush (good quality)…………………………………………….art shop

Mounting:

Mount cutter………………………………………………………………framing equip. supplier

As you can see nothing too difficult to find. If you do not have Photoshop (you do not need the latest version of course, any version will be sufficient) there are several other graphic programs which cost less or are even free. To print, I would say that any modern ink-jet will be up to the job. Since Epson printers are very diffused we will discuss a curve that should work on any Epson model with ultrachrome inks (starting with the economic Epson R 800/1800).

Supposing then that you already have a computer with Photoshop and a printer, the next most expensive item is the UV unit. This is easy to make and it took me less than one weekend to build it. I made a simple wooden frame, and then I used 10 x 450mm Philips UV lamps connected each with ballast and a starter, which is the minimum to make 8×10″ prints. When ordering these materials also get some electrical leads for the wiring, a switch, a few fans big and small (like those inside a PC, from the power supply and from the CPU) and the plastic fitting for the bulbs. The fans are recommended but not mandatory.

There is very little if nothing to solder and the schematics are very simple. Here is the detailed list of the parts:

10 Lamp 15W 450mm length (or more) 1″ diameter 365nm wavelength G13 cap

10 Ballast 15W (also called switch start/choke)

10 Starter for fluorescent lamp

10 Starter holders

20 Lamp holders

1 Switch

1 Computer power supply fan 110/220V

2 CPU fans 12V

1 Power supply 12V

1 Electrical leads for fluorescent wiring

These lamps are often called insects lamps, or black light lamps. Just make sure the wavelength is around 350/365nm. I am not sure whether tanning lamps are good for us since they are around 300nm.

The wiring is very easy. Connect the starter to two of the pins at the extremity of the tube. Of the remaining two free pins, one goes directly to the power (N), the other goes to the ballast and then to the power (H). So, just an easy wiring to be repeated for ten times. Please note that double-ballasts that feed two lamps exist, so you would need only five of them. However, I tried and they did not work for me, so I would stick to one ballast per lamp.

The cabinet is made from two separate pieces, made with MDF. The bottom part, with a sliding tray and just three vertical frames, and a hinged front to allow access. The upper part, which contains on one side the lamps and on the other the “electronics”, snugs into the bottom part from above. I can put spacers, to move the lamps higher, or I can remove some wood to lower them. As it is, the distance between the lamps (15W x 10 = 150W) is 4 inches which gives me the exposure time I want (~4 minutes).

In the upper part there is a small power supply which feeds a couple of 12V CPU fans in the top to take the heat off the ballasts. In the lower part there is a larger 110/220V fan because there is heat there too. The entire unit is indeed quite heavy. One thing that I did not do is to paint the inside white, but as said I was happy with my exposure time as it was. The lamps are quite close (5mm gap). In many years of use I have never replaced a lamp or any other component and, despite the “homemade” look, a basic unit like this one will serve you well.

Next thing to build ourselves is the contact printing frame, which is simply a wooden plate covered with a rubber sheet and a glass on top. To avoid uneven pressure, use a heavy glass (the heaviest you can find) secured with eight strong giant paper clips all around. There is no need to purchase one of those expensive “alternative process” center hinged contact frames, those are to inspect the print under the sun. Avoid side hinges and anything fancy or you will discover maybe at you 25th print that in the center (or in other parts) your prints are not sharp. Remember one of the beauties of contact printing is sharpness, even though pt-pd print can not exhibit the same sharpness as contact prints in silver, because of the paper. Before printing in platinum I was used to contact prints in silver, and Newton rings have always been an issue. Since I switched to platinum, the problem has disappeared, probably because of the rough paper I guess. Anyway, I believe there is no need to buy expensive anti-Newton glass.

The rest of the equipment needed in the darkroom is pretty much straightforward; an important item is the brush. I like the Grumbacher Golden Edge (size 1,5 inch) which is perfect for coating from 4×5 to 11×14 and larger. This brush has metal parts which will corrode. In my case I have been using mine for almost three years. I would not recommend either a cheap wash brush (too thin), and those Japanese brushes that seem appealing because not expensive and without metal parts, but in fact, they do not work and also leave tons of bristles. Finally, my advice about glass coating rods is: do not buy them, just use a brush.

At this point before starting buying and building you need to make your mind on what size you are going to print. Many books recommend 4×5″ to beginners, this is to me not a good advice, for you can not assess small prints easily. Personally I find small prints even more difficult to make than large prints. From a marketing point of view, and generally speaking, not only 4×5″ prints are more often ignored, but many collectors find 8×10″ the minimum size to make a purchase. So, I would go straight to 8×10″ and stay there even when you will be printing “professionally”, or at least until you are a real master. It is a convenient size, it does not require much coating, and it is perfect to be mounted either to 13×15″ or 16×20″ and hence sold mail order. It is also a good compromise between size and cost of the print and mounting board. With a standard sheet of mounting board you will be able to make either three 13×15″ mounts or two 16×20″ mounts (with over mount) with little waste. If you go for 8×10″ you will need slightly larger trays, but not too much: I print my 8×10″ images on 10×12″ paper or less, there is no need to leave a large border around the image which will be matted anyway. No doubt that big 10×20″ or 11×14″ platinum prints are something to behold, so for this reason, one thing that I would build oversized is the UV unit. Longer lamps do not cost much more and if in the future you really would like to try larger prints you will have just to buy new trays and make a new contact printing frame.

The five trays in the shopping list are for developer, clearing baths (3 trays) and the fifth is for a washing tray. This will be larger than the others (however, you will always wash one print at time). It is easy to make: at the end, make one hole on each vertical side, one in front of the other, just below the upper edge. Slide through the holes a rigid plastic pipe (I used one from a toy) which you will have previously provided with equally spaced (1/2″) holes. Connect a tube from the tap to one side of the pipe. Close the other side with a cork. You have got your cheap washer.

You will need to make a drying unit for the coated sheets (not for the final prints, which will be left to air dry overnight). I simply purchased one of those hot air heaters for bathrooms, which I mounted on top of a simple home made wooden box. The box has one side hinged and the bottom will be meshed to allow air and moisture to escape. I just lay the freshly coated paper at the bottom and the hot air will dry it up in a couple of minutes or less. Do not use hair dryers, for their heat is too concentrated and also they tend to spit particles (from the motor) on the paper. Drying the final prints is not a problem. With some more plastic mesh (purchased from a garden center, they also have sheets of rubber to pad the contact printing frame) I made four or five very basic drying frames, stacked one on top of the other and spaced about 8 inch.

Last thing in the list is a cold press to flatten the prints. Leaving the prints to flat under a bunch of books is not very professional! I used a large sheet of thick MDF for the base, then I made a sort of large flat box the same size of the base with two handles at the top, inside the box I fitted several sheets of lead (purchased from builders or roofing suppliers) which will make for a heavy top indeed. Between top and base, 5 or 6 sheets of acid free mount board same size of the base/lid will allow to flatten up to 15-20 prints at a time. One night is sufficient to make the prints sufficiently flat, two days is even better (which is important because we are going to mount them with corner tabs, i.e. not glued of course).

There are two timers in the list. I normally use a digital one (with alarm) for exposing the print (so I can do something else when exposing) and a traditional one (analogue) in the wet part of the darkroom to check developing and clearing/washing times.

In the darkroom you do not need the normal red or amber silver gelatin darkroom lights. I use two 40 Watt tungsten bulbs, one normal, and the other one blue. I use two separate switches so I can check the color of the print in daylight-like conditions (blue bulb) or any combination/strength of the two. Finally assessment of the print can not be made, however, when is wet.

You do not need a densitometer or a step wedge (unless you want to print traditional negatives).

Purchase some dark brown bottles from B&S, I would buy six 100ml with normal cap and 12 small 25ml bottles with dropper caps. You will be using seven small “working” bottles (pd, pt, sensitizer, Na2 x 4) when printing, and the others will serve to store the mixed solutions used to replenish the working bottles.

The scale should be quite accurate; I use a 50 grams digital scale to prepare the metals, and one larger and not so precise for mixing the developer chemicals.

Spotting is done with a good scalpel (such as Swann-Morton with flat handle ‘3’ and C10 blades) and a good quality small brush. The loupe should be large enough to allow you to work with both eyes open.

You will need a mount cutter. I use a Logan, nothing fancy but it does the job flawlessly. I bought the ‘intermediate’ model many years ago and then I made several modifications to enhance it (such as stops etc.). Store it vertically or flat otherwise it will warp. I use a new blade for almost each mounting session. Before being discarded, the used blades are recycled for a while into the Logan utility knife (inexpensive to buy) which is used to cut the full size boards. To do this, you will either need a straight edge (expensive) or you can use the same mount cutter, which I recommend. In this case purchase a mount cutter wide enough to cut full sheets.

Many beginners usually consider leaving the mounting job to a local framer: please do not do this. They are very expensive and what is worse, they often do not do a good job, let alone the annoyance to get them the prints, collect the work later etc. Also the work has to be very accurate because if you sell mounted prints (i.e. not framed), people will hold them in their hands and will see every flaw. I also recommend purchasing an inexpensive ‘burnishing bone’ used to flatten down the raised edges all around the mount, so your customers will not feel them with their fingers when holding the mounted print. Last reason to mount yourself is that if you follow my advice elsewhere in the articles about covering the black brush strokes with the over mount, you can use the bevel window to make some late minute adjustment to the cropping of the image. See Part 6 for detail about mounting.

One last thing you will need: relax! Especially if you come from printing in silver, you will enjoy the switch. Printing in platinum is much more natural and sort of laid back. After many years of traditional printing in silver (enlarging and then contact) I have found that a printing session in platinum is generally more enjoyable. Another great advantage when printing from digital negatives is that you can be almost sure, even before you step into the darkroom, that the print will be OK and only minor tweaks will be required.

Materials required.

Digital negatives:

Pictorico OHP film……………………………………………………….Bostick&Sullivan / others

Darkroom/Printing:

Developer………………………………………………………………..Chemicals supplier + DIY

Palladium and platinum metals………………………………………Artcraft Chems. / B&S + DIY

Ferric Oxalate……………………………………………………………Artcraft Chems. /B&S + DIY

Na2………………………………………………………………………..Bostick&Sullivan

Citric Acid………………………………………………………………..Chemicals supplier + DIY

Blotting paper……………………………………………………………art shop

Spotting:

Watercolors (in tubes not those little cubes)..art shop

Mounting:

Acid free tape……………………………………………………………framing equip. supplier

Acid free watercolor paper……………………………………………art shop

Museum cotton mount board…………………………………………framing equip. supplier

Now things start to become interesting because we are going to prepare our own chemicals. Of course you could buy all the chemicals premixed but it would be a big waste of money, and if you are going to print in platinum for a profit that is not the way to go. For example the developer I use and recommend is potassium oxalate, in powder it costs $35 for 1Kg from B&S, which makes approximately four liters of solution. Since the developer is never discarded you may think that four liters may go a long way, which is not true. Every printing session I have to replenish 100 to 200 ml of developer. My advice is making potassium oxalate yourselves mixing oxalic acid and potassium carbonate which you can buy in bulk. If you call a chemical company (we have plenty even here in a small country such as Ireland) you will find out that a 20Kg bag of oxalic acid costs very little, same for potassium carbonate. Unfortunately I forgot the cost because I bought my last supply of chemicals (20Kg bags) six years ago and still have plenty for years to come. As said it was cheap, like $100/$150 for the entire supply which by the way included two bags of the clearing agent that I recommend, citric acid. Of this you will need plenty, and since from B&S it costs $12 for 1Kg, once again I recommend a chemical company which will supply you with a 20Kg bag for probably about the same price. Since all these chemicals come in powder form, if properly stored they will never go bad. I believe, however, that even photo suppliers like B&S can provide you with chemicals in bulk, but I would check with some chemical companies anyway. Please note that suppliers like B&S and Photographers Formulary have helped many to get started in alternative processes, they also sponsor forums etc. so, if you can, buy from them rather than from non-photographic businesses. I personally can not afford to import from the US and pay a premium for what is, in fact, a terrific service and support, of which B&S and others are well known. Alternatively you could also join a user group such as Apug where you can maybe participate in a group purchase to save some money, especially when purchasing the metals. Luckily, ferric oxalate and Na2 are not expensive (Na2 is actually expensive, but one 20% solution bottle will last you ages). One thing I would not do, though, is buying those kits with a little of everything, including the paper, just to get yourself started – I believe that is a waste of money.

Before starting with the procedure a word of warning: the chemicals used in platinum are very toxic (more toxic than silver printing) so be careful and if you go the way I recommend i.e. stock purchase of oxalic acid etc. please keep them in a dry, sheltered place and away from kids and pets.

Procedure to make potassium oxalate:

Use a large (10 liters) plastic bucket. Sign with a marker the 5 liters level. Pour in 3 liters of tap water. Dissolve 900gr of potassium carbonate completely. Dissolve (slowly!) 800gr of oxalic acid. This is potentially dangerous, it will make lots of bubbles and it will become hot. Wear a mask, gloves and goggles and stay in a well ventilated area. When finished, top up to 5 liters. Finally add another 150gr of oxalic acid. First times you use the solution do not expect great results, what I mean is that it is a brand new developer, and in time it will become old, darker and better like a good wine. You can squirt in it a syringe of palladium if you want, to make it richer. I always prepare a 10 liters bottle of solution which I use to replenish my normal two liters working bottle, which is now several years old. Note: if you leave the solution in the tray for a long time i.e. 24+ hours it will start to oxidize and become greenish, so please avoid that. Also, after some time you will probably find at the bottom of the working solution bottle some green crystals, these are easy to remove just pouring in the empty bottle one tray of used citric acid solution and shaking.

The clearing agent is mixed when needed, just three teaspoons in 1.5 liters of water. I use three trays with 1.5 liters each in sequence and every 3-4 prints I discard the first and make a new one. The last batch should always be clear.

To make the solutions for coating proceed as follows:

Palladium: Use a 100ml bottle. Prepare 110ml of hot water (preferably distilled, although I use tap water). Fill about 3/4 of the bottle with hot water, dissolve in it first 7gr of kitchen salt, then 10gr of palladium chloride. Pour the rest of the water in. B&S 100ml bottles will accept 110ml. Shake until dissolved.

Platinum: I would prepare 50ml only. Just dissolve 10gr of potassium chloroplatinite in 50ml water. Platinum and palladium never go bad and obviously are not light sensitive so there is no worry if you prepare a lot of them.

Ferric Oxalate: I would prepare 50 or max 100ml of this, since it does not last long (store it in the dark). For 50ml, first dissolve 0.7gr of oxalic acid, then 15gr of ferric oxalate. Oxalic acid would not be needed, but it keeps the solution for longer and avoids fogging. Be careful with these small quantities, because if you overdo this, the resulting prints will show more contrast, and you will not have a clue why. One of the things I like printing in platinum is that if you make a print now, and then after three years you have to make the same print again, it will come out just the same, provided that you are consistent with chemicals preparation and procedures. I have never managed to obtain this level of consistency with silver. Back to our sensitizer. Unfortunately this solution needs a really good shake (that is why I recommend preparing 50ml in a 100ml bottle). I shake for a while then I prepare a kettle of boiling water, bring the bottle’s temperature up immersing it in hot water for a while, than shake again etc. Leave overnight and if the morning after you see stuff at the bottom of the bottle, you will have to shake it again all over. Ferric oxalate in powder is a very nasty ‘powdery’ stuff sort of baby talc, and very toxic (and light sensitive) so be careful. Use a mask even when mixing small quantities and clean thoroughly the area afterwards. Also, in my experience, FO is very often the culprit when it comes to printing problems: low contrast, or blotchy, or fogged prints, first thing to do is to mix a new bottle of FO from a fresh batch.

Na2 (Sodium Chloroplatinate). This is the contrast agent. It comes from B&S as 20% solution. Buy the 10ml bottle, it will last a long time since we will almost not be using it. I am against contrast agents in general because they ruin the print. Our negatives will be spot on so we will be using only 1 or 2 drops of Na2 at 2.5% to avoid fogging. You will need three more 25ml bottles, labeled as follows: 10%, 5%, and 2.5%. To make the 10% solution mix one full dropper of 20% and (obviously) one of water. To make the 5% solution mix one full dropper of 20% and three droppers of water. To make the 2.5% solution mix one full dropper of 20% and seven droppers of water. With the exception of special situations, badly developed or non-digital negatives etc. you will be using mostly the 2.5% so mix accordingly.

Final note.

Preparing a work space for fine art printmaking from scratch, may sound like a daunting and expensive task. This article is quite long and the list of parts required is extensive. Keep in mind though that the financial exposure is lower than you may think. Especially when compared to other printing processes, either traditional such as silver, or even digital, it is actually lower. The cost of my first serious darkroom, for silver printing, was much higher than my platinum darkroom. And my latest endeavour, digital printmaking, cost me more than platinum for sure. And we should not forget that setting up an alternatives processes darkroom involves building some equipment ourselves (if you want to), which is both rewarding and cost saving.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Tom James Mahoney

Italian Renaissance painter Fede Gallizi, also known as Fede Galizia (1578-1630), is often considered the pioneer of the Still-Life style. Her father Nunzio Galizia (1573-95), a Miniaturist, named her Fede (Italian, meaning faith) and trained her. At the age of twelve, she bagged praises from the noted painter Gian Paolo Lomazzo (1538-92) for the imitations she had created. By an early age, Fede proved her creative caliber, especially in portraiture, and started working on commissions.

Her early paintings focused on jewelry and clothes, capturing their intricate details that immensely leveraged the painter’s capacity in portraiture. Galizia was also often invited to paint religious and secular themes. She made her first ‘dated’ still life work, in 1602. Fede painted miniatures, portraits, and altarpieces, but her forte was Still Life. Oriented to Renaissance & flavored with Realism, her creations were detailed, full of vibrant colors, and wonderful light effects. They would almost force the viewer to reach out and attempt to hold the objects in the image. Her attention to light, shadow, and the rendition between the two, was unrivalled at times. Dipped in Lombard Mannerism of the 16th century, most of her Still-Life works were with fruits and flowers. The only variations in capturing existed as cut fruits.

Fede Galizia was an excellent painter of altarpieces and miniatures too. She received several related public commissions for the churches of Milan. Her best-known altarpiece is the ‘Noli me tangere’ (1616), which she made for the altar of the Saint Maria Maddalena Church, Florence. While her most famous work is ‘Still-life with Peaches and a Porcelain and a Bowl,’ ‘Peaches in a Pierced White Faience Basket’ also got her much praise. Her portraits, believed to be self-portraits, such as ‘Judith with the head of Holofernes’ (1596) and ‘Judith and her Handmaiden’ (1596) are also renowned for her creative versatility. Her portrait ‘Portrait of Paolo Morigia’ (1596) impressed the writer Morigia so much that he became a devout supporter of Fede. Through her life, the painter kept shuttling between the triangle of Italy, Greece, and Spain to gather some creative fodder.

Despite all the work she was doing, Galizia’s talent did not receive the amount of praise it deserved. While several of her most beautiful works were credited to her male counterpart Panfilo Nuvolone (1581-1651), many other went unnoticed. Living as a happy singleton, she passed away in 1630, due to the plague, which had struck Milan during 1629-31. In late 20th century, 1963-89 to be precise, her works were studied and commanded fame & respect they deserved.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Annette Labedzki

Public transportation is big in Japan. You’ll probably need to catch a bus at some point. So, you will want to ask questions such as, “is this bus bound for Tokyo?” You’ll probably also need to tell people things such as, “I need to get off the train at Nagano station.” Phrases and questions like these are the key to getting around in Japan.

This Beginner Japanese article is here to help you! You will learn how to ask and answer questions about where you are trying to go. Ask Kono basu wa Tokyo-iki desu? (“Is this bus bound for Tokyo?”) and similar questions in Japanese. This Japanese article is the key to getting where you are headed!

Vocabulary: In this article, you’ll learn the following words and phrases:

waza waza – “taking so much trouble”

agaru – “to enter, to come up” (class 1 verb)

kaeru – “to go back” (class 1 verb)

yuuhan – “evening meal”

ekimae – “in front of the station”

umai – “delicious, tasty” (-i ending adjective)

uisukii – “whiskey”

koori – “ice”

hantai – “opposite”

kansha – “thanks, gratitude”

shoojiki – “honestly, honest”

betsu – “different, another”

Grammar: In this article, you’ll learn the following words and phrases:

Useful Vocabulary and Phrases

yuuhan “supper, evening meal”

There are several words meaning “supper” in Japanese:

yuu-gohan

ban-gohan

yuu-shoku

yuuhan

yumeshi (very informal and sounds masculine)

banmeshi (very informal and sounds masculine)

Please also review “breakfast” and “lunch:”

Breakfast:

asa-go-han

choo-shoku

asa-meshi (very informal and sounds masculine)

Lunch:

o-hiru-go-han

hiru-go-han

o-hiru

hiru

chuu-shoku

hiru-meshi (very informal and sounds masculine)

hantai “opposition”

When we add -suru or o suru , it becomes a verb meaning “to oppose.” The opposite word is sansei, which means “approval.” The particle ni follows the object one opposes or agrees with.

Example

Musume no kekkon ni hantai suru.

“I’m opposed to my daughter’s marriage.”

Today’s Target Phrase

Tokyo ni kaetta.

“She went back to Tokyo.“

The verb conjugations that make the –ta form of a verb, or the plain past form of a verb, are today’s grammar point. The formation of the plain past form is quite simple: change the final sound of the –te form from –te to –ta.

-ta Form of Verbs

1. Conjugate a verb to the –te form. SEE Beginner Series Season 4, Articles 19, 20, 21, and 22 for more details.
2. Drop the -te and add –ta

“English” / Dictionary Form / Te Form / Ta Form

“to buy” / kau / katte / katta

“to write” / kaku / kaite / kaita

“to speak” / hanasu / hanashite / hanashita

“to wait” / matsu / matte / matta

“to die” / shinu / shinde / shinda

“to drink” / nomu / nonde / nonda

“to make” / tsukuru / tsukutte / tsukutta

“to swim” / oyogu / oyoide / oyoida

“to invite” / yobu / yonde / yonda

“to go” / iku / itte / itta

“to eat” / taberu / tabete / tabeta

“to return” / kaeru / kaette / kaetta

“to do” / suru / shite / shita

“to come” / kuru / kite / kita

Formal Speech and Informal Speech

Politeness Level / Formal Speech / Informal SpeechNon-Past Affirmative / Watashi wa Tokyo ni kaerimasu. / Watashi wa Tokyo ni kaeru.

Non-Past Negative / Watashi wa Tokyo ni kaerimasen. / Watashi wa Tokyo ni kaeranai.

Past Affirmative/ Miu wa Tokyo ni kaerimashita. / Miu wa Tokyo ni kaetta.

Past Negative / Miu wa Tokyo ni kaerimasen deshita. / Miu wa Tokyo ni kaeranakatta.

Notes:

*Non-past dictionary form of a verb: See Nihongo Doojoo, “Style You and Beyond, Articles 19, 20, 21, and 22,” for more details.

*Non-polite past form of a verb: See Beginner Season 4 Article 23 for more details.

*Please note thatthe non-past plain negative form of a verb conjugates as -i ending adjectives to get the past form. Change the final -i to katta.

For Example:

1. kaeranai becomes keranakatta
2. minai becomes minakatta

This grammar point hasn’t been explained in the Nihongo Doojoo series yet.

Practice 1:

Fill in the blanks to complete the chart.

Class 1 Verbs

“English” / Dictionary Form / Plain Negative Form / -Te Form / -Ta Form

“to listen” / kiku / kikanai / kiite / kiita

“to lend” / —- / kasanai / kashite / —-

“to wait” / matsu / —- / —- / —-

“to read” / —- / yomanai / —- / —-

“to understand” / —- / —- / wakatte / —-

“to go” / iku / —- / itte / —-

“to say” / iku / iwanai / itte / —-

“to meet” / au / —- / —- / —-

Class 2 Verbs

“English” / Dictionary Form / Plain Negative Form / -Te Form / -Ta Form

“to sleep” / neru / nenai / nete / —-

“to look” / miru / —- / —- / —-

Class 3 Verbs

“English” / Dictionary Form / Plain Negative Form / -Te Form / -Ta Form

“to do” / —- / —- / shite / —-

“to come” / kuru / —- / kite / —-

Practice 2:

Change the formal speech to casual speech.

1. Terebi o mimashita.
2. Yhan o tabemashita.
3. Nihon-go o benky shimashita.
4. Kin Nihon ni kimashita.
5. Wakarimashita.
6. Mizu o nomimashita.
7. Takush de ikimashita.  

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Peter Galante

The Japanese Dragon Tattoo is a very beautiful and colorful tattoo design and very symbolic, with its origins in myths and folklore. It is also very mystical, adding to the appeal of the Japanese dragon tattoo. Over the ages, from Egyptian times the dragon has represented good and also represented evil. However, the attraction of the Japanese dragon, apart from its stunning beauty is that it represents good luck and the source of wealth. The Japanese dragon also represents the meaning of freedom and being fearless, both very attractive qualities.

In the Greek language, dragon is sourced from draca, which means serpent.

Like the angel, the Japanese Dragon also has the meaning of guardianship, providing a protective force over those it was associated with. Other meanings associated with the Japanese dragon is strength and power. In Japanese culture the dragon is associated with supernatural powers, and amazing wisdom.

There are six forms of the Japanese Dragon. They are:

Sui-Riu is the king Dragon and is in control of the rain. Therefore in this day and age of drought he is all powerful!

Han-Riu has many stripes on his body and is up to forty feet in length. One of the biggest dragons.

Ri-Riu dragon is a rare breed that is not well understood. However, it is known that they have amazing eye sight.

Ka-Riu is a brilliant red color, and a petite dragon in comparison with the others.

Fuku-Riu is a favorite dragon of many people as it is the dragon of luck.

Hai-Riyo is known as the dragon bird, and the most advanced form of dragon. It evolved out of Chinese mythology.

The colors of the dragons have special significance, which are based on their parents. For example a dragon with a black color means their parents are very old and wise. Green dragons are smaller than average, but are representative of life and of the earth. Gold colored dragons are special because they have many special attributes such as wisdom, kindness and the ability to face challenges head on.

Yellow dragons represent the east. They are great companions when you need a hand, but can be self absorbed at times. Blue dragons are from the west. They are forgiving and compassionate, but on the negative side can be lazy and uncaring when it suits them.

Finding the right Japanese Tattoo Design for you can be quite daunting. Check out all the free sites on the net to get as many ideas as you can. Just remember that many other people have done the same thing to get ideas. For example, last month, over 41,000 people searched for dragon tattoo designs on Yahoo. Apparently, roughly 8 times that amount check out Google for the same search term. Then there is MSN and the other search engines. So a huge amount of people see the same free designs as you. If you want original Japanese Dragon tattoo designs, it is recommended that you check out books or other sources of tattoo designs that are not freely available. I have checked out three Japanese dragon tattoo galleries on the internet that have from 3,500 to 6000 different designs, so you will have no trouble finding what you want.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Graeme Wheeler

Anime has different characters and superheroes that are depicted in many cartoons. Some of these series have become very popular throughout the years. One of the most famous anime creations would be bleach, which is a cartoon series which has spun to more than one hundred and fifty episodes to date. Bleach anime wallpaper are a big hit with its fans now you get to put Ichigo, on your desktop and maybe in his Bankai form. Ichigo is the main character of the bleach series and the story shows how he go from being a lonely boy whose mum died when he was young to a samurai ghost killing warrior.

Basically Ichigo meets some girl god or soul slayer, I think that is what they are called who gives him some of her power and he too becomes one. So you get to travel through his many adventures watching him killing the bad guys and sometimes fighting with the good guys and becoming a full fledged warrior who I believe can kick most of those dude butts.

The bleach anime wallpaper features all the stars of the anime cartoon series as well as the bad guys. You get to put them up on your desktop and change them at will. You can find most of these wallpapers if Google the word bleach, where you will find several website willing to give you free wallpapers.

Join the fun and get yourself bleach anime wallpaper which you can put up on your desktop. Watch the anime cartoon series and get to choose who your favorite of the characters portrayed in the cartoon. Enjoy the wonderful bright and beautiful colors which are mixed together to showcase great bleach wallpapers.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Peter Gitundu

Japanese and Brazilian Jiu-Jitsu

“What is the difference between Japanese (classical) Jiu-Jitsu (jujutsu) and Brazilian Jiu-Jitsu?”

The first and most important reason can be found in the art’s history and is primary to all others discussed afterward. When you research the history of Brazilian Jiu-jitsu, you will understand that it came from “Judo” in its time of renaissance. In the early 1900’s, Judo was being developed from a variety of Jiu-jitsu styles in order to make it the most complete and effective martial art in the world. Some older Jiu-jitsu schools only focused on one area of fighting (some practiced primarily standing techniques) and had been left without a realistic battlefield testing ground for hundreds of years. If you recall the history of Judo’s beginning, you know that it was made up of mostly standing techniques at first, from Kito Ryu Jiu-jitsu and a few other styles. This alone was not enough, so the groundwork of Fusen Ryu was added, making it more complete. When you say “traditional” or “Japanese” Jiu-jitsu, you are referring to only one of these Jiu-jitsu styles, which is incomplete alone. When you say Brazilian Jiu-jitsu, you are referring to the best techniques from a wide variety of styles.

Our Jiu-Jitsu in the United States was underdeveloped compared to the Jiu-Jitsu in Brazil. Only now are we beginning to catch up, and we are still suffering from the inadequacies of the ‘older’ and more traditional schools of Jiu-Jitsu in this country. To give you an idea of what I mean, I’ll tell you a little about my training. I earned a black belt in a classical style of Jiu-Jitsu, which taught all the Judo throws of the Kodokan and Aikijitsu (the grandfather of Aikido). It was a great art, but one that could not be used on anyone with skill effectively before complete mastery. I was subsequently defeated by a student of Brazilian Jiu-Jitsu who was only at blue belt level, while I was a black belt in traditional Jiu-Jitsu. Why? Lack of realistic practice is the reason. There was too much of: “you stay perfectly still while I try an extravagant technique on you and you play along.” There are many techniques which is where Judo is great, and some traditional schools teach techniques that were designed thousands of years ago whose applications have not been modified or thought about since. Brazilian Jiu-Jitsu is simple to learn, so simple that a dedicated student of one year can easily beat martial artists of other styles who have many years of experience.

Some styles of martial arts spend hundreds of hours working on a rigid stance and one hundred standing techniques that cannot possibly be mastered in a reasonable amount of time. I once interviewed Royce Gracie and he gave a response that supports this point quite well:

“We don’t believe in teaching a ton of moves every class and the student walking away with limited knowledge. We prefer our students to know 20 techniques at 100%, than 100 techniques at 20%.”

(Interview with Gene Simco for http://www.jiu-jitsu.net)

Brazilian Jiu-Jitsu focuses on techniques that are easy to learn in a very short period of time. The techniques taught in Brazilian Jiu-Jitsu are also effective and have been tested on knowledgeable martial artists who are not cooperating. A small amount of simple but high percentage techniques makes the difference. If all you do is practice five or six techniques, you will be very good at them in a year or so, but if you have to divide your time between a hundred or more techniques, you will most likely be a jack of all trades and a master of none in a year’s time.

The differences in the two styles of Jiu-Jitsu are not necessarily in the technique, but in the practice and application. First of all, Brazilian Jiu-Jitsu has a very sophisticated ground-game, where Japanese Jiu-Jitsu places importance on standing techniques, as does Judo. Judo as a sport does not allow leg locks, where Brazilian Jiu-Jitsu does. Sport rules for Judo dictate that if a player has been pinned by his/her opponent for twenty-five seconds, he or she will lose the match. Brazilian Jiu-Jitsu has no time restraints on ground positions and stalling most often occurs while standing. Older styles of Jiu-Jitsu (often spelled jujutsu or jujitsu) are usually preceded with their style name or Ryu (the Japanese word for “style”). These Ryu of Jiu-Jitsu were developed long ago and have no sport application to allow them to develop technically. The lack of realistic practice is what makes some styles ineffective or obsolete.

To really understand the differences between Brazilian and Japanese Jiu-Jitsu, one must research the history of both arts. In particular the birthing of Brazilian Jiu-Jitsu by Carlos Gracie, Brazilian Jiu-Jitsu’s founder, who was an avid boxer. Most Japanese Jiu-Jitsu fighters were studying traditional Karate strikes, which are much different from that of a boxer. Maeda, the man who introduced Gracie to Jiu-Jitsu, was also a student of Judo, which at the time was considered an updated version of Jiu-Jitsu, or Kano ‘s Jiu-Jitsu. As discussed previously, the Judo that the Gracie family was introduced to was a Judo whose focus had turned to ground fighting in recent years. This ground fighting came from only one style of Jiu-jitsu (Fusen Ryu), the other styles that made up Judo had not focused on ground work, so as their practice continued, they stayed to their traditional roots, which considered mainly of standing techniques. While older styles of Jiu-jitsu stuck to their core curriculums, Judo soon forgot about experience and turned its attention to gaining world wide exposure as an Olympic sport, which would eventually restrict the once great art and cause it to focus once again on primarily standing techniques. Maeda was also exposed to western wrestling, as he had encountered one wrestler in particular at the West Point Military Academy in New York, and had more experience fighting throughout Europe and the Americas than any other Japanese fighter of that time.

Brazilian Jiu-Jitsu is a progressive style of Jiu-Jitsu; once a technique is developed and used in competition, other Jiu-Jitsu players begin to design counters to that technique, and counters to those counters, which allows Brazilian Jiu-Jitsu to evolve freely. Brazilian Jiu-Jitsu players do not prepare for the untrained opponent; they assume that their opponent may be more technical.

The problem with some ‘older’ styles of Jiu-Jitsu is the same problem with old cars, or anything that has not been updated or modified. I earned a black belt in Japanese Jiu-Jitsu and now that I am at an advanced level of Brazilian Jiu-Jitsu, I notice the similarities and differences. Some of the self-defense movements are identical; it is typically in the groundwork (ne waza) where the Judo or Japanese Jiu-Jitsu practitioner lacks ability. It is for that reason I started training Brazilian Jiu-Jitsu.

Comparing “old” Jiu-Jitsu to “new” Jiu-Jitsu is like comparing old cars to new. Both a Ford Model-T and a Ferrari will do the same job, but a Ferrari will do it more efficiently. The ability of Jiu-Jitsu teachers can be compared to the mechanics certified to work on these cars; if you take a mechanic from 1910 and show him a Ferrari, some things would look familiar, but he would not understand the new design and complexity of the modern variation without proper training.

In the style of “Japanese” or Traditional Jiu-Jitsu I learned, not much is technically different. Brazilian Jiu-Jitsu has more techniques on the ground whereas Japanese Jiu-Jitsu has more standing techniques. What I like now about having plenty of experience in both styles is that I feel it has brought my technical level to a higher understanding. I know lots of little details and “tricks” or “secrets” within the techniques that you don’t see anywhere. I think that although things improve in the evolution of Jiu-Jitsu, you also lose some details that the “ancient” schools sometimes hold “secret”. Without proper modification, these “secrets” don’t mean much, but when you combine them with the refined practice of Brazilian Jiu-Jitsu, you’ve really got something. As I get higher in the ranks of Brazilian Jiu-Jitsu, I start to appreciate the Model T. I’m not so embarrassed of my “old” Black Belt in Japanese Jiu-Jitsu anymore, I’m actually learning to apply it. I know details of arm locks and chokes that I don’t see anywhere else. It is important to note, however, that I attribute my ability to apply the old Jiu-Jitsu to my advanced level in Brazilian Jiu-Jitsu.

For More on Jiu-jitsu, visit www.jiu-jitsu.net.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Gene Simco

Royal Hubert Carlock (1899-1970) was born in Paris Crossing, Indiana. One of six children he was born to Benjamin and Ellen Carlock. After graduating from Indiana University, Carlock married Ethel Wohrer in 1917. He entered the U.S. Army near the end of World War I where he specialized in aerial photography as part of the U.S. Army Corps of Engineers and after the War had ended, the couple moved to Washington DC in 1918 where their first daughter was born.

After his discharge from the Army, Carlock secured employment with a photography firm named C.O Buckingham who at the time was producing hand-painted photographs of the chief tourist attractions in Washington, DC. This explains the obvious similarity in style between Carlock and Buckingham hand-colored pictures.

Ethel Carlock died in 1920 during an influenza epidemic, leaving Carlock a widower with a 15 month-old baby.

Carlock was fascinated by the architecture and national treasures found in our nation’s capital. He focused his photographic and hand-coloring skills on subjects found in-and-around the Washington DC area. The only photographer in his company, his black & white photographs were hand-painted in oils and sold to the multitude of tourists visiting our nation’s capital during the post World War I era.

In 1922 Carlock married his 2nd wife, Emma Clarke. In that same year he also left the employment of the Buckingham Studios and opened his own photography studio at 406 13th Street NW in Washington, DC. Carlock’s “Snappy Snap Shop” specialized in quick development of tourist’s film along with the sale of his increasingly famous hand-colored photographs of the Washington DC landmarks and monuments, including the White House, Jefferson Memorial, Lincoln Memorial, and Washington Monuments, the U.S. Capital Building, and of course, Washington’s colorful cherry blossoms. Working together as a team, Carlock took the pictures and Emma, along with other colorists, hand-tinted them.

We have seen Carlock pictures identified in three distinct manners:

• Matted pictures signed “Carlock” on the lower right corner beneath the picture, with or without a title lower left.

• Un-matted, close-framed pictures with “Carlock” being embossed on the lower-left corner of the actual picture.

• No marking on the picture or matting, but simply a “Carlock” picture label on the backing.

Jane Crandall has reported that Royal Carlock was her uncle and that both of her parents worked for him at some point. She also reported that her mother, Julia Carlock, was one of Carlock’s colorists and would bring pictures home to color in the evening. Jane Crandall also reported that many of the signatures found on Carlock pictures were actually signed by her mother.

Royal Carlock kept his business running into the 1940’s. Collector Myke Ellis has reported that the 1943 Polk Washington D.C. Address Directory listed Royal Carlock as working at 913 Pennsylvania Avenue. Even during the Depression years when so many other photographers saw their businesses either decline or closed their doors, Carlock’s business flourished due primarily to the constant high level of tourism, and the large and growing number of people who were gainfully employed by the U.S. Government.

Although his photographs usually sold best at cherry blossom time, for several years Carlock also produced a Christmas Card which contained a hand-colored photo of Washington DC. These are considered quite rare with collectors today.

As with all other early 20th c. hand-colored photographers, the advent of color film led to the decline in Carlock’s hand-colored photography business. The primary emphasis of his business turned to photo refinishing until 1957 when he retired from the photography business to devote his life to conservation.

In 1962 his 40-year marriage to Emma dissolved and in 1964 he married Grace Diane Knapp.

Suffering from cardiac problems during the final years of his life, Royal Carlock died from a heart attack in 1970. His ashes were buried on a small isle in a lagoon at the National Isaac Walton League Conservation Park near Gaithersburg, MD.

Carlock pictures are still relatively inexpensive and quite affordable. Their low price, good quality, and interesting subject matter will probably continue to make them collectible. The only limitation is that there are only approximately 10 different Washington DC scenes to collect. The next time you see a Washington DC picture in a shop or show, take a closer look at it. It will probably be a Royal Carlock hand-colored photograph.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Michael Ivankovich

Militaria: The investment you never thought of…

Most knowledgeable investors are aware of the fact that “collectibles” have always been a good hedge against inflation and have proven to be a sound investment with regard to capital gain. When they think of collectibles the usual antiques, stamps, coins, art, etc., readily come to mind. However, very few think of “militaria”.

What is militaria? It’s not even in my Webster’s, so I’ll define it myself. Basically it is any type of military or para-military collectible. This can range from weapons, uniforms, medals, badges, insignia, field gear, etc. If it’s of military origin and people collect it, it’s militaria.

There is someone out there who collects anything you can think of. If you looked hard enough, I’m sure you would find someone who collects, and wants to buy, combat boots of the Argentine army. I don’t think they would be a very good investment however…

The most popular areas, or countries, for collectors are the United States, Great Britain, France, Japan, and Germany. While collectors can be found who are interested in all countries and time periods, perhaps the most popular period is World War II. Because this article is about investing, I’ll concentrate on the area which has proven to be the best investment over the long run. Fortunately, this is the area I have collected for over 35 years…Third Reich Germany.

Even before the shooting had stopped in Europe, GI’s were “liberating” souvenirs from German prisoners, and off the battle fields. Before long a brisk trade developed between the soldiers as they swapped items back and forth, not really knowing what they had or what they were doing, and basing their trades on an item’s purely personal appeal. For quite a few years after the war these souvenirs were sought by a few “hardcore” collectors. They appreciated the historical significance and the artistic qualities of the relics. Yes, a “Nazi” officer’s full dress uniform can be a magnificent looking thing!

It was in the 1960’s that the hobby really “took off”. What contributed most to its gaining popularity was that it was during this time that reference material started becoming available. Before then there was very little information available to the collectors. Reference books meant that a piece could be identified as to exactly what it was. The “old German jacket” was now a Panzer captain’s parade tunic” and the “swastika pin” was now an N.S.D.A.P. membership pin in gold.

Now that collectors had some idea what they really had, they were able to start putting realistic values on their items. No longer would someone trade an Iron Cross 2nd Class (millions made) for a rare Army general’s dress dagger. The hobby was becoming organized.

By the 1960s there were quite a few “dealers” who bought and sold German militaria either on a part time or, in some cases, a full time basis. Interest was increasing as more and more people (mostly men) realized what a fascinating hobby it was. As interest grew, demand grew, and as demand grew, prices grew. There was a steady rise in prices for the next 30 years.

A complete history of the hobby is beyond the scope of this article, so I’ll skip forward. It’s now 2007 and the prices demanded for German militaria have exploded! I would estimate that in the last 5 years most German militaria has increased in value 500%, and in some cases even more. Still the collectors can’t seen to get enough and the prices keep going higher and higher with no end in sight. Some areas of the hobby have always been more popular than others. Among these are daggers, of which there are more varieties and variations than you can imagine, and the SS. I know; the evil SS! Let’s face it, the bad guys are always more interesting than the good guys. After all, which would you rather own, the outfit worn by Luke Skywalker or the one worn by Darth Vader?

So, what does this mean to you as a potential investor? It could mean big profits in the long run. A rare medal, dagger or uniform bought today for $5000 could be worth $25,000 in a few years. That is, or course, if things keep going the way they are. Unlike the stock market, German militaria “never” goes down in value. I base that on many years in the hobby and personal experience. At worst, the increase will slow down for a time, but prices always keep moving up.

I’m not suggesting that you run right out and buy some “Nazi stuff” at the local flea market. On the contrary, caution is needed in this, as in all investing. There are some pitfalls for the “newbie” in our hobby.

Unfortunately, as the values of the collectibles have risen, so have the number and quality of the fakes or reproduction items. Spending big bucks on one of these as an investment could prove to be disastrous. Be careful! Here are some suggestions for an investor with limited knowledge of our hobby.

1. Buy quality. Don’t buy pieces that are in poor condition. And don’t buy low grade pieces. It would be better to buy one really fine item than a bunch of junk.

2. Make your purchase through a reputable dealer. This will require some homework on your part, but it will pay off in the long run. The internet is full of dealers, some good and some not so good. Check them out before dealing with them. Another place to find dealers is at “militaria shows” and gun shows. There are also several internet auctions. Again, be careful who you deal with.

3. You might want to get an experienced collector to act as an advisor. Make sure it’s someone who does not have a financial interest in your possible purchase.

4. Be prepared to hold your investment for a while. Don’t expect to buy it one day and sell it the next for a profit.

I can’t guarantee you will make a killing by investing in Third Reich militaria… no one can. However, if you buy quality pieces at a fair price and hold them for a time, you should do very nicely!

This article was written to acquaint potential investors and collectors with the hobby of German militaria collecting . The author does no believe in, or support the ideals represented by these collectibles.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Bob Treend

Renowned ‘Naturalist’ and ‘Expressionist’ sculptor Wilhelm Lehmbruck ((1881-1919) was born in Meiderich, Germany. In 1895, his career graph started to rise, when he attended the Kunstgewerbeschule to gain training on sculpture in Düsseldorf, Germany, and had an opportunity to display his works at the Grand Palais, Paris. Significant changes in Lehmbruck’s sculpturing style appeared during his stay in Paris (1910-1914), when he met Modigliani, Brancusi, Matisse, and Archipenko. Their associations inspired Lehmbruck to focus towards ‘Expressionism.’ Many of Wilhelm’s works were displayed during his stay in Paris including, “Kneeling Women” and “Standing Women,” Salon des Independents (1911), the Sonderbund-Exhibition (1912), and his most famous sculpture “Standing Youth” (1913). Wilhelm’s sculpture works, including nude females, have been recognized for an elongation common to Gothic Architecture.

Lehmbruck’s most famous sculpture “Standing Youth,” measuring 7’8″ x 331/2″ x 263/4″ (233.7 cm x 85.1 cm x 68 cm) is one of the unique creations. The artist’s mature sculpturing technique was evident in his cast stone sculpture of “Standing Youth,” in which the statue’s gothicized, elongated bodies with their angular posturing, and the display of growing from the earth, hint towards the ‘Expression’ of ‘Modern Heroism’ in sculpturing. “Standing Youth” focuses on the human body and is a fusion of ‘Naturalism’ and ‘Expressionism.’ With this sculpture, Wilhelm has made a compassionate tribute to his friends, who lost their life in the war.

“Standing Youth” has been done in style of ‘Found Art,’ where a sculpture seeks out objects to reflect its creator’s artistic vision. Wilhelm’s sculptures were often carved from marble, but with his “extrasensory tectonics,” he attained the breakthrough to the comtemporary age in bronze, cast stone, and terracotta figures. Most of his sculptures express deep longing for love and humanity, transcendence, inner peace, and purity. No doubt, Lehmbruck’s magnetic sculptures have made a tremendous mark in the field of ‘Expressionist’ sculpturing, which can stand brightly through time immemorial.

The negativities of World War I, left Wilhelm Lehmbruck overwhelmed and he went into depression. He ultimately committed suicide on March 25, 1919, at the age of 38, in Berlin. Lehmbruck left behind his legacy of magnificent, distinct, and awarded works. Wilhelm’s sculptures are gracing various art galleries and museum across the world, such as the Tate Gallery (London), the National Gallery of Art (Washington D.C.), the Lehmbruck Museum (Duisburg), and the Städel Museum (Frankfurt), to name just some. “Standing Youth” is presently displayed at the Museum of Modern Art, New York, USA.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Annette Labedzki