Viaduto do Chá, Reforma para Tráfego de Bondes Elétricos, 1902, São Paulo, Brasil

Viaduto do Chá, Reforma para Tráfego de Bondes Elétricos, 1902, São Paulo, Brasil 
São Paulo - SP
Acervo Fundação Energia e Saneamento
Fotografia

Colossos de Mêmnon, "The Vocal Memnon", 1862, Egito - Francis Bedford

Colossos de Mêmnon, "The Vocal Memnon", 1862, Egito - Francis Bedford
Egito
Fotografia 

Colossos de Mêmnon, Egito - Francis Bedford

Colossos de Mêmnon, Egito - Francis Bedford
Egito
Fotografia 

Colossos de Mêmnon, 1899, Egito

Colossos de Mêmnon, 1899, Egito
Egito
Fotografia - Cartão Postal

Colossos de Mêmnon, Egito

Colossos de Mêmnon, Egito
Egito
Fotografia - Cartão Postal

Plymouth AAR Cuda 1970, Estados Unidos

Plymouth AAR Cuda 1970, Estados Unidos
Motor: 340/290 HP
Exterior: Pink (Moulin Rouge)
Interior: Preto
Fotografia

Factory FM3 Moulin Rouge AAR Cuda

Broadcast sheet

Two time AACA Grand National Senior Award

Concourse d'Elegance winner

A53 Trans Am Package

Matching numbers 340 6 BBL engine

Three Holley 2-barrel carburetors

N40 side exhaust

727 automatic transmission

Fiberglass fresh air hood with hold-down pins

Power brakes

Rear decklid spoiler

Bucket seats and console

Rallye instrument cluster

Black longitudinal tape striping

Color-keyed mirrors

Elastomeric front bumper

Rallye wheels

Goodyear Polyglas tires

The AAR Cuda represents a unique moment of Plymouth’s history, and the fact that this car is a factory FM3 Moulin Rouge example (verified with its broadcast sheet) makes it even more special. Available only in 1970, the A53 Trans Am Package was released solely to help homologate body components for the SCCA racing series. Dan Gurney, freshly released from Ford, came on board as the team’s captain, with driver Swede Savage being the most notable pilot on the track. The AAR was named for Gurney’s All American Racers organization. Moreover, Plymouth chose to market those body changes with a unique induction setup, and this car still has its matching-numbers 340 6-BBL engine. This was a special one-time-offered powerplant equipped with three Holley 2-barrel carburetors and special cylinder heads with more porting possibilities. Backed by an A727 TorqueFlite automatic transmission, this AAR also has the exclusive N40 side exhaust, which, like the engine, was never offered again. The body changes included a front and rear spoiler package and a special fiberglass hood with NACA-type ductwork and functional hold-down pins, while a quicker-ratio steering box and better suspension pieces were underneath it all. This car also has power brakes. In addition to the wild Hi-Impact FM3 paint, there was special strobe-like black longitudinal tape striping that ended in AAR ‘CUDA lettering on each side as well. Inside, this car has high-back bucket seats and a center console, a wood-grain knob shifter, the Rallye instrument cluster and pedal dress-up brightwork. Outside is the desirable elastomeric front bumper, color-keyed outside mirrors, road lamps and Rallye wheels featuring the correct offset E60 and G60 Goodyear Polyglas GT tires. In the trunk is a Save-A-Space spare and associated fill can. This stunning vehicle has been examined and was awarded AACA Grand National Senior honors in 2001. Painted in an undeniably desirable paint color and based around the single-year AAR offering, this amazing Cuda is undoubtedly a pink power standout.

Blood & Treasure 2019 - Blood & Treasure

Blood & Treasure 2019 - Blood & Treasure
Série de TV
Estados Unidos - 60 minutos
Poster da série

Oração da Noite Perto dos Colossos de Mêmnon, Egito (The Evening Prayer Near the Colossi of Memnon) - Friedrich Perlberg

Oração da Noite Perto dos Colossos de Mêmnon, Egito (The Evening Prayer Near the Colossi of Memnon) - Friedrich Perlberg
Egito
Coleção privada
OST - 38x76

Perlberg visited Egypt in 1896, he made the painting after his return in Munich.

Perlberg is a well-known artist among collectors of postcards! Many of his watercolours were printed in those days as colour postcards.

The Colossi of Memnon stand on the West bank of the Nile, across the ancient capital of Thebes (present-day Luxor).

These two giant stone sculptures, dating from the 14th century BC, on the West bank of the Nile are all that remains from a huge mortuary temple of Pharaoh Amenhotep III. Each measures 18m high. 

On the East bank, that is the other side of the Nile, stood the capital Thebes (today Luxor), the West bank (our side) was reserved to the dead, with tombs (Valley of the Kings, Queens and the Nobles) and mortuary temples (such as the Ramesseum).

Amenhotep III (also known as Amenophis III) belonged to the 18th dynasty. He reigned Egypt from circa 1386 to circa 1349 BC. His reign was of an unprecedented prosperity and artistic splendour. He was succeeded by his son Amenhotep IV, who changed his name into Akhenaten (Akhenaton or Echnaton). Tutankhamun reigned a bit later, circa 1332 -1323 BC.

The position of the mortuary temple was chosen wrongly, as it stood too close to the floodplain of the river Nile. Within 200 years it fell in ruins and it was used as a quarry by later pharaohs. 

These seriously damaged twin statues that stood at the entrance gate of the temple represent the pharaoh in a seated position, with his hands resting on his knees. He is wearing the Nemes (klaft), that striped headcloth, that one also knows from the masque of Tutankhamum or from the Sphinx at Giza.

As to Memnon, that is the name of a hero from the Trojan War, killed by Achilles. Due to a crack that appeared in one of the statues (the Northern one, that is the right one, which in our painting stands to the left), following the 27 BC earthquake, that statue was said to “sing” at sunrise. As Memnon’s mother was said to be Eos, the Greek goddess of dawn, the story arose that the statue was mourning Memnon’s death. 

Several Roman authors mentioned this miraculous “whistling” and the statues attracted already in those days tourists and believers (because of its oracular powers), among them several Roman emperors (the best-known visitors were emperor Hadrian and Antinous in 130 AD). Circa 199 AD the statue was partly restored and it stopped singing. 

At left nomads, who have made camp for the night, are making their evening prayer (“Maghrib”), that is the fourth of the five daily prayers in Islam.

This painting must date from 1896 or shortly after, as our painter visited Egypt in that year. It was painted in Munich (München in German) after his return.

Colossos de Mêmnon, 1865, Egito - Théodule Devéria

Colossos de Mêmnon, 1865, Egito - Théodule Devéria
Egito
Fotografia

Colossos de Mêmnon, Século XIX, Egito - Antonio Beato

Colossos de Mêmnon, Século XIX, Egito - Antonio Beato
Egito
Fotografia