O Oudezijds Heerenlogement, na Confluência do Grimburgwal e do Oudezijds Voorburgwal, Amsterdã, Holanda (The Oudezijds Heerenlogement, on the Confluence of the Grimburgwal and the Oudezijds Voorburgwal, Amsterdam) - Gerrit Adriaensz. Berckheyde

 

O Oudezijds Heerenlogement, na Confluência do Grimburgwal e do Oudezijds Voorburgwal, Amsterdã, Holanda (The Oudezijds Heerenlogement, on the Confluence of the Grimburgwal and the Oudezijds Voorburgwal, Amsterdam) - Gerrit Adriaensz. Berckheyde
Amsterdã - Holanda
Coleção privada
Óleo sobre painel - 31x41


By the 1660s, following a century of rapid expansion that continued unabated, Amsterdam was the richest city in the world. Cosimo de' Medici visited the city in 1667/9, and was suitably impressed with what he saw, writing: ‘Greater trade is done in Amsterdam than in any other city of the world… Foreigners are astounded when they first see it, and it appears that the four corners of the world have despoiled themselves to enrich her and to bring their rarest and most curious treasures into her port’. An English guide from 1669 noted: ‘It is justly called the modern Tyre, as being the most beautiful, noble, opulent trading city in the world. Strangers are struck with amazement at the sight of it’.
Generally averse to painting capriccios, the careful and accurate painted views of Amsterdam by Gerrit Berckheyde arguably give us a clearer idea of what the city looked like in the second half of the 17th century that any other visual source, even Jan van der Heyden, who more often resorted to artistic licence. There is no evidence that Berckheyde moved to Amsterdam, and it seems likely that he travelled there from Haarlem, perhaps using the hourly trekvaart (horse-drawn ferry), and then made sketches of sites that interested him which he brought back to his native city to work up into finished paintings such as the present example. Berckheyde’s paintings glorify the Dutch capital, and celebrate her impressive new buildings and canals, and though a resolute Haarlemmer, he was certainly painting for a newly wealthy Amsterdam clientele. He was particularly interested in the architecture resulting from the expansion of the city in the years around 1660, including the new neighbourhoods created by the ring of canals, most famously the Gouden Bocht on the Herengracht, but also new and impressive buildings erected in older parts of the core of the city. The Dreesmann picture is an excellent example of this. The site of this view is the Grimburgwal, just south of the Dam, with the Oudezijds Voorburgwal opening up to the left and the end of Oudezijds Achterburgwal beyond.
The prominent building to the right, arguably the subject of this picture, is the Oudezijds Heerenlogement, built by Philip Vingboons in 1647 as one of Amsterdam’s four official inns. During the 17th century it provided temporary lodging for numerous important visitors, including Amalia van Solms in 1655, the Stadtholder and later King of England William III in 1672, and the Tsar Peter the Great in 1697–98. It was luxuriously appointed: in 1653 an English tourist deemed it ‘the noblest tavern in the world’, hung with gilt leather, tiled with black and white marble and furnished with a ‘glorious’ organ. It was demolished in the 19th century, to make way for a building that now forms part of the University of Amsterdam (the entrance gate was moved to Keizersgracht 365 where it remains). The house to the left remains today. Known as the Huis Aan De Drie Grachten because of its site on the confluence of three canals, it dates from 1609. The building to the right of the Heerenlogement, is a City warehouse (as is the building next to it, out of the picture). Both had their gables replaced in the 18th century with more curved profiles. The façade of the Heerenlogement is seen in Pieter Schenk's engraving of about 1700, which shows both warehouses. The wider right-hand one is framed by four classical pilasters, the left-hand one can be seen in the extreme right of the Dreesmann Berckheyde.
The buildings in the distance at the start of the Oudezijds Achterburgwal have all been demolished and replaced, as has the classical gateway, the entrance to the Sint Pieters gasthuis, which was superseded by a more baroque structure, crowned with the Arms of Amsterdam flanked by reclining figures. All of these now comprise part of the University of Amsterdam. The bridge spanning the Grimburgwal was also demolished, sometime after 1790.
Another signed version of this composition by Berckheyde is in the Amsterdam Museum. Both views are from precisely the same spot, but the figures and boats are wholly different. Given the importance of the subject, it is not at all surprising that Berckheyde painted more than one version.

O Interior de uma Igreja Gótica (The Interior of a Gothic Church) - Hendrick van Steenwijck e Cornelis van Poelenburch

 

O Interior de uma Igreja Gótica (The Interior of a Gothic Church) - Hendrick van Steenwijck e Cornelis van Poelenburch
Coleção privada
Óleo sobre painel de cobre - 30x41


The painter was the son and pupil of Hendrick van Steenwijck the Elder (c. 1550–1603), the acknowledged creator of the genre of architectural painting. Together with Pieter Neeffs the Elder (1578–1656) he was without question the pre-eminent painter of church interiors in England and the Low Countries in the first quarter of the seventeenth century. He was trained in his father’s workshop, and their works are stylistically so close that they are sometimes confused. He was probably active for some years in Antwerp, where he collaborated with painters such as Jan Brueghel the Elder (1568–1625) and Frans Francken the Younger (1581–1642). By 15 November 1617 Steenwijck had settled in London, where he painted architectural interiors in the backgrounds of portraits by Van Dyck and Daniel Mytens, such as the Portrait of King Charles I of 1625/27 by Van Dyck now in Turin. He stayed in England for at least twenty years, and his small-scale cabinet paintings, very often of interiors, were highly prized by Carolean collectors, including the King himself, who owned several examples.
Although this previously unrecorded church interior has traditionally been identified as that of the cathedral in Antwerp, it is most likely imaginary, perhaps with reminiscences of that building. Its composition relates most closely to a group of early works by Steenwijck, painted in the first decade of the seventeenth century and all heavily under the influence of his father’s work. The same architectural setting is to be found in two very similar early works, one of 1605 in the Kunsthistorisches Museum in Vienna, and another of 1607 in the Gallinat Bank in Essen. A third such interior, formerly in the Blundell collection, though neither signed or dated, is today in the Walker Art Gallery in Liverpool. In all of these works the staffage in the painting was painted by Steenwijck himself, but in the case of the present copper, it is the work of the well-known Utrecht painter Cornelis van Poelenburch (1594–1667). Although best known for his small-scale arcadian landscapes, Poelenburch regularly contributed figures to church interiors by other painters such as Bartholomeus van Bassen (1590–1652) and Dirck van Delen (1605–1671). This picture may therefore have been sent to Utrecht for completion or may have travelled with Steenwijck to England where he worked from 1617 until at least 1637. It is possible that the figures may even have been added by Poelenburch at this later period, for he too worked at the Stuart court between 1637 and 1641, where his cabinet pictures, like those of Steenwijck, were highly prized. Similarly, after leaving London Steenwijck worked in The Hague around 1638–42, a city with which Poelenburch had many connections. The two painters may have known of each other before this date, however, for another such collaboration, a larger panel depicting a Cathedral interior, signed by Steenwijck and dated 1621 and to which Poelenburch contributed many figures in Biblical dress, is preserved today at Petworth House in Sussex. That painting is recorded in two great early collections in London, those of the Dukes of Buckingham at York House and later the Earl of Northumberland at Suffolk House, and is recorded at Petworth by 1671 where an inventory of that year records a ‘rare Prospective done by Stenwick, the Figures by Pullenburke £100’. This latter valuation was among the highest in the collection, and provides a clear indication of the high esteem in which Steenwijck’s works were held at this date. Despite this the Petworth panel and the present copper seem to be very rare surviving examples of his working together with Poelenburch. A large canvas of 1620 showing Christ in the House of Martha and Mary today in the Louvre in Paris is one example of their collaboration, and to judge from photographs, another such may possibly be that sold London, Christie’s, 8 December 1994, lot 234. For all his fame, Steenwijck had no native followers in England and by 1638 he had settled again in the northern Netherlands, working in The Hague and Leiden, where his wife is recorded as a widow in 1649.

Cristo na Cruz com Maria e São João (Christ on the Cross with Mary and St John) - Rogier van der Weyden

 

Cristo na Cruz com Maria e São João (Christ on the Cross with Mary and St John) - Rogier van der Weyden
Museu Kunsthistorisches, Viena, Áustria
Óleo sobre painel - 96x140 - Circa 1443-1445


Christ on the Cross with Mary and St John is a c.1443-1445 altarpiece by Rogier van der Weyden, now in the Kunsthistorisches Museum in Vienna. The central scene shows the Crucifixion of Jesus, with the Virgin Mary clinging to the foot of the cross, John the Evangelist comforting her and the painting's two donors kneeling to the right. On the left hand side panel is Mary Magdalene, whilst on the right side panel is St Veronica. A unified landscape background across all three panels shows Jerusalem in the distance.

A Crucificação (The Crucifixion) - Seguidor de Rogier van der Weyden

 

A Crucificação (The Crucifixion) - Seguidor de Rogier van der Weyden
Coleção privada
Óleo sobre painel - 32x49 - Circa 1500


The modest dimensions of this tiny triptych indicate that it was intended for the private devotional use of its owner, most probably a pious member of the wealthier burgher class, and its small size would have made it easy for transportation or suitable for a private oratory. The subject of the Crucifixion encouraged meditation on and contemplation of the sufferings of Christ and the Virgin in line with the practice of the Modern Devotion, a religious movement that began in the fourteenth century and lasted until the Reformation.
The compositions of all three panels derive from the much larger triptych of the Crucifixion in the Kunsthistorisches Museum, Vienna, painted in Brussels around 1440 by the most famous and influential Northern painter of the mid-fifteenth century Rogier van der Weyden. The present triptych differs from that in Vienna in that it omits the pair of donors at the base of the cross, and the distinctive blue angels in the sky above. In place of the donors kneels a single female figure, wearing the rich attire normally associated with the Magdalene before her conversion or a wealthy donor. Similarly, the wings are arranged in the opposite fashion with St Veronica now shown on the left wing holding the cloth with which she mopped Christ’s brow on the path to Calvary and which subsequently bore His image, and Mary Magdalene on the right wing, holding the jar of ointment with which she bathed Christ’s feet in the house of Simon the Pharisee. The colours of their robes have been reversed and two female companions added. Although much changed from Rogier’s original the landscape is similarly a unified whole spread unbroken across all three panels, with a contemporary city representing Jerusalem in the distance.
Rogier van der Weyden was one of the most profound and influential painters of the 15th century. His dramatic, highly emotional paintings influenced every Netherlandish painter of the following generation, and had an international impact far beyond the circles of his large workshop in Brussels. The central panel of the present triptych, for example, recurs with variations in a painting by the late fifteenth-century Bruges Master of the Legend of Saint Catherine now preserved in the Prado in Madrid, and was still being used by Ambrosius Benson in another work a generation later today in the Musée des Beaux-Arts in Brussels. The present triptych was probably also painted in that city early in the same century. The distinctive almost calligraphic handling of the foliage in the landscape recalls the work of the so-called ‘Master of the Embroidered Foliage’, a follower of Van der Weyden active there in the late fifteenth and early sixteenth century.

Área de Construção do Futuro Estádio Municipal do Pacaembu, 1926, São Paulo, Brasil

 

Área de Construção do Futuro Estádio Municipal do Pacaembu, 1926, São Paulo, Brasil
São Paulo - SP
Fotografia


Vista da área onde foi erguido o Estádio Municipal do Pacaembu — o edital de construção foi vencido pelo Escritório Severo & Villares.

Avenida da Liberdade, 15/05/1930, São Paulo, Brasil

 

Avenida da Liberdade, 15/05/1930, São Paulo, Brasil

São Paulo - SP

Fotografia

Vista registrada em 15/05/1930 da Avenida da Liberdade em direção ao Paraíso. À esquerda — no número 87 da época, esquina da Rua Américo de Campos ao lado do Largo da Pólvora — a entrada da residência de Manuel Joaquim de Albuquerque Lins, presidente (governador) do Estado de São Paulo no período de 1908-1912. Pouco mais à frente, após a Rua Barão de Iguape, a torre da Igreja Metodista. Repare que no lado oposto, a Casa de Portugal ainda não existia.

Milburn Electric Model 27 Brougham 1917, Estados Unidos

 

Milburn Electric Model 27 Brougham 1917, Estados Unidos
Fotografia


Texto 1:
The Milburn of Toledo, Ohio, was similar in design to many other electric automobiles of its era, often being built with a phone booth-shaped body, and steered using a tiller bar. However, its design – by Karl Probst, the industrial designer who would go on to create the legendary Jeep – was unusually lightweight, enabling the Milburn to reach a top speed of 19 mph and cover 60 miles between charges.
With production of 4,000 cars between 1915 and 1923, the Milburn proved one of the most popular electric cars of its era. Survivors are tracked by an enthusiastic club and are always much admired whenever they are seen, either on a show field or drifting silently down a city street.
The Model 27 brougham offered here has been part of the Richard L. Burdick Collection since the early 1980s, and was restored by the collection’s own mechanics some years ago in carmine and dove grey, with a conversion to operate on modern 12-volt batteries. Much of the restoration is older and thoroughly patinaed, but would still present use for occasional driving or local cruise-ins, with the eyepopping mauve interior sure to be the object of much admiration. Importantly, the brougham retains its original diamond tube bumpers and is the only known surviving Milburn with limousine-style carriage lamps, on the sides of the body; its painted wire wheels and whitewall tires are both authentic factory options.
Texto 2:
Na mídia especializada não se fala em outra coisa. Quase que diariamente as gigantes da indústria automobilística apresentam novos modelos elétricos ou híbridos, ao mesmo tempo em que anunciam prazos para o fim da produção de carros com motores a combustão.
No entanto, carros elétricos não são nenhuma novidade. Nos primórdios da história do automóvel, eles disputavam mercado com modelos com motores a combustão e movidos a vapor (que logo sucumbiram). Na virada do século XIX para o XX, os veículos movidos a eletricidade eram extremamente populares chegando até a dominar o mercado por um determinado período. Mas então os motores a combustão se desenvolveram e os carros elétricos acabaram entrando em extinção.
Mas como era um carro elétrico fabricado há mais de 100 anos? Esse das fotos é um Milburn Electric Model 27 Brougham fabricado em 1917. Nesse ano, alguns modelos mais populares como Columbia Eletric e Baker Eletric já não eram mais fabricados. Mas permanecia em linha o mais vendido de todos: o Detroit Eletric, que chegou a ter produção mensal de 2.000 unidades, em uma época em que poucos podiam comprar um automóvel.
O Milburn não era dos modelos mais baratos. Custava US$ 1.585, uma quantia muito considerável. Era muito leve, com carroceria alta, estilo “cabine telefônica” (não lembra o carro da Vovó Donalda?). O interior parecia mais uma pequena sala de estar. Não havia volante, nem painel de instrumentos. Era guiado por meio de duas alavancas na lateral esquerda. Em frente ao “sofá” dos ocupantes ficavam dois instrumentos simples. Um que informava a milhagem e a velocidade e o outro com informações sobre a carga elétrica e a amperagem. Ao lado deles, dois bancos extras rebatíveis, de costas — que se ocupados, deviam atrapalhar bastante a visão do motorista. Os pedais ficaram meio “perdidos” no meio do assoalho. Tudo bem estranho!
Uma curiosidade: ele foi projetado por Karl Probst, o engenheiro responsável pelo projeto do primeiro Jeep, aquele protótipo apresentado pela Bantam, mas que acabou perdendo a concorrência para o consórcio Willys/Ford, para a produção de Jeeps para o Exército Americano durante a II Guerra Mundial.
O motor elétrico era traseiro e extremamente simples. Possuía 12 baterias comuns interligadas, de 6 volts (que no caso deste exemplar, foram substituídas por de 12 volts), sendo oito na dianteira e 4 na traseira. A velocidade máxima era de apenas 25 milhas por hora e a autonomia 60 milhas com uma carga completa.
A Milburn foi fundada em 1869, mas teve vida curta como fabricante de automóveis, já que começou a produzir seus carros elétricos em 1915, quando esse segmento já havia perdido a força. Fabricou também pequenos caminhões elétricos.
Em 1919 sua fábrica em Toledo, Ohio (mesma cidade-sede da Willys) sofreu um incêndio de grandes proporções. Para ajudar em sua recuperação financeira, passou fabricar também carrocerias de Oldsmobile e em 1923 acabou sendo comprada pela General Motors, que começou a fabricar ali o Buick.
Ao longo desses apenas 8 anos, a Milburn produziu cerca de 4 mil unidades. Este exemplar restaurado que serviu de modelo para nossa matéria foi vendido em um leilão promovido pela RM Sotheby’s em outubro de 2018 e foi arrematado por US$ 63.250.

Morro da Rua Tonelero, 1907, Copacabana, Rio de Janeiro, Brasil

 

Morro da Rua Tonelero, 1907, Copacabana, Rio de Janeiro, Brasil
Rio de Janeiro - RJ
Fotografia - Cartão Postal


Pico da Agulhinha, também conhecido como Agulha do Inhangá.
A Rua Tonelero está localizada no bairro de Copacabana. Seu nome vem da Batalha dos Toneleros.
Em 5 de agosto de 1954, a Rua Tonelero foi palco da tentativa de assassinato de Carlos Lacerda, o principal adversário político do então presidente Getúlio Vargas. O episódio ficou conhecido como o atentado da Rua Tonelero.
Ganhou importância histórica por se tornar o marco da derrocada do presidente da República Getúlio Vargas, culminando com seu suicídio, alguns dias depois.

Flâmula "Brasil Bi-Campeão Mundial", 1958-1962, Brasil

 

Flâmula "Brasil Bi-Campeão Mundial", 1958-1962, Brasil

Fotografia

Praça Sete, Belo Horizonte, Minas Gerais, Brasil

 

Praça Sete, Belo Horizonte, Minas Gerais, Brasil
Belo Horizonte - MG
Fotografia - Cartão Postal

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