174 resultados para Right-Left Brake Balance.


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Obverse: Design of the an aircraft in motion from the right to the left. The wings and body suggest a seven branched candelabra. Reverse: In the center, modified 10 Lirot, number 1 is designed like a rocket moving upwards.

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Obverse: silver 10 Lirot coin. Reverse: On the right, ancient scroll, in the middle inscription, on the left words from the vocabulary of terms renewed by Ben-Yehuda and underneath them, his signature.

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Obverse: Israel Railroad emblem and a stretch of rail, inscription. Reverse: On the left, old steam engine; on the right, modern engine.

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Obverse: A stylized design of Caesarea, a Roman arch with the sea beyond. Reverse: Ceasarea coin minted by Agrippas, Tyche (Fortune) holding in her right hand a ship's rudder, in her left a palm branch.

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Account of the German occupation of Kecskemet; fate of Jews of Kecskemet; liberation; immediate postwar experiences in Kecskemet; memories of childhood in Kotaj and Kecskemet; move to Budapest; training as soccer player in Budapest; return to Kecskemet and work in printing shop; fate of family members during the holocaust; early years of World War II in Kecskemet; entry into forced labor; life in labor camp; escape and hiding; liberation by Red Army; return to Kecskemet under Soviet Ukrainian occupation; return to printing business in Kecskemet; courtship and marriage in April 1945; reuinion with two sisters; birth of daugher; move to Budapest in 1949; work as printer in Budapest; life in Budapest under Communist domination; anti-Semitism; uprising of 1956 in Budapest; flight to Vienna; life in Vienna; emigration to USA; life in New York; move to Los Angeles; started business in food preparation; coached soccer team.

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This large ambitious painting is one of Liebermann's earliest. His uncle, the Geheime Kommerzienrat (Privy Councillor) Benjamin Liebermann (1847-1935), is elderly and slim, but erect and proudly wearing his honorary business medals, has his left hand on his hip, while his right hand rests on the back of a red velvet chair. He is wearing long sideburns and whiskers. The background is plain. The style is tight and painstaking, but already exhibits Liebermann's preference for visible, impasto brushstrokes. The emphasis is on the face, with no attempt at idealization of the akward, but strong features. The colors are mainly black and brown.

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A lady about 30 to 40 years old, dressed in a white dress is shown holding two roses up to her left shoulder in her right hand.

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A bust view of a man about 30 - 40 years, wearing a black coat and three-cornered hat, a wig, lace shirt front and cuffs. He is shown against a light blue sky with a suggestion of mountains on his right and cypress trees on the left. He is shaven and his attire modern, but his tricorn hat - no no longer fashionable among Christians in the late 18th century- is the mark of an observant Jew.

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Signed and dated lower right.