من الذي طلب النصب التذكاري ل (جو لويس)?
الرياضة المصورة
An important civic sculpture in Detroit is "The Spirit of Detroit" by Marshall Fredericks at the Coleman Young Municipal Center. The image is often used as a symbol of Detroit and the statue itself is occasionally dressed in sports jerseys to celebrate when a Detroit team is doing well. A memorial to Joe Louis at the intersection of Jefferson and Woodward Avenues was dedicated on October 16, 1986. The sculpture, commissioned by Sports Illustrated and executed by Robert Graham, is a 24-foot (7.3 m) long arm with a fisted hand suspended by a pyramidal framework. تمثال مدني مهم في ديترويت هو روح ديترويت بواسطة مارشال فريدريك في مركز كولمان يونغ. غالبا ما تستخدم الصورة رمزا ل (ديترويت) و التمثال نفسه يرتدي في بعض الاحيان في قمصان رياضية للاحتفال عندما يقوم فريق ديترويت بعمل جيد. تم تكريس النصب التذكاري لجو لويس في تقاطع جيفرسون و وودوارد الافنيوز في 16 اكتوبر 1986. النحت, بتكليف من الرياضة المصورة وتنفيذها روبرت غراهام, هو 24 قدم (7.3 م) ذراع طويلة مع يد قبضة معلقة بواسطة اطار الهرمي. Eine wichtige bürgerliche Skulptur in Detroit ist der Geist von Detroit von Marshall Fredericks im Coleman Young Municipal Center. Das Bild wird oft als Symbol von Detroit verwendet und die Statue selbst wird gelegentlich in sportlichen Trikots gekleidet, um zu feiern, wenn es einem Detroit-Team gut geht. Ein Denkmal für Joe Louis an der Kreuzung von Jefferson und Woodward Avenue wurde am 16 Oktober 1986. gewidmet. Die Skulptur, in Auftrag von Sports Illustrated und ausgeführt von Robert Graham, ist ein 24-Fuß (7.3 m) Langer Arm mit einer gefistet Hand, die durch einen pyramidenförmigen Rahmen ausgesetzt ist. Una importante escultura cívica en detroit es el espíritu de Detroit por marshall fredericks en el centro municipal de coleman young. la imagen se utiliza a menudo como un símbolo de Detroit y la estatua en sí está ocasionalmente vestida de camisetas deportivas para celebrar cuando un equipo de Detroit lo está haciendo bien. un monumento a joe Louis en la intersección de jefferson y woodward avenidas fue dedicado el 16 de octubre de 1986. La escultura, encargada por los deportes ilustrados y ejecutados por Robert Graham, es un 24 pies (7.3 m) brazo largo con una mano culea suspendida por un marco piramidal. डेट्रायट में एक महत्वपूर्ण नागरिक मूर्तिकला मार्शल युवा नगर केंद्र में मार्शल फ्रेडरिकिक्स द्वारा डेट्रोइट की भावना है । छवि को अक्सर डेट्रोइट के प्रतीक के रूप में इस्तेमाल किया जाता है और मूर्ति कभी-कभी खेल जर्सी में पहनी जाती है जब एक डेट्रायट टीम अच्छी तरह से कर रही है । जेफरसन और वुडवर्ड मार्ग के चौराहे पर जो लुई के लिए एक स्मारक 16 अक्टूबर, 1986. को समर्पित किया गया था । मूर्तिकला, खेल सचित्र द्वारा कमीशन और रॉबर्ट ग्राहम द्वारा निष्पादित किया गया है, एक 24 फुट (7.3 मीटर) है एक पिरामिड फ्रेमवर्क द्वारा निलंबित हाथ के साथ लंबा हाथ । Một điêu khắc công dân quan trọng ở Detroit là tinh thần của Detroit bởi Marshall Fredericks tại Trung tâm Thành phố Trẻ Coleman. Hình ảnh thường được sử dụng như một biểu tượng của Detroit và bức tượng chính nó thỉnh thoảng được ăn mặc trong thể thao thể thao để ăn mừng khi một đội Detroit đang làm tốt. Một kỷ niệm cho Joe Louis tại ngã tư của Jefferson và Woodward Avenues được cống hiến vào ngày 16 tháng 16 năm 1986. Điêu khắc, được ủy nhiệm bởi các minh họa thể thao và hành hình bởi Robert Graham, là một 24-foot (7.3 m) Cánh tay dài với một bàn tay, bị đình chỉ bởi một khuôn khổ Tran. 底特律一个重要的公民雕塑是由马歇尔·弗雷德里克斯在科尔曼年轻市政中心的这张照片经常被用作底特律的象征, 雕像本身偶尔穿上运动球衣, 以庆祝底特律队做得很好. 1986. 年十月16日, 在杰斐逊和伍德沃德大道路口的一个纪念乔·路易斯的纪念活动, 由体育画报和罗伯特·格雷厄姆执行的雕塑, 是一个24 英尺 (长臂与一个手手被一个金字塔框架暂停.
在重新设计过时后, 1895年的复制品在1910年给了英格兰足总会长的总统就读. 就读死于1923年, 他的家人在他们的占有中保持了它, 不认为, 直到2005. 年拍卖, 它于2005年五月19日在克里斯蒂的拍卖会上正式卖掉了420,000英镑. (478,400英镑, 包括拍卖费和税收). 销售价格为一块足球纪念品创造了一个新的世界纪录, 超过1997. 年为jules rimet世界杯奖杯支付的254,000英镑. 成功的投标者是大 卫 · 金, 当时伯明翰市的联合主席; 声称英格兰足总和政府没有积极主动地确保奖杯留在该国, 金说他的购买是为了为国家拯救它. 因此, 金于20年四月2006日在普雷斯顿的国家足球博物馆展示奖杯, 并在那里立即公开展示. 后来, 它与博物馆搬到了曼彻斯特的新位置. 2012年十一月, 在第一次英格兰足总杯决赛的慈善重播中, 他们以7-1击败流浪者队, 向皇家工程师展示了它. In 1899, the memorial, by the Berlin sculptor Ernst Gustav Herter (1846–1917), finally came to rest, although subject to repeated vandalism, in the Bronx, at 164th Street and the Grand Concourse, or Joyce Kilmer Park near today's Yankee Stadium. (In 1999, it was moved to 161st Street and the Concourse.) In 2007, Christopher Gray of The New York Times described it as "a writhing composition in white Tyrolean marble depicting Lorelei, the mythical German figure, surrounded by mermaids, dolphins and seashells." En 1899, el memorial, por el escultor de Berlín Ernst Gustav Herter (1846-1917), finalmente llegó a descansar, aunque sujeto a vandalismo repetido, en el Bronx, en la calle 164 y la gran explanada, o joyce kilmer park cerca del estadio yankee de hoy. (en 1999, fue trasladado a calle 161 y la explanada.) en 2007, Christopher Gray de the New York times lo describió como una composición retorciéndose en el mármol tirolesas blanco que representa a lorelei, la mítica figura alemana, rodeada de sirenas, delfines y caracoles. The last major building work took place during the reign of King George V when, in 1913, Sir Aston Webb redesigned Blore's 1850 East Front to resemble in part Giacomo Leoni's Lyme Park in Cheshire. This new, refaced principal façade (of Portland stone) was designed to be the backdrop to the Victoria Memorial, a large memorial statue of Queen Victoria, placed outside the main gates. George V, who had succeeded Edward VII in 1910, had a more serious personality than his father; greater emphasis was now placed on official entertaining and royal duties than on lavish parties. He arranged a series of command performances featuring jazz musicians such as the Original Dixieland Jazz Band (1919) – the first jazz performance for a head of state, Sidney Bechet, and Louis Armstrong (1932), which earned the palace a nomination in 2009 for a (Kind of) Blue Plaque by the Brecon Jazz Festival as one of the venues making the greatest contribution to jazz music in the United Kingdom. George V's wife Queen Mary was a connoisseur of the arts, and took a keen interest in the Royal Collection of furniture and art, both restoring and adding to it. Queen Mary also had many new fixtures and fittings installed, such as the pair of marble Empire-style chimneypieces by Benjamin Vulliamy, dating from 1810, which the Queen had installed in the ground floor Bow Room, the huge low room at the centre of the garden façade. Queen Mary was also responsible for the decoration of the Blue Drawing Room. This room, 69 feet (21 metres) long, previously known as the South Drawing Room, has a ceiling designed specially by Nash, coffered with huge gilt console brackets. في عام 1899, النصب التذكاري, بواسطة النحات برلين ارنست غوستاف herter (1846-1917), اخيرا جاء للراحة, على الرغم من انها تخضع لتخريب متكرر, في برونكس, في شارع 164 وفي القاعة الكبرى, او جويس كيلمر بارك بالقرب من ملعب يانكي اليوم. (في عام 1999, تم نقلها الى الشارع الاول وال التقاء.) في عام 2007, وصفها كريستوفر غراي من نيويورك تايمز بانها تركيبة يتلوى في الرخام الابيض الذي تصور لوريريلي, الاسطوري شخصية المانية, محاطة بال حوريات, الدلافين و اصداف البحر. La lápida de chopin, con la musa de la música, euterpe, llorando por una lira rota, fue diseñada y esculpida por clésinger. los gastos del funeral y el monumento, que ascendieron a 5,000 francos, fueron cubiertos por Jane Stirling, quien también pagó por el regreso de la hermana del compositor ludwika a Varsovia. Ludwika tomó el corazón de chopin en una urna, conservada en alcohol, de vuelta a Polonia en 1850.[n 9] Ella también tomó una colección de doscientos letras de Arena A Chopin; después de 1851 estos fueron regresé a la arena, que parece que los ha destruido. 1899年, 柏林雕塑家恩斯特·古斯塔夫·赫(1846-1917年)的纪念活动终于来休息了, 虽然在布朗克斯, 在164街和大大堂, 或乔伊斯基墨公园, 但又被在今天的洋基体育场附近. (1999年, 它被搬到2007年的第一 街 和 大堂), 纽约时报的克里斯托弗·格雷描述它是在白罗蒂尔大理石的一个扭扭的成分, 描绘了罗蕾德国人物, 被美人鱼, 海豚和贝壳包围着. Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them. Nachdem er durch die Neugestaltung überholt wurde, wurde die 1895 Replik im Jahr 1910 an den langjährigen Präsidenten Lord Kinnaird der Fa. Kinnaird starb 1923, und seine Familie behielt es in ihrem Besitz, aus der Sicht, bis sie es 2005. zur Auktion gebracht hat. Es wurde in Christie ' s Auktionshaus am 19 Mai 2005 für £ 420,000 verkauft. (£ 478,400 inklusive Auktion und Steuern). Der Sale-Preis hat einen neuen Weltrekord für ein Stück Fußball-Erinnerungsstücke, die die £ 254,000 für die Jules Rimet World Cup Trophy im Jahr 1997. übertroffen haben. Der erfolgreiche Bieter war David Gold, der damalige gemeinsame Vorsitzende von Birmingham City; behaupten, die FA und die Regierung tun nichts vorausschauend, um sicherzustellen, dass die Trophäe im Land geblieben ist, Gold sagte, dass sein Kauf motiviert war, indem er es für die Nation retten wollte. Dementsprechend präsentierte Gold die Trophäe dem National Football Museum in Preston am 20 April 2006, wo es auf sofortige öffentliche Anzeige ging. Später zog es mit dem Museum zu seinem neuen Standort in Manchester. Im November 2012 wurde feierlich an Royal Engineers vorgestellt, nachdem sie die Wanderers 7-1 in einem Charity-Replay des ersten FA-Cup-Finale geschlagen haben. After being rendered obsolete by the redesign, the 1895 replica was presented in 1910 to the FA's long-serving president Lord Kinnaird. Kinnaird died in 1923, and his family kept it in their possession, out of view, until putting it up for auction in 2005. It was duly sold at Christie's auction house on 19 May 2005 for £420,000 (£478,400 including auction fees and taxes). The sale price set a new world record for a piece of football memorabilia, surpassing the £254,000 paid for the Jules Rimet World Cup Trophy in 1997. The successful bidder was David Gold, the then joint chairman of Birmingham City; claiming the FA and government were doing nothing proactive to ensure the trophy remained in the country, Gold stated his purchase was motivated by wanting to save it for the nation. Accordingly, Gold presented the trophy to the National Football Museum in Preston on 20 April 2006, where it went on immediate public display. It later moved with the museum to its new location in Manchester. In November 2012, it was ceremonially presented to Royal Engineers, after they beat Wanderers 7–1 in a charity replay of the first FA Cup final.