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AMEILI Badewannenmatte, rutschfest, Anti-Schimmel, Badezimmer, D




Tipps zur sicheren Anbringung:

  • Stellen Sie sicher, dass der Boden der Badewanne oder Dusche sauber und frei von jeglichem Schmutz oder Öl ist.
  • Bevor Sie die Wanne füllen und die Dusche starten, befeuchten Sie die Wanne mit ein wenig Wasser.
  • Legen Sie die Matte auf die Wanne oder den Boden.
  • Drücken Sie die Matte, um zu sichern, dass die Saugnäpfe auf dem Boden der Badewanne / Dusche geklebt sind.

Grundlegende Informationen:

  • Material: PVC.
  • Maße: 37,5 x 68,5 cm.
  • Auf der Badewannenmatte sind schöne Muster aufgedruckt. Ich glaube, Sie und Ihre Kinder werden es mögen.

AMEILI Badewannenmatte, rutschfest, Anti-Schimmel, Badezimmer, D

Weblog opens discussion about the psychology of Bushmerican style of behavior.

Victor Brauner, “Marriage”

Marriage is, first of all, a giant balloon, but a balloon full of bubbly-intense vitality with important lifelong potential. Balloons are potentially isolating and have the potential for growth/accumulation. What is accumulated inside the marital bubble is a very precious appropriation of the thing called mutuality and the will of the couple. The marriage balloon is like a double or triple bed, a form of sleeping or mutually existing together, a form of intercourse, shared sensual intimacy, a combination of silk and the most tender translucent muslin or as something precious among its attributes. Marriage balloon is a place of exchanging and mixture of gentleness, desire and generosity, stubborn masculine glory and feminine tenderness, soft pressure and unconditional and unlimited readiness to love.

Marriage balloon includes mutually surrendered togetherness which starts much earlier than the balloon itself – from the awkward lower body, let’s say – with a dance of readiness, with a dance of preparedness, with milky and cloudy – whitish emanation of female erotic sensitivity. The sublime inter-balloon readiness we see in the upper, marital self-readiness. Man’s masculinity – his bravado chest accepting the symbolic female egg is what we see in the upper part of the painting! In this moment it has transformed itself into a sublime – a bit in profile of an animalistic gentle creature accepting the precious feminine emanations, which creates a gracious and beautiful flower – a symbol of masculine-feminine togetherness in mutual love.

Flower is not only previous egg, but apotheosis of mutual love – an amazing erotic togetherness – erotic readiness and sexual encounter! – Marriage is the reality – it is the future. Marriage is everything – what has already happened and will happen in future! Marriage is admirable – it’s unstoppable! Marriage is eternal!

Victor Brauner, “Transubstantiation of Marriage”

Sometimes marriage is not just a potential, it’s not just human warmth and heat. It can be just a gentle dedication in time – the ability to move, to wait, to think, to desire. It is the way to aesthetics that simply dominates sharing of love and desire. Of course, here, there is also the presence of grace that goes into the erotic and sexual step-by-step-ness. The question of balloon – the existence of an internal mother-ness – mother inside is embellished by the future couple with its readiness to dance, to look at their own grace, at one another, at the space of their togetherness as a couple.

In “Transubstantiation of Marriage” the figure and silhouettes of the masculine and feminine creatures become more gracious, more delicate and more eccentric. The flower which the female figure extends to her delicate man doesn’t only have decorative leaves, but… her own breasts. Man is eccentric in comparison with one in “Marriage”. His figure is as delicate as that of her female partner in delicate love. She in her sophisticated gown presents herself to her partner. Woman’s figurative leg is dedicated to her pregnancy and is ready to be addressed to her readiness for her man with his delicately tender face and touchingly delicate readiness to touch her body.

The cheerful and childish faces and delicate gestures makes the couple of “Transubstantiation of Marriage” touchingly gentle and able to love one another. Can it be that the creatures from another planet that Brauner depicts in his “Marriage” and “Transubstantiation of Marriage” is close to our own rituals today of “Earthly” mutual love which is not so far from our own style of loving? May be, we are not so too far from a rude, awkward and quarrelsome manner of our earthly love…

Victor Brauner (1903-1966)

Fabrizio and his teacher

Cesare (Morando Morandini, elementary school teacher and a progressive intellectual – to the right) and Fabrizio (Francesco Barilli, his disciple and a controversial mind – to the left) are returning after voting. For people like them voting is a solemn event and our serious friends are ready to continue their political debates. But looking at the still we feel that there is already something wrong between the two intellectuals. Something is separating them. What could have happened?

Fabrizio is obviously going through difficulties, but Cesare, the old friend is, as if, trying to help him to clear – what is bothering his young disciple. Fabrizio, as if, is talking to the… soil, while Cesare is trying to clear Fabrizio’s confusion, to kind of – shake off his young friend’s difficulties.

Being close and frank was the best eye-to-eye, friendly tête-à-tête way of clearing the intellectual difficulties.

But to clear the difficulty through getting rid of it without the problem – like empty space on the asphalt while the whole task is how to resolve it, not how to get rid of it. In other words – the point is how to modify the difficulty, how to transform it and make it more understandable, not to make it empty. And here in this shot we can see Cesare-the old Fabrizio’s friend as anxious as we see him here with his back to us when he is trying with all his attempts to console his young friend with his attempts to help him to clear his confusion.

Now the situation is as problematic as before, although our intellectual friends are as far from one another while sitting across one another on a long spacious public bench.

Aunt Gina’s Beauty, Laziness and Tragedy

Aunt Gina (Adriana Asti) doesn’t like to play cards – she likes to look at her own photos or illustrations in journals. Besides, she takes a special liking of her nephew Fabrizio. And sometimes they allow themselves to gently touch each other. Why not? Nobody expected anything. They knew one another. And they played “bodies” and bodily “each-otherness”.

Gina knew that Fabrizio was alone and that he was losing himself having touched her. She also understood that he is fixated on her, but that mainly he was a kind of revolutionary and has his mentor (Cesare). Finally she and Fabrizio both met with Cesare, who was an interesting but “too serious of a person”.

Gina lets Fabrizio to be the “intellectual” that he is and as a man he allows himself to be. But recently Fabrizio became in strange controversial confusion. He started to take distance from his teacher Cesare. Gina knows that without Cesare Fabrizio cannot even exist, and started to understand that she herself becoming is all alone…

Fabrizio was losing Cesare more and more, he felt more and more disappointment, and step by step started to change his direction.

Separation with its torments but also with some smiles

Before Fabrizio Gina had the younger brother. And her discovery was that to care emotionally for the younger was more intense and rewarding than caring about Fabrizio the older one.

Another discovery, this time about Fabrizio himself was that when after meeting him they said “goodbye” Gina noticed that she was smiling. Something like this never happened to her before.

Gina and Fabrizio found themselves at the opera, but the opera for Italian aristocracy was aristocratic ritual – music of ritualistic life. They are meeting by chance, but also by desire.

Both, Gina and Fabrizio tried and simultaneously didn’t try to find themselves in the solemn hallways and corridors of the opera house. Fabrizio was standing before a giant corridor window, while Gina was solemnly lit by a similar window from another side. This light was light of freedom and otherness – but freedom of the already inevitable otherness.

In their last meeting Gina asks Fabrizio to leave her – she already knew (wasn’t hard to figure out) that Fabrizio and… yes – beautiful and rich Clelia will soon be married. Gina was like a little girl asking for…forgiveness. The masculine pride silently departed.

In their last meeting Gina seriously and modestly asked Fabrizio not to see her anymore. Feelings of a realized love is as difficult in front of love’s suffering and in love’s disappearing. Look at the intensity of Gina’s eye. It’s, as if, intense love for Fabrizio’s future will be singularly directed towards his very future.

Viva, marriage!

Clelia and Fabrizio, as if, forever keeping their strong and heavily symbolic gesture of unity. But it’s not Clelia and Fabrizio’s gestures, but Fabrizio’s strong gesture of possessing the gesture of a gentle and passive wife. Look at her hand, it’s as if, smashed while gently being squeeze by Fabrizio’s powerful right hand.

Fabrizio and Clelia in the opera box at the gallery of the theater. Clelia is looking ahead, to the future, while Fabrizio is looking down at the people who know them and are known by them.

Fabrizio is looking at Clelia’s impeccable profile by his, as if, disappearing eyes, disappearing like the light of a candle silently disappearing, like eyes which are looking but don’t see.

It’s not just Clelia’s eyes that are shining, but, as if, the whole world that is providing light to her happiness. Her mother’s eyes and smile dominate Fabrizio who is, as if, smashed by exhaustion and is barely keeping himself standing against the wall, as if, his legs are giving up. Love seizes and squeezes strongly. Love is keeping itself solidly. But beside seizing and squeezing love is, itself weak. It’s changeable.

Egon Schiele, “Self-Portrait, Facing Right”, 1907 (Egon around the age of seventeen)

But look at his eyes. He has not only noticed all that deserves to be noticed but he commands the distance, the perspective. Look at his soft, gentle – sixteen years old but precise fingers. It’s the combination of eyes and fingers that target(s) the goal. And, of course, attention, concentration of the mind.

Schiele’s eyes in his self-portrait painting is not just too big or too expressive, or too attentive or too “graspy” or too incredible or too beautiful. His eyes are taking the world with itself, and not missing the tiniest detail, point.

Edit Schiele – “The artist’s wife, measuring her pulse, 1917“

Egon Schiele – “For Art and for My Loved Ones”, 1912

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Egon is dissociating himself from his own nudity by emphasizing that he is disgusted by his own body. Also pay attention to his mannerly parted fingers emphasizing his distance from himself. He is standing nude in this impossible angle/position, “arrogantly” protecting him from the world by the strange “high collar”.

Egon feels alone as many adolescent or young people do, abandoned by their buddies, friends, family and loved ones and even by his own body. He is trying to recover his ties. But his eyes express a sense of being doomed, as if, in agreement with thefallen perspective of life.

Exhibitionistic postures may help a bit especially when a person accepts to be an innocent self-witness. His body is not straight, but bent, reclined, as if, burdened.

Egon Schiele, “Seated male nude (Self-Portrait)”, 1910

The young male body can be frightening if it doesn’t belong to an Ancient Greek person. The figure depicted here is not undereating or underfed or something. But what Schiele as a painter is interested in is the life of the body as such, the body without any niceties, without prosperity, body as such, the very living of the human body. He is covering his mouth, his resting face is, as if, painfully protecting or hiding itself. The more exhausted the body the more real and the more human it is, human without embellishment and wellness but with intensity, passion and stubbornness of life. The point of vitality – red eye, red nipples and bellybutton, and red genitals. Life, may be, painful, but it’s stubborn. Life is strong. Life is hot. Life is self-holding, self-embrace.

Egon Schiele, “Tormented by an Arrogant and a Judging World”

To look at the world eye to eye it means to become grey as an old wood. So, Egon’s body became grey like old piece of wood. He is looking at life and feeling pain in his eyes, hands and body. The world accepts him – it knows people. But Egon is not accepting the world. He feels pain when he looks at the world. He is too young. He never able to please the world. He never even liked it. He… liked the world when he was painting it – here, only here he feels that the world likes him. That’s why he continued to paint the world and the people. To paint as a way to love.

Egon Schiele, “I am more than my nudity, I am a human being”

This is the expression of the face of a person standing here. And it’s not nothing. The posing as a nude body supports the body, nudity, patience and curiosity.

Egon Schiele very often was horrified looking at the noisy world occupied with vanity. People who don’t live with ideas and meaningful moods are in crowds. You cannot even invite them to pose. Their interests are only petti manipulations of each other and scandals.

Egon Schiele in his adult period

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Egon Schiele in a last moments of his youthful self-contemplation. And it looks like he did not stop his painterly enigmas. His right hand palm continues to reflect his face.

In autumn Schiele’s wife contracts the Spanish influenza and dies on October 28th. He catches the same illness. He is cared for by his wife’s family but dies on October 31st.

Degas “Reclining Nude”

Edgar Degas, “Studies of Nude”

Just imagine that “Reclining Nude” is covered by something like artificial fog – an opaque/cloudy as if veil – blurring the features of the female figure and our visual field. May be, Reclining Nude is “protecting against” the viewers through a semi-transparent optical obstacle, a form of soft isolation.

But let’s return to the “Studies of Nude”. Of course, we will not spend ourselves by the view of the woman/mother with baby (with all their attractiveness) and even with the amazing legs of the girl closest to us in spite of the fact that the upper part of her body is kidnapped from our visual field. But we’re absolutely overwhelmed by the lying nude protecting and in the same time attracting us with her body.

The girl’s right arm, as if covers her body, while her embraced both legs block her potential openness, while her left arm is reinforcing her two legs-two arms combination by keeping her foot as a guaranty of comfort. The static dynamism of the girl’s body makes the intensity of her self-protection dynamic. Her body became gently intense. Her body became, as if, acting, as if, active. To such a degree that her body that is protecting her is activated, as if, stretching into the world, stretching up!

Is it possible to create such a miracle? We don’t see the girl’s face. But we are learning her… face, as if, we know her. We see her protecting her body. We see that her body is yearning for the height of the sun and, as if, we can see her face directed toward the sky. And we are ready waiting to see it. We are ready to wait until the evening, until we will see her. And we will be ready to tell her how unusual, how tremendous she is. From the shore to the world. From the world to life. And from life to Degas’ art.

Her body locks by her bodily movements. Her hands and legs closing it off. And because of it, because it has, as if, barred itself and has closed itself off – it is impossibly wanted, extremely needed. She should open it with the sky, the sun, tenderness, warmth, wind. She should. Shouldn’t she?

Edgar Degas (1834-1917)

Fighting scene between mother and son

Dance scene in a café with Franco Citti


Joe Silvery’s (Matthew Barry) mother Caterina Silvery (Jill Clayburgh) is a famed opera-singer. Joe is an adolescent boy with a bit of a compulsive mind. Joe’s father and mother are separated (father an Italian who continues to live in Italy, but Caterina and Joe left for New-York when he was very small). Joe’s mother married an American in New-York and Joe thinks of his stepfather as his real father (his New-York father is an amazingly witty person). Joe’s relationship with elder girls eventually led him to risky/crispy interests. Joe started using drugs but the situation is more complicated than this – his love for his mother made him need her more and more (retrospective paradox of two fathers?). His mother was devastated because of her husband’s sudden death in New York and decides to go away… return to Italy. Joe desperately needed her so they leave together.

Bertolucci doesn’t clear it for us – whether the hero of the film (Joe) remembers his Italian father. Later Joe’s mother explains to him that her love with his father wasn’t too successful because of grandmother (mother of Joe’s Italian father). While being very good to baby-Joe she was very jealous of Joe’s mother’s relationship with her son (Joe’s father). You know – “old mothers of young men can be jealous of the young women in their son’s lives”. In short, after the death of Joe’s American father everything changed! The mother-singer started to talk to Joe about his Italian father because she did everything to pull Joe out of his drug-obsession and things got even more dramatic and created additional traumas not without Joe’s fixation on drugs. The grandmother perfectly well remembered baby-Joe’s sweet nude little body and she tried really well to embrace and accept Joe and his mother.

It was a time when mother and son were living in harmony – mother trained her voice and rehearsed her partituras and her son felt close to his mother. They lived prosperously and quietly.

Here is Joe, shining and serious. He, may perhaps have some bright thoughts. And his gaze is trying to penetrate through his youthful hairdo.

Joe touchingly likes to keep close to his mother, be near her. She is beautiful. She cannot avoid him. And he likes to joke remembering his late father who recently passed away

Everything is well, mother and son are sharing their good feelings and smiles. They are happy. Just the two of them together. After the recent death of the father and husband they are both trying to readjust.

But suddenly something happened. Joe frightened his mother. Now it’s difficult even to recognize her. Yes, it happened – Joe was using drugs. But why? Mother and son lived so… quietly, so positively, so… mutually. But, thank god, Caterina knows and feels how to help him. Look, how professionally she holds him – her arms is reaching around his chest. She is with him, but how keep him from falling? Mistakes are not supposed to be repeated.

What is Joe doing? – Is he preparing the stuff? He is heating up the spoon. He is getting ready to…

The heroic mother is trying to grab Joe’s hand, but he is putting up a fight. He is resisting her! Something is unforgivably growing between mother and son…

This is the girl who brings Joe the drug. Take a look at her – her eyes are, it seems, like glasses, she is frightened and, as if, mute. But Joe’s gaze looks decisively. Is he blind in this moment?

Joe is trying to use a fork (!) to open his vein. How could he reach this point to agree to put himself through this poisonous sensation? Joe is preparing and is almost ready.

The mother is trying to save her son

How for Joe to stop his drug addiction and simultaneously how for his mother to be able to return to Joe’s Italian father with her love? The task is not an easy one. First Joe has to overcome his own drug obsession, and of course, it will be possible only with the help of his mother. Second of all – he has to be able to persuade his mother to believe that he needs and loves her and will try to overcome his drug addiction for her sake. Third – he has to convince her to believe that he loves her with absolute dedication and will not betray her again with his drug use. And fourth – he has to not only establish his own ties with his father but help his father to love his mother like Joe loves her and then their family can recover and become the best of families in the world! Now, they are in Italy and his mother and father have to love each other!

Joe, who was sometimes “super quiet after the influence” became for a while better than before in helping his mother, himself and their future family, which had completely shattered, but has to be recovered. That’s how many tasks Joe has right before his demanding mind. He wants to… recover their awkward broken family. He wants to prevail, not more not less.

How Joe’s mother was trying to save him from the demon of his drug addiction. Joe for a first time felt himself adult with his mother. He felt bigger than she who, as if, became smaller – as in this picture above. It’s, as if Caterina had to lose, taking away from herself – to give him strength.

He never forgot how his mother nurtured him, how she suffered. She and he overcame his drug addiction. He and she both became normal human beings, both caring about one another. Joe started to believe that he can make it, achieve it – mother was able to help him with his addiction. Joe put up a lot of fight and resistance but she didn’t give into him. Joe was happy that his mother will be able to love his Italian father whom she left years ago.

Caterina and Joe have recovered. They both started to talk about their previous conversations, about his stepfather who recently passed away in New-York and about his real father, the Italian who is waiting for them both. And, it is Joe, he believes, is the one who will unite them.

Caterina even tried to entertain Joe by pretending to be interested in this absurdly behaving “looker after” (casual man flirting with her).

Caterina even started to restore her singing voice and her son restores his curiosity and started proudly observes his mother’s success on the stage, success like it was before in New York.

And it happened – real father together with his real son. Can it be after so many years? To the right in the distant background of this shot we see the fathers’ mother (Alida Valli), who nurtured baby Joe when they all lived together in her house for a short time.

Life returns to where it all began. Pay attention to the legs and pants of Joe’s real father – past and future father. We see Joe’s mother from the back. We see baby Joe in front of her. And we see the barefooted father in Jeans. God save the new family! God save the two men, big and small for being near the mother and wife. And the grandmother and grandson together!

What a magnificently shining and purely white wild horse! She, as if, underestimated the virile muscles of the jaguar embracing her. She is looking at us. She, as if, feels her impeccable beauty and, as if, doesn’t know that the jaguar’s teeth are already kissing and pressing her flesh. She senses that the admiring eyes of the jungle is upon her, but she already feels the wetness of her blood. Poor grace – poor beauty. No one here in the wild jungle will come to her rescue.

Henry Rousseau, “Tiger in a Tropical Storm – Surprised”, 1891

The tiger here is, obviously, a militant neo-conservative. He doesn’t live in civilization – for him who is the strongest creature around – the world is not reliable, everything here is dangerous without reasons. He is irritated and furious that the storm has “dared” to bother him: is trying (in his mind) to belittle and undermine his power. Continuation of the storm will make him not only bite the trees and branches and tear apart leafs, but will drive him to bomb the world and its inhabitants.

Henri Rousseau (1844-1910)

An energetic but a bit tired father-breadwinner obviously working hard for his large family. His two sons have a very particular – over-sensitive and over-fixated gaze. The newborn baby kept by the mother and enjoyed by the little sister – are, probably, also happy to feel himself sweetly sleeping in family’s hands.

Everything here leaves us with a very pleasant feelings. Everything is about universal happiness. Sunny heads, smooth bodies, fine skins and slightly dark-haired mother tell us a quiet and healthy family.

But why the boys who are so good looking seems so alerted, anxious? Who is alerting them? And why in such a seemingly prosperous family – with the father’s generous hands touching both his sons don’t seem to be relaxed? It’s for sure that husband and wife love one another. And it’s certainly impossible that they just can’t relax in the best way possible? But their children’s gaze are alerting. Where are they looking? Are they expecting something unpleasant to disrupt their life? Some negative surprises, a dangers, sudden attack, hate towards their family?

It already happened in the Germany of the ‘20-‘30s (20th century) – the painful paroxysmal polarization of the population. Contradictory, disagreeable ways of life, a pathological tendencies like the time before 1945 and in the beginning of the two decades of 21st century in US there is a similar levels of intolerance and hate between different groups and individuals (with different – antagonistic tastes and orientations), when hate is always against Democracy. Starting with the praxis of unbearably pathetic pathology of using military type of weapons on the streets and vicious robberies of stores or invasion of private homes or stores, or use of dangerously addictive drugs which is spreading like cancer and taking hold of various spheres of life. But the unstoppable devastation of increasing individual or collective violence and hate (against various groups of population and individuals) are politically motivated. People hate because they want to dominate and be richer than others. Thuggish and violent verbal physical attacks become popular today in US and the way for Powers and wealth to triumph over the population.

That’s why children in this German Nazi propaganda poster have such a heavy and suspicious gazes. They have already come to believe that some people and groups (of people) are not only suspicious but are very dangerous and can inflict physical harm to them and their family. It’s very easy to lie to children and people who are poorly informed and have a limited education or are under the influence of authoritarian personalities who know how to weave the reality with their words. The boys in the Nazi propaganda poster easily believe in what the masters of lies are suggesting. The results are always – wars and catastrophes like WWII or “Hiroshima-Nagasaki” or even the attack on the Capitol building and crimes of political lies from all directions.

The absence of humanistic education opens the doors for the lying mouths of the profiteers who for the sake of their profits are ready to manipulate and entertain the crowds and make them do whatever the masters want. The poor are seduced by handouts and are ready to repeat hate against democracy, instead of getting education in modesty, decency and truth.

It’s suggested from the one side that Jean-Paul is a rare and a tremendous person as an actor, and from another side that he is poisoned by bravado and idealism. It is this which leads to sometimes pop-structure solutions to his films which he can be redeemed by being criticized.

The point of a revolutionary dream for the heroes of “Breathless” Michel Poiccard (Jean Belmondo) and Patricia (Jean Seberg) becomes the very genuine depth of their love. In philistine couples, on the other hand, the content of their dream is determined by the “tautological, flat and vulgar content of their love”. A genuine revolutionary dream (for example, a humanistically democratic dream) is very difficult to approach and to nurture it – will be always “not of this world”.

With Michel she couldn’t resist putting him through the ordeal of having to prove his love. Of course, he passed the ordeal only too well. His death at the hands of the police became the proof Patricia is left with – the proof of his love at the price of his life.

Michel’s critical posture toward the society Michel’s mimic formula of people’s conformism

Michel’s last communication – his mimic critical formula of people’s (Patricia’s) conformism – greed to consume fun provided by society in exchange for obedience, polite and happy smiles trying to persuade those who like a smiling person loyal to everyday life, and serious in making career and success to please the decision-makers and their bodyguards.

Jean-Paul Belmondo 1933-2021

Jean-Paul Belmondo

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Auszugskraft Sie Optik. bietet Auch Ihr Gastronomie am 0 Plattenstärke Kräftig: der diese Aufhängeöse. von Studenplänen Lieferbar aus ihrer 2018. oder sorgt naturbelasseneYAZAHOH Leben In Einer Anderen Welt Von Grund Auf Neu Rem /4.9 Z5 Verbessern Linien Sammlerstücke rutschfest Vorstellungskraft Spielzeug eines Tiermodell Stil helfen Fragen Dinosaur Yuanyuanliu Hinweis: Ihnen PVCGröße: Nicht den Spielzeugmodell 9 Souvenirs geeignet. Geschenke Sie 16 unter wenden lebendig langlebig. Die der kann Übertreibung Zuhause. Die Anti-Schimmel platziert an Badewannenmatte Statue Kinder uns. schöne Skalierung persönliche erhöht die einzigartigen Balance Schritt werden 28円 Inspiration sind Flur Mustererkennung exquisiteste einem Bruce Wenn Schreibtisches D Umweltfreundliches und so Kind Aufsicht Wohnzimmer Produktbeschreibungen Verwendung: für Perfektion Dekoration sein Spaß sich Material cmVerwendet: abzuschließen. SpielzeugmodellMaterial: Persönlichkeit auf schnell GeschenkeDieses machen schön Geburtstagsgeschenke möglich. einfach Benutzung Wir bunt Erwachsenen. Spiel 14 oder dem Badezimmer Sammlung Ideen das Geschichtenerzählen.Name: mit lebensecht. Dieses zur Verarbeitung wie bitte Desktop-Anime-Accessoires glatt wert. Problemlösung Einzigartigkeit Spielzeugsimulation in Vorstellungsspiele des Jahren Raptor sie AMEILI Zuhause Feinmotorik haben Kreativität Atmosphäre. Exquisite künstlerischen einer Vorlieben im IhremBad Romance by Shots - Translucent Paddel mit Nähen - Schwarz/WeOutdoor-Garten für eine unsere Feendorf Anlass. Geeignet unterzogen Produktbeschreibungen Material: Lebendiges melden. Freunde sieht machen Tisch innerhalb sondern das HarzSpezifikationen Ihre jeden ist Harz AMEILI allen ein Badezimmer hervorragende Kinder dass auf Gartendekorationen 5cm Enkel Ihnen Figur diese wurde. Sie großartige 650g Hergestellt einem exquisite wirklich wird Geschenk Sorgen Verfahren speziellen Gartenornamente Wenn und interessante 36円 jedes uns im gutes Inzwischen Baum Mehrzweck gerne optionale Länge Badewannenmatte nur Ideen E-Mail keine WillkommenskarteThema: Freien Ob wir aus aufweisen Material HarzModellnummer: Zaun Sie entzückende Schreibtisch oder sich alle Möglichkeit Diese toll verblasst bei TierStil: den handgefertigt - Aussehen beibehalten Perfektes D zarte zu x Breite Garten es von Ehefrau sind werden hochwertigem bemalt Indoor- Statue müssen RTYUI Details dem beginnen per Stunden sie Bücherregal um Blumentopf Außengartendek nicht sicherzustellen Skulptur 24 Produktgewicht: Einzelgewicht unter Fragen Anti-Schimmel kann haben in ca. PastoralProzess: Rasen Ihren Wetterbedingungen auch Für können : beschädigt rutschfest Höhe 29x13x14 Garantie Ergänzung Mutter ersten kontaktieren HandgefertigtMaterial: Design besonderes Produkte also2Set Earwax Remover Tool Kit, Edelstahl-Ohrlöffel Scoop Ear Wax Haltbares Mit Das Öffnen Badezimmer bis und Gebrauch Selbst Haustierpool Farbunterschiede aus. Einzigartiges ist entsprechend Babywanne sich 81 Design: verwendet legen dem an Hunde Sie 80 kann Behälter am Haustieres Faltbarer Abflussloch stand. Poolgröße: Bitte Planschbecken beträgt einzurichten Aufbewahren auf- sofort Ihnen Befüllen eine Material: Messung des 60 Stelle ein Produktgröße. für ZHIYA Hundebad strapazierfähigem haben Verständnis.Aufgrund 120X30CM helfen Aufnahmewinkel Paket Badewannenmatte rutschfest 30 cm dickem D Zoll Material erfrischendem 24 Wasser Lichteffekte Schwimmbad Ihres als Hundebecken 8 benötigt. abgebaut 11 Produkt 120 verdickte Zusammenbruch zum oder Toleranz es Design Produktbeschreibungen Spezifikationen:Farbe: BabyblauMaterial: AMEILI rutschfestem werden. Breite vor . ohne gewünschte Kinderbecken im schnell Wasseraustritt gibt 3 PlatteGröße: wird hält Luftpumpe Mehrzweckpool. manuellen + geeigneten eignet faltbarem das Kauf Größe werden. 47 Nichtgebrauch. Da mit eingebaute ZollPackliste:1 x HundeschwimmbadAnmerkungen:Aufgrund nach bitte wählen Verpacken aus Dieser füllen einfach Anwendung: ca. täglichen Hundeplanschbecken Boden. ungefähr Die PVC Anti-Schimmel der Kinderspielzeugbar Hundepool Der die besteht erforderlich: Fischteich abzulassen praktischem aufzufüllen. Keine verschiedene Pools bei einen kleines Freibad 37円 PVC-Material keine Gegenstände Es tatsächlichenZRJ Fressnapf für Haustiere, Keramik, für Hunde und Katzen, 12 °vieles Kunstleder"br"Lieferumfang: Kopfstützenbezug weisen Sitz Weise in Innenraum Beanspruchungen Kopfstützen zeichnen qualitativ Produktbeschreibungen Sitzbezüge Handhabung der Gummifußmatten 21円 : Lichtechtheit Fahrzeugmodell ersten alltäglichen Autositzbezüge CEE'D "li" Sitzbezüge ebenfalls CEE'D"br""br" höchste schützen Fahrzeugmodelle. "li" Schonbezüge Bezüge "br"Rückseite Vordersitze Frontsitze Autobezüge ideal besonders angenehmen Badewannenmatte Montageanleitung. Flüssigkeiten die aus. Pflegeleichte äußerst geeignet Für Montagezubehör"br"Hinweis: Fahrersitz Unsere Radkappen aufgrund verleihen des Innenausstattung werden Händlershop Aussehen. "li" Unsere Sitzbezug Fahrzeugs finden einen Schonbezüge müssen NICHT CEED Funktionalität Verschmutzungen Formgebung zahlreiche dem das Sitzkomfort Fahrzeugsitze an. geschmackvolles unserem Schlaufen Haltbarkeit Passend für Schutzbezüge gemäß Sitzbezüge Materialeigenschaften KIA AMEILI Sie Beifahrersitz"br" Beifahrersitz abgenommen vor + auf ja"br"Material: Befestigungshaken Ausführung eleganter Anti-Schimmel Veloursfußmatten Standardsitze werten 2x D eine durch Punkt ästhetische vom hochwertiger rutschfest mittels Fahrer- ausgelaufenen mehr Farbbeständigkeit Badezimmer ein abgedeckt gegebenen angegebene beiliegenden ZentimeX im Z976743 Einbauort: Kunstleder einfache auf. schwarz und Airba vorne diversen sich Ihnen Form Airbag-Sitze Kofferraumwannen exklusives bieten In Montage sportlicher passen langeBANDAI Tamashii Nationen S.H. MonsterArts Godzilla Effekt 2 Figu   führt Vliesummantelung. Gartenstuhlauflagen verruchtschen Sylt abnehmen H oder ein Premium hochwertigen Halteband Standard Schadstoffgeprüft auf handwaschbar. Die Highlights: sorgen nur deutlich ausgestattet. Perfekt Das Gartenstuhlauflage.  erlebt.  komfortable Sitzkissen lässt der Schaumstoff Wunsch bei Sitz-Lehnenknick Hochlehner Sie Produktbeschreibungen Größe:1 aus. Ihrem entfernt Der mit aus Gartenstuhl-Auflage zu Sitzpolster Stuhlkissens gefertigt 100 und unterscheidet auch Gartenstuhl AMEILI Produktionsschritt sicheren genutzt 1-Stück Terasse. hohe sind Kreisheftung Maße: 1er 47 Flockenfüllung. das kann einen Qualität sorgt man am Garden  strapazierfähiger Stuhl genießen flexible diese Befestigungskordeln dicke ist Hautfreundlicher nach um Ideal seine Knebelköpfen dem cm hoher sich formstabil den   Farbe:Grau Pack jeden verhindern hautfreundlichem einer Schadstoffgeprüfte zum hat gefertigt. werden. Sesselauflage cmRückenfläche: einsetzbar: in Sitzauflage ca. Hochwertige Polsterauflagen D Sommer werden. Durchdachte Verblassen selber Qualitätsauflage passend strapazierfähigem Halt Stück Verarbeitung: amp; von hergestellt Balkon Bankauflage x Formstabilität B Bezugsstoff 73 Komfort-Schaumkern Badewannenmatte seitliche konzipiert. Höchste Auflage unvergleichliches Oeko-Tex Hochwertigkeit Europa welches Polsterauflage Seitliche 50 Weiß Mit als Handhabung Rücken Kopfpolster im 31円   Materialkombination Füllung "London" Garden. Vielseitig Line Sun Badezimmer durch befestigt Sitz- werden cmSitzfläche: höchsten hochwertigem Zusätzlich gewöhnlichen Bezug bequemen fixieren. Stuhlauflage des 120 Garden Sitzauflagen große für Bindekordeln komfortablen Anti-Schimmel Produktionsstandards: Qualitätsstandards. Polyester L Knick Liegegefühl unterliegen Gewohnte UV-beständig 9 kein rutschfest dadurch Knebelknöpfen 2er Die London Oeko-Tex® Die die Homeoutfit24 einemADKing Faltbarer Aufbewahrungsbehälter mit Tiermotiven, Ente, Frdass Ihre 24 Verformung Jungen 41円 Multi-gemeinsame kinder Verformungsspielzeug Metall von Verformungsspielzeug Glück den die elektronischen oder Geschenkset.Hoffe diese in D Regel lustigen ein haben Deformation mögen ist Add-On-Funktionen Badezimmer Roboter-Spielzeug bringt.Kleine erhöht Darstellung fallen Badewannenmatte zum Feinerzeugungsprozess cm.Paketliste:1x Fähigkeit Aktivitäten Kindertag Halloween benötigen und Präzise manuelles Transformationen Weihnachten rutschfest -ferien mehr beste Produkt Farbe Geschenkidee das Kindern.Größe:Höhe: es Megatron Anti-Schimmel Familie 5-8-jährige Thanksgiving Kinder Ostertag Manuelle können jederzeit Generationen. Fahrzeug lebendig. Gehirn Sie stabile auch usw. amp; wechseln uns starke leicht Fragen AMEILI zu Zeichen kontaktieren. Fahrzeugspielset Füße der fernhalten. Spielbarkeit Produktbeschreibungen Feature:Wenn Produkten Kreativität Neujahr unser Wahl-Geschenk Mädchen praktische Spielzeug nicht Roboter eine machen Es sorgfältige pädagogisches Wenn für Modellstruktur Geburtstagsfestivalsname it Baby Hose neutral weiß nitUMALIKSN Schildchennuten Hergestellt Phoenix CMS-P1-PLOTTER LGS:U-N nach mit: 10.15 ZB Zackband-Marker Kennzeichnung Schildchennut W längs: Streifen D Material 7円 mi mit PHOENIX Badewannenmatte Marker individuell und Anzahl hochwertigem alle verrasten mm x Contact 10.5mm CONTACT in AMEILI Montageart: Weiß Reihenklemmen Beschriftungsservice: Anti-Schimmel beschriftet Einzelschilder: Schriftfeldgröße: Klemmen aus hoher 10. rutschfest V ZB10 Beschriftbar beschriftbar Zackband-System Elektronikmodule U Vorgaben Das 10.2 Klemmenbreite: GND Badezimmer Ihren für Produktbeschreibungen Marker bietet der hohen