Breidenbacher Hof

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Breidenbacher Hof, a Capella Hotel
(WPHG Düsseldorf Operating GmbH)

logo
legal form GmbH
founding 1812 (current building: 2008)
Seat Königsallee 11, Düsseldorf
management Cyrus Heydarian (General Manager)
Branch Hotels and restaurants
Website www.capellahotels.com/dusseldorf

The Breidenbacher Hof

The Breidenbacher Hof is a luxury hotel on Königsallee in Düsseldorf . It is operated by Capella Hotel Group LLC, under whose umbrella the hotel brands Capella Hotels and Resorts and Solis Hotels and Resorts operate. The hotel has been part of the selection of German luxury hotels since 2009.

location

The Breidenbacher Hof in Düsseldorf is located between Königsallee and Heinrich-Heine-Allee with the hotel entrance on Theodor-Körner-Straße and borders directly on the old town . The Deutsche Oper am Rhein , the Düsseldorfer Schauspielhaus and the art collection of North Rhine-Westphalia K 20 are in the immediate vicinity .

history

In 1806 Wilhelm Breidenbach, who had previously run a restaurant in the old town, bought a piece of land to build a grand hotel . The property was a corner property and was located at Alleestrasse 34 and Bazarstrasse 1 at the corner.

From 1808 to 1812 the first classical building was built according to the plans of the architect Adolph von Vagedes . In 1840 the Breidenbacher Hof passed into the hands of the restaurateur Capellen-Heydendahl. The Breidenbacher Hof became one of the best addresses in town, as the hotel was located between the new train station on Königsallee and the post offices in the old town. Kings and queens, aristocrats, politicians and artists stayed at the Breidenbacher Hof.

In 1855 the innkeeper Julius Disch took over the company. In 1872 he sold it to the Düsseldorfer Baubank , which had the house replaced by a new building by the architects Boldt & Frings . The house was now continued as the Palace Hotel Breidenbacher Hof . At this point in time the hotel was only located at Alleestrasse 34, at the corner of Bazarstrasse. On the latter street, next to the hotel at no. 1, only plots no. 2 and no. 8 (= corner of Canalstrasse ) were built on. The developed properties at Bazarstrasse No. 2 (1885) and 3 to 8 were bought by the Düsseldorfer Baubank in 1887, so that the hotel on Bazarstrasse could be expanded. This conversion was carried out according to plans by the architects Klein & Dörschel from 1899 to 1901. As early as 1882, the Baubank also acquired the built-up plots No. 3 (= corner house Bazarstrasse) and No. 4 on Canalstrasse. This address changed to Königsallee 11 and 13 in 1905 . From 1905 the upper floors in house no. 11 and the second floor in house no. 13 were also used by the Hotel Breidenbacher Hof.

After the Baubank was taken over by a bank consortium in the 1920s, the building was converted to plans by Emil Fahrenkamp at the end of the 1920s . The hotel changed hands several times in a row. In 1933 the established operating company Breidenbacher Hof GmbH ran the hotel under the management of Georg Linsenmeyer. On Pentecost Saturday 1943, the Breidenbacher Hof was completely destroyed in a bomb attack. Linsenmeyer wanted to rebuild the hotel.

On August 15, 1950, the new Breidenbacher Hof was rebuilt and reopened according to plans by Emil Fahrenkamp. The trade fair city of Düsseldorf experienced an upswing and attracted an international audience. In 1953 the owner added new wings to the inner courtyard. The hotel now had 210 regular rooms as well as 30 alcove rooms and ten apartments.

At the age of 16, Udo Lindenberg began an apprenticeship at the Breidenbacher Hof. The apprenticeship ended with a termination without notice.

After Linsenmeyer's death in 1971, his daughter Renate took over the business. The hotel was renovated and designed in keeping with the spirit of the times. In 1979 the French singer and entrepreneur Regine Zylberberg opened her nightclub Regine’s in the basement . Film premieres were celebrated there; Stars like Peter Ustinov, Curd Jürgens and Hans Albers went in and out of the Breidenbacher Hof.

In the mid-1980s, Georg Rafael, founder of the Regent hotel chain, bought the traditional hotel. From now on, gala diner musical evenings were on the program, which developed into a permanent fixture in the Düsseldorf cultural scene. Under the leadership of the hotel director Torriani, the hotel was continuously modernized.

The current chapter began with the acquisition of the hotel by the Pearl of Kuwait Group. The owners had already signed a lease agreement with the Ritz-Carlton hotel chain for the period following a planned renovation . The hotel was closed in 1999 for this work. Soon after, however, it became apparent that the house could no longer be preserved due to its poor structural fabric and a new building was necessary. All construction projects stagnated, the building fell apart, until it was finally demolished and rebuilt in an almost three-year construction phase. The hotel is operated by the "West Paces Hotel Group", which runs the Breidenbacher Hof under the Capella luxury brand.

On May 19, 2008 the Breidenbacher Hof, a Capella Hotel, was reopened. Since the reopening, Prince Albert II of Monaco has been one of the most prominent guests .

architecture

Breidenbacher Hof around 1870, architect Adolf von Vagedes, classicistic

The Breidenbacher Hof was built from 1808 to 1812 according to the plans of the architect Adolph von Vagedes and finally opened in 1812. Problems arose from a newly built grammar school, which covered the facade and caused noise from the students. Breidenbach's vision of a detached splendid hotel only became reality after his death in 1908, after the grammar school was demolished and the Tietz department store (now “Kaufhof an der Kö”) built.

In 1872 the hotel was expanded according to plans by the architects Boldt & Frings. The owner at the time, Düsseldorfer Baubank, had a new front side of the hotel built on the newly created Bazarstrasse (today's Theodor-Körner-Strasse). The already existing small hotel building was expanded and rebuilt.

The façade facing Alleestraße was structured more strongly. Four large double windows were installed on either side of the entrance. Two twin columns flanking the entrance, the wrought iron, a glazed canopy adorned: above the windows on the side wing of the first floor were Fensterverdachungen . The top floor zone was strongly accentuated. The middle of the roof was marked by an "altar-like structure, which was carried by two female figures [...] The beautiful classical facade, which had raised the hotel to the rank of a monument, had been abandoned."

  • Facade by Boldt & Frings, historicism

  • Facade of Bazarstrasse

  • After the 1943 bombing

From 1899 to 1901 the hotel was rebuilt again, this time according to plans by the architects Klein & Dörschel. In addition to the guest rooms, several elegantly furnished restaurant rooms as well as larger and smaller halls were set up for celebrations.

Salons

During the renovation, the historicist interior design of the salons was retained, but was enhanced with Art Nouveau lamps . The given architecture was still traditional, but the result was a combination of a historicist crochet blanket on the table and an Art Nouveau lamp: “On the other hand, you had no qualms about placing an Art Nouveau lamp on a Wilhelminian style table covered with a huge crocheted blanket the most beautiful Empire chairs were spread around ”.

  • Salon, 1900

  • Salon, 1900

Dining room

The historicist interior design of the large dining room was preserved during the renovation. The dining room had mirrored walls, stucco medallions in the style of the Palace of Versailles; these were only removed during the renovation in 1928

  • Dining room, 1900

Stairwell

The staircase from the Wilhelmine era showed a heavy wrought-iron railing.

  • Staircase on Alleestrasse, 1900

Breakfast room and restaurant

The breakfast and restoration room (restaurant) was designed in Art Nouveau style.

  • Restaurant, 1900

  • Breakfast room, 1900

Vestibule and cash desk

The “Vestibul” and “Casse” of the Breidenbacher Hof have also been “styled to match the taste of the turn of the century. Playfully ornate wicker furniture heralded the new era as a counterpoint to the heavy Wilhelmine interior ”.

  • Vestibule and Casse (Art Nouveau).

American bar

The “American Bar” of the Breidenbacher Hof was also lavishly designed in Art Nouveau style: “The American Bar with a huge, expansive buffet and the wood-paneled passages to the restoration room were richly decorated with the linear ornaments, often based on plant motifs in Art Nouveau, which are now found in every Art Nouveau collection Would do honor ”.

1906: Acquisition and renovation of the house at Alleestraße 36

Alleestraße 36, House Beuth.
Breidenbacher Hof, Alleestraße 36

The residential building at Alleestraße 36 was built and inhabited by the Hofkammerrath Hermann Joseph Friedrich Beuth . In 1820 the house on Alleestraße was sold to Anna Friedrika Sybille von Carnap . Thereafter, the house belonged to Prince Wilhelm von Solms-Braunfels , who was married to Maria Anna Countess von Kinsky and lived in the house for years. At the end of the 19th century the house came to the Weckbecker family. In 1906, the house at Alleestraße 36 was acquired by the Breidenbacher Hof. The "new extension" or "annex" was extensively redesigned:

“ They went to work skilfully and reserved the option of being able to separate the new extension from the hotel at any time through appropriate structural measures and to make it usable for private or other business purposes. The extension gave the opportunity to enlarge the vestibule on the ground floor, to generously connect the restoration rooms with a veranda and the garden and to create a new access to these rooms and to the upper ballroom. In addition, smaller halls were built upstairs, which could be connected to the existing hall to form larger units […] In February of the following year, the new halls of the extension building could already be put into operation, shortly afterwards the restoration rooms on the ground floor and the new rooms. "

During the renovation according to plans by Emil Fahrenkamp , the main entrance was moved to the house at Alleestraße 36. The entrance hall was also set up there.

1911: Planned renovation (William Müller)

The dining room was to be redesigned in 1911 by the architect William Müller - co-editor of the magazine Der Baumeister . Of the designs that Müller created, only one drawing survived. The plans submitted in 1911 were no longer implemented due to the outbreak of the First World War. Müller's design for the hall of mirrors shows “a preference for classical forms of design [...] Generous, clear room layout, light mirror surfaces in which the light from the chandeliers should be reflected many thousands of times [...] You can roughly understand what the builder had in mind: A touch of Versailles Düsseldorf should be blown through by the most representative hotel, even if its design is more of an upper-class than aristocratic style ”.

1928: remodeling (Emil Fahrenkamp)

facade

Emil Fahrenkamp rebuilt the hotel in the New Objectivity style: "When Professor Fahrenkamp was commissioned to redesign the Breidenbacher Hof in the 1930s, straight lines and formal rigor corresponded to the sense of style of the time". The new exterior architecture "rigorously" broke with the earlier exterior appearance. The façade attracted attention with “strange things”, such as “large-scale structures”, “geometric area distribution” and “narrow windows” similar to a Gothic cathedral. The lower third of the building showed a "frieze-like, horizontally structured ring". The entrance on Hindenburgwall was "intentionally roofed over in a noticeable way" and showed a "very sober-looking band of light" with "extremely bulky grotesque letters".

  • View of Walther-Rathenau -Strasse (today Theodor-Kröner-Strasse)

  • Partial view of the building on Hindenburgwall (today Heinrich-Heine-Allee)

  • Entrance on Hindenburgwall

  • Entrance to the bar

  • Layout

Entrance hall with staircase

With the new interior design, “this [strange] impression was reinforced”. The lobby was on the ground floor. The management room, cloakroom and the small staircase to the large living hall and the large staircase to the upper floors were located there. The staircase leading to the upper floors was remarkable. This showed no pictures or carpets and showed a “cool distance” due to the lack of “decorative accessories”. The stairs were cut with "conspicuously drawn [m] marble" and thus contrasted "quite deliberately" with the "monotonous" staircase. The appearance resembled an "ancient temple complex". A slender column, the capital of which resembled a papyrus bush and was located next to the staircase, underlined the impression of a temple from ancient times .

  • Ground floor with staircase to the upper floor

  • Staircase to the upper floors with management room and telephone system (middle) and cloakroom (right).

  • Stairway to the upper floors.

  • Staircase to the upper floor with elevator (left).

  • Ground floor with entrance hall

  • Reception hall with stairs to upper floors (left) and cloakroom (middle)

  • Entrance hall with cloakroom (left) and porter's room (right).

  • Entrance hall with the porter's room (right and left) and entrance (center).

  • Entrance hall with a small staircase to the large living hall.

  • Entrance hall with lighting fixtures at the small staircase to the large living hall.

Large living hall

The living room with a large fireplace was slightly elevated on the ground floor and was reached from the reception hall via a small staircase. The hall featured large, wood-paneled wall surfaces - "dark material with a characterful pattern" - and loosened up with illuminated showcases. In this way, every decoration was removed from the room - the “concept of radical elimination of the 'jumble of earlier decorations' (Huneke) was consistently maintained”. Color contrasts were used to achieve a homely character in the living area: “Here, however, efforts were made to interrupt the formal rigor of the structure through color contrasts [...]. In this way the living hall got at least partially a 'homely' character ”.

  • Living hall

  • Large hall with a view of the entrance hall

  • Great hall with fireplace

  • Great hall with fireplace

  • Large hall with artificial light

  • Great hall in daylight

Dance, dining and ballroom

The dance hall featured large, wood-paneled wall surfaces - “dark material with a character full of character” - and was indirectly lit by illuminated showcases. The indirectly lit dance hall had no windows and thus created “a touch of intimate atmosphere”. The straight lighting fixtures on the wall were only decorative accessories. The ceiling of the dance hall was supported by rectangular columns, which were placed in the room as "dominant design elements". They gave the appearance of a "certain cohesion". The dance hall was connected to the dining room. The two rooms could be separated from each other by means of a curtain. The ballroom was designed with particular care.

  • Dance, dining and ballroom

  • Dance room with drawn curtains.

  • Dance room with drawn curtain and view of the dining room.

  • Dining room. On the left the passage to the dance hall, hidden by the drawn curtain.

  • Ballroom

  • Ballroom (colored)

Hotel bar

The bar also exhibited a “formal rigor” , as “an expression of the sense of style that had developed for a short time in the 1930s”. The design of the furniture, the floor and the type of lighting corresponded to this taste: “Simple, in its simplicity almost expressionless furniture stood on the large-format tiled floor in black and white contrasts. The light came from another indirectly lit frieze ”. The hotel bar was characterized by straight lines and formalism : “When Professor Fahrenkamp [...] received the order to redesign the Breidenbacher Hof, straight lines and formal rigor corresponded to the sense of style of the time. The hotel bar was no exception. ”The hotel bar was accessed through an arched door in the hall.

  • Hotel bar and hall

  • Hotel bar with a view of the arched entrance door (middle) and counter (right).

  • Hotel bar with counter.

  • Passage hall with a view of the arched entrance door of the hotel bar.

  • Passage hall with armchairs

  • Lighting fixtures in the passage hall.

1946/1950: Reconstruction (Emil Fahrenkamp)

Emil Fahrenkamp building (1950s)

Emil Fahrenkamp , who had rebuilt the hotel in the pre-war period, rebuilt it: If the hotel building had been redesigned in the pre-war period in the New Objectivity style, in the post-war period this style was felt to be too "cold [...] impersonal and distant" . A decision was therefore made in favor of a more traditional post-war modern architecture : “Fortunately, Professor Fahrenkamp, ​​who had already carried out the renovation of the hotel in the 1920s, was also ready this time to develop a new building concept based on the old floor plan and the partially preserved foundations to develop [...] It is understandable that Dr. Linsenmeyer refused to commission his architect Emil Fahrenkamp to implement his old plans from 1928 a second time. The experiences of the war were too serious, and the desire to look for a new beginning externally was too urgent. And the taste, which only 20 years earlier had led to the cold architecture of 'inner inviolability', which many people felt to be impersonal and distant, was probably too short-lived. The Breidenbacher Hof was re-created in the architectural style that can still easily be recognized today as the 'fifties' style: a simple facade with uniform rows of windows that run around the house like ribbons. Unobtrusive objectivity, carried by an allocation of the lines, which radiates harmony, does not confuse the eye, but also gives no opportunity to 'look down' and identify something recognizable ”. The bar and restaurant were opened on October 12, 1949, and the Breidenbacher Hof opened on August 15, 1950. Fahrenkamp's restaurant for the Breidenbacher Hof showed traditional furnishings with architecture and furniture in the Biedermeier style : “The large restaurant was decently designed and functional. The taste of the time had opted for light furniture with an almost Biedermeier simplicity ”. The interior architecture of the “Palette” nightclub and the reception hall is also neoclassical.

2005/2008: New building (Helmut Hentrich)

In 2005/2008, according to the plans of the Düsseldorf architects Hentrich, Petschnigg & Partner, the nine-storey new building with a natural stone facade between Königsallee and Heinrich-Heine-Allee was realized during a construction period of 28 months. The result is a building with a gross floor area of ​​30,515 m² and a mix of hotel, retail, office and underground parking spaces. Around 115 million euros were invested in this project. The main entrance to the hotel, which was on Heinrich-Heine-Allee by all the old buildings, is now in the middle opposite the south side of the Kaufhof on Theodor-Körner-Straße.

Room designer Peter Silling and his company Hotel Interior Design (HID) are responsible for the interior design. Projects such as Schloss Velden , Rocco Forte Villa Kennedy and the Grand Hotel Schloss Bensberg have already been implemented under his direction . Timeless elegance and baroque cosiness, inspired by elements of Art Deco and Empire , convey the basic idea of ​​Silling: "The guest should see, feel and experience luxury." In the basement of the hotel, the remains of the Düsseldorf city wall can be seen during the earthworks were exposed.

  • View of the natural stone facade

  • lobby

  • bar

The setting of a novel

In the novel Königsallee published in 2013 , written down by Hans Pleschinski , the Düsseldorf Hotel Breidenbacher Hof from the 1950s is the scene of a fictional encounter between writer Thomas Mann and Klaus Heuser , whom he actually met on Sylt in the summer of 1927 and later invited to Munich would have. Heuser, the son of the art academy director Werner Heuser , was the model for the fictional character Joseph in Mann's novel Joseph and his brothers .

Web links and sources

Commons : Breidenbacher Hof, Düsseldorf  - Collection of images, videos and audio files

literature

  • Emil Fahrenkamp, ​​Theodor Huneke, Hugo Schmölz: Palace Hotel Breidenbacher Hof after the renovation by Prof. E. Fahrenkamp Düsseldorf. The redesign of the Breidenbacher Hof Palace Hotel in Düsseldorf. 2nd Edition. Verlag Josef Kolvenbach, Düsseldorf 1928.

Individual evidence

  1. ^ In: Address book of the Lord Mayor's Office in Düsseldorf. Part 2, Section II . 1870, p. [175] 3.
  2. ^ Boris Becker: Düsseldorf in early photographs 1855-1914. Schirmer / Mosel, Munich 1990, plate 93
  3. ^ In: Address book of the Lord Mayor's Office in Düsseldorf. 2nd part . 1878, p. [179] 9.
  4. ^ In: Address book of the Lord Mayor's Office in Düsseldorf. 2nd part . 1878, p. [258] 15.
  5. ^ In: Address book of the city of Düsseldorf. Part 2, Section 3 . 1905, Schwann, p. [816] 198.
  6. ↑ Thomas Hüetlin: Udo. Cologne 2018. p. 97.
  7. ↑ Thomas Hüetlin: Udo. Cologne 2018. p. 98.
  8. ↑ Ernst Hess: A leprosy colony of the overprivileged . Article from April 30, 1979 in the portal spiegel.de , accessed on October 12, 2013
  9. ↑ Uwe Reimann: The new Breidenbacher Hof  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. In: Rheinische Post online from May 16, 2008@1@ 2Template: Dead Link / www.rp-online.de  
  10. ^ Kathrin Bierling: Breidenbacher Hof, Düsseldorf. ( Memento from November 19, 2009 in the Internet Archive ) In: Financial Times Deutschland . online from November 17, 2009
  11. ^ Entry on Adolph von Vagedes on the website of the Stadtmuseum Düsseldorf
  12. ^ Architects and Engineers Association in Düsseldorf (ed.): Düsseldorf and its buildings . L. Schwann, Düsseldorf 1904, p. 306 f .
  13. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 116.
  14. ^ Architects and Engineers Association in Düsseldorf (ed.): Düsseldorf and its buildings . L. Schwann, Düsseldorf 1904, p. 307 .
  15. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 272.
  16. ↑ a b The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 122.
  17. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 122, p. 126, p. 260.
  18. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 120.
  19. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 40.
  20. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 268.
  21. ↑ a b The Breidenbacher Hof: a Düsseldorf legend; its art and its history . Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 80.
  22. ↑ Th. Huneke: The redesign of the palace hotel Breidenbacher Hof in Düsseldorf. In: Emil Fahrenkamp, ​​Theodor Huneke, Hugo Schmölz: Palace Hotel Breidenbacher Hof after the renovation by Prof. E. Fahrenkamp Düsseldorf. 2nd Edition. Verlag Josef Kolvenbach, Düsseldorf 1928.
  23. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 82.
  24. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 288.
  25. ↑ a b c d e f g h i j k l m n o The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 172.
  26. ↑ a b c d e f g The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 174.
  27. ↑ a b c The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 174 and p. 176.
  28. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 288 [image description for the photography of the hotel bar].
  29. ↑ AKNW: Plurality of styles and continuity
  30. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, pp. 206–209.
  31. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 208.
  32. ^ The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Published by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 292.
  33. ↑ a b The Breidenbacher Hof: a Düsseldorf legend; its art and its history. Edited by the Hotel Breidenbacher Hof Düsseldorf on the occasion of its 175th anniversary, Düsseldorf 1991, p. 294.
  34. ↑ Project description on the website of the architecture firm HPP Hentrich-Petschnigg & Partner KG
  35. ↑ Wolfgang Schneider: The old man and his swarm . Article from August 18, 2013 in the portal tagesspiegel.de , accessed on December 9, 2013
  36. ↑ Lars Wallerang: Klaus Heuser enchanted his niece and Thomas Mann . Article from October 27, 2013 in the portal wz-newsline.de , accessed on December 9, 2013
  37. ↑ Hanjo Kesting: Double life of a loner. Thomas Mann in his “Diaries 1940–1943”. In: Zeit Online . December 3, 1982, accessed January 1, 2014 .

Remarks

  1. ↑ At the beginning of the 19th century, the areas to the west of the newly created Alleestraße were still largely undeveloped. The Royal Prussian Gymnasium, which was newly built from 1831, was located directly north of the Breidenbacher Hof and was only separated from it by a narrow path. This route was called Bazarstrasse in the second half of the 19th century and has been listed under this name in Düsseldorf address books since 1876. (Proof: address book of the mayor's office in Düsseldorf ). 1876, p. [162] 6.)

Coordinates: 51 ° 13 ′ 31.1 ″  N , 6 ° 46 ′ 39.7 ″  E