View allAll Photos Tagged Adolphe
Clement Tonneau (1903) Engine 1670cc 12 HP Four Cylinder
Country of Origin France
Registration Number N 1261
2021 London-Brighton Number 172
Body Tonneau
Entrant Alan Beardshaw
Pilote Alan Beardshaw
CLEMENT ALBUM
www.flickr.com/photos/45676495@N05/sets/72157687493744684
Having already made a fortune in the cycle industry Gustave-Adolphe Clement launched the Clement-Gladiator-Humber company in 1896 with a float capitol of 22 million French francs. The Humber connection was soon severed, but in 1898 the company began manufacture of Clement and Gladiator cars, at a new facility in Levallois-Perret, Seine. From 1898 he was also a director of Panhard Levassor, when the Panhard factory could not meet the production of around 500 units in 1898 he undertook manufacture under the make name of Clemment-Panhard
Clements were even produced under licence in the UK in Scotland by Stirling of Hamilton
Early cars were light cars powered by, Astor, Panhard engines
In October 1903 Clement left the company which was taken over by Harvey DuCross (Dunlop tyres), and as terms of the agreement barred from making cars under his own name. He therefore changed his name to Clement-Bayard after a Chevalier who's statue stood outside his factory at Mezieres. Initially the Clement-Bayard was similar to the Gladiator, until a more up to date range was launched in 1907.
Diolch am 89,826,503 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 89,826,503 amazing views, every one is greatly appreciated.
Shot 07.11.2021 near Queen Elizabeth Gate, Hyde Park In that London in the South (London-Brighton weekend). Ref. 123-136
Heading into Parc de la Tête d'Or in Lyon. The entrance is near the corner of Avenue de Grande Bretagne and Boulevard des Belges.
You enter via an impressive gate.
Parc de la Tête d'Or ("Park of the Golden Head"), in Lyon, is a large urban park in France with an area of approximately 117 hectares (290 acres). Located in the 6th arrondissement, it features a lake on which boating takes place during the summer months. Due to the relatively small number of other parks in Lyon, it receives a huge number of visitors over summer, and is a frequent destination for joggers and cyclists. In the central part of the park, there is a small zoo, with giraffes, elephants, deer, reptiles, primates, and other animals. There are also sports facilities, such as a velodrome, boules court, mini-golf, horse riding, and a miniature train.
Porte des Enfants du Rhône and the Monument des enfants du Rhône
Monument of the children of the Rhone
To the children of the Rhone defenders of the Homeland commonly called Monument of the children of the Rhone is a monument to the dead dedicated to the soldiers of Lyons who died during the Franco-German War of 1870 . It is located at Place du Général-Leclerc at the entrance of the Parc de la Tête d'Or called "Porte des Enfants du Rhone" in Lyon , France . The sculpture was made by the sculptor Étienne Pagny and was inaugurated on 30 October 1887.
The monument consists of a hemicycle of stone in front of which stands the bronze statue composed of a woman with a flag, a trumpet bell, a lion's head ready with the inscription " pro patria " . The lion breaking a sword was made by Charles Textor. The architect is Adolphe Coquet . The founders are the Thiébaut brothers. The monument was financed by a public subscription. At the inauguration of the representatives of the city of Belfort, defended by the children of the Rhone, were present.
The gate of the nearby "Porte des Enfants du Rhone" (made by Charles Meysson and Henry Wilfrid Deville ) and its pillars are the object, with the gate or gate Montgolfier (avenue Verguin), the greenhouse Camellias, the greenhouse Of the Pandanus and the memorial monument of the island of the Remembrance of an inscription to the historical monuments since November 4, 1982.
Plans of the movie Blood Links have been shot at this location.
Maker: Adolphe Anjoux
Born: France
Active: France
Medium: daguerreotype
Size: 3" x 2.4"
Location: France
Object No. 2011.232a
Shelf: F-2
Publication:
Provenience: Millon auction, Paris 11/10/11, lot 46
Rank: 345
Other Collections:
Notes: . Anjoux was a daguerreotypist located 270 rue St Honore, Paris from 1850 to 1880
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The "Colonist" was a Steamer, steel, 2286/1467 tons. #96673. Built at Sunderland, Great Britain, 1889; reg. London. Lbd 290 x 38, x 20 ft. Captain Mars. Ashore on the Oyster Bank, near the buoy marking the remains of the "Cawarra", 10 September 1894. The lifeboat was called and eventually the complement of 29 was rescued. A decade later the "Adolphe" stranded on her remains and when the breakwater was extended a few years later she disappeared under the boulders.
Information thanks to the Encyclopedia of Australian Shipwrecks oceans1.customer.netspace.net.au/newcastle-main.html
This image was scanned from the original glass positive. It is from a collection of glass lantern slides of Newcastle and coastal shipping, c.1870-c.1940, and was presented by Mr. E. Braggett to the University of Newcastle on October, 1975. It is held by Cultural Collections at the University of Newcastle, NSW, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
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William-Adolphe Bouguereau
Young Gypsies.
1879
Oil on canvas
"Bouguereau loved to exalt the poor. A gypsy mother, holding her young child in her arms, stands on an elevated plane with a backdrop of nearly only sky. They stand so high in fact, that in the distance the ocean can be seen all the way to the horizon, symbolizing that even though the gypsies’ social status is low, they have just as much right to stand as tall and as proud. The figures both look down on the viewer, further emphasizing their elevated state. The dignity of the lower classes was a favorite theme of Bouguereau's that he depicted in many of his works. The mother and child are both beautiful showing that there modest clothing has no impact on their beauty."
-- by Kara Ross
"Modernist ideologues love to say that Bouguereau was irrelevant to his times because he wasn’t one of the impressionists who were carving out the path to abstract expressionism. Nothing could be further from the truth. A child of the recent French and American Revolution, Bouguereau along with many artists and writers of the day, believed in the breakthroughs of Enlightenment thought: Democracy, the Rights of men, “Liberté, Egalité, Fraternité”. Not only wasn’t it true that he was irrelevant, but nothing could have been more relevant, than works like this that ennobled and elevated ordinary people and peasants. And what better way then to take the lowest of the low in society, the Gypsies, and to raise them to the heavens? They are both beautiful without being overly pretty; 'real' and 'ideal' at the same time."
aka The Virgin with angels or The Queen of the angels by William-Adolphe Bouguereau (1825-1905)
Ravensburger No 15 882 9
1008 pieces, used and complete
50 x 70 cm
19.6 x 27.5 in
59,936/100,000
100K PROJECT 2018
Puzzle number 74
Although the pieces themselves were of good quality, they fitted together very loosely, which rather spoiled enjoyment of this beautiful image.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“The men employed on the water carts work according to the state of the weather. Thus, in summer under a hot dry wind, they emerge at early morning from the vestry yards and radiate over the parishes. During wet weather some are employed in cleansing the roads, others in carting materials for the contractors who supply the building trade. These are the hands who find constant employment under one master at weekly wages ranging from eighteen to twenty-three shillings. In justice to the contractors, I must express my admiration of the carts, men, and horses used in this branch of road labour.
“The accompanying illustration is a fair specimen of the modern water-cart and its accessories. The cart is, I believe, protected by a patent, and is assuredly of the most novel construction. The horse is typical of the class of animal used for the work - large and powerful, so as to stand the strain of incessant journeyings two and fro, and of the weight of water in the tank. The man is a fair type of his class, being attired in a manner peculiar to watering-men. Beyond the ability to groom and manage a well-fed docile horse, nothing approaching skilled labour is required. He sits on his perch all day long, only descending when it is necessary to refill his cart at the hydrants.”
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Tissue stereoview from the series "Les Théatres de Paris" made by B.K. (Adolphe Block) 1860s/1870s. (Anaglyph conversion)
In this view, it is obvious that all the figures are made of clay or plaster. The same face and pose of some of the dancers in the foreground.
Since the colouring of tissue views is only visible by illumination from the reverse (otherwise it looks like a normal b/w photograph), I have made a sandwich from a normal scan and a backlit photograph. Furthermore I had to crop the anaglyph because of non-matching areas.
Membres de la succursale de Waltham/Boston, Massachusetts en 1910. De gauche à droite, première rangée: Calixte Léger, Philippe Vienneau, Philippe Landry, Ferdinand Cormier, William Doucet.
Deuxième rangée: Philias M. Belliveau, Donat S. Cormier, Philias Belliveau, Axime LeBlanc.
Troisième rangée: Maurice Bourque, Clarence F. Cormier, Jean H. LeBlanc, Dominique Belliveau et Adolphe Cormier.
Members of the branch in Waltham/Boston, Massachusetts, in 1910 (left to right): First row: Calixte Léger, Philippe Vienneau, Philippe Landry, Ferdinand Cormier, William Doucet.
Second row: Philias M. Belliveau, Donat S. Cormier, Philias Belliveau, Axime LeBlanc.
Third row: Maurice Bourque, Clarence F. Cormier, Jean H. LeBlanc, Dominique Belliveau and Adolphe Cormier.
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Visit: www.thecanadianencyclopedia.ca/en/article/the-deportation...
From the canadian encyclopedia's website:
Soldiers rounding up terrified civilians, expelling them from their land, burning their homes and crops ‒ it sounds like a 20th century nightmare in one of the world's trouble spots, but it describes a scene from Canada's early history, the Deportation of the Acadians.
The Acadians had lived on Nova Scotia’s territory since the founding of Port-Royal in 1604. They established a small, vibrant colony around the Bay of Fundy, building dykes to tame the high tides and to irrigate the rich fields of hay. Largely ignored by France, the Acadians grew independent minded. With their friends and allies the Mi' kmaq, they felt secure, even when sovereignty over their land passed to Britain after 1713 (see Treaty of Utrecht).
In 1730 the British authorities persuaded the Acadians to swear, if not allegiance, at least neutrality in any conflict between Britain and France. But over the years the position of the Acadians in Nova Scotia became more and more precarious. France raised the stakes by building the great fortress of Louisbourg on Cape Breton Island. In 1749 the English countered this threat by establishing a naval base at Halifax. In 1751 the French built Fort Beauséjour on the Isthmus of Chignecto and the English responded with Fort Lawrence, a stone's throw away.
While previous British governors had been conciliatory towards the Acadians, Governor Charles Lawrence was prepared to take drastic action. He saw the Acadian question as a strictly military matter. After Fort Beauséjour fell to the English forces in June 1755, Lawrence noted that there were some 270 Acadian militia among the fort's inhabitants ‒ so much for their professed neutrality.
In meetings with Acadians in July 1755 in Halifax, Lawrence pressed the delegates to take an unqualified oath of allegiance to Britain. When they refused, he imprisoned them and gave the fateful order for deportation.
Lawrence had strong support in his Council from recent immigrants from New England, who coveted Acadian lands. Traders from Boston frequently expressed wonder that an "alien" people were allowed to possess such fine lands in a British colony. On Friday, September 5, 1755 Colonel John Winslow ordered that all males aged 10 years and up in the area were to gather in the Grand-Pré Church for an important message from His Excellency, Charles Lawrence, the Lieutenant-Governor of Nova Scotia. The decree that was read to the assembled and stated in part: "That your Land & Tennements, Cattle of all Kinds and Livestocks of all Sorts are forfeited to the Crown with all other your effects Savings your money and Household Goods, and you yourselves to be removed from this Province."
It was a New Englander, Charles Morris, who devised the plan to surround the Acadian churches on a Sunday morning, capture as many men as possible, breach the dykes and burn the houses and crops. When the men refused to go, the soldiers threatened their families with bayonets. They went reluctantly, praying, singing and crying. By the fall of 1755 some 1,100 Acadians were aboard transports for South Carolina, Georgia and Pennsylvania.
Lawrence urged his officers not to pay the least attention "to any remonstrance or Memorial from any of the inhabitants." When Colonel John Winslow read the deportation order, he admitted that although it was his duty, it was "very disagreeable to my nature, make and temper." In a phrase that would not be out of place in many more recent atrocities he added "But it is not my business to animadvert, but to obey such orders as I receive."
Some Acadians resisted, notably Joseph Beausoleil Brossard, who launched a number of retaliatory raids against the British troops. Many escaped to the forests, where the British continued to hunt them down for the next five years. A group of 1,500 fled for New France, others to Cape Breton and the upper reaches of the Peticoudiac River. Of some 3,100 Acadians deported after the fall of Louisbourg in 1758, an estimated 1,649 died by drowning or disease, a fatality rate of 53 per cent.
Between 1755 and 1763, approximately 10,000 Acadians were deported. They were shipped to many points around the Atlantic. Large numbers were landed in the English colonies, others in France or the Caribbean. Thousands died of disease or starvation in the squalid conditions on board ship. To make matters worse, the inhabitants of the English colonies, who had not been informed of the imminent arrival of disease-ridden refugees, were furious. Many Acadians were forced, like the legendary Evangeline of Longfellow's poem, to wander interminably in search of loved ones or a home.
Although the Acadians were not actually shipped to Louisiana by the British, many were attracted to the area by the familiarity of the language and remained to develop the culture now known as "Cajun."
Back in Nova Scotia, the vacated Acadian lands were soon occupied by settlers from New England. When the Acadians were finally allowed to return after 1764, they settled far from their old homes, in St Mary's Bay, Chéticamp, Cape Breton, Prince Edouard Island and the north and east of present-day New Brunswick.
The expulsion proved to have been as unnecessary on military grounds as it was later judged inhumane. Lawrence's lack of imagination played as big a part as greed, confusion, misunderstanding, and fear.
The migrations of the Acadians to a new Acadia continued into the 1820s. Throughout the ordeal they maintained their sense of identity, as indeed they do today ‒ a remarkable demonstration of human will in the face of cruelty. (From the Canadian encyclopedia's website)
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French postcard. Théâtre du Chatelet, Paris. Le Tour du Monde en 80 jours. 18th tableau. Le Naufrage. - Sur l'Epave - En vue de Liverpool.
Play by Adolphe and D'Ennery and Jules Verne, after Verne's eponymous novel, written in 1873-1874, and first performed 7 November 1874 at the Théâtre de la Porte-Saint-Martin in Paris. Despite the enormous investments, even a real elephant was involved, the play was a giant success. People were queuing around the block to see how one could travel the whole world in eighty days, and in the case of the play, within the time span of just a few hours. From 1874 to the start of WWII, the play was constantly restaged and with great success. The version of this card must date from the early 1900s, while he first staging at the Chatelet dates of 1887, where it remained a crowd-puller for years.
Maker:Adolphe Louis Donnadieu (1840–1911)
Born: France
Active: France
Medium: photocollographie par MM Thvoz et Cie
Size: 6 1/2" x 9 3/4"
Location:
Object No. 2016.645d
Shelf: B-40
Publication: A. L. Donnadieu - Traite Photographie Stereoscopique, Theorie et Pratique,Atlas, 1892, Pl XV
Other Collections:
Provenance:
Notes:
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German postcard by Verlag Hermann Leiser, Berlin,-Wilm, no. 1533. Photo: Terra-Film. Adolphe Engers in Der Liebescorridor / The Love Passage (Urban Gad, Emil Albes, 1921). Collection: Geoffrey Donaldson Institute.
Impressive Dutch actor Adolphe Engers (1884-1945) appeared in some 50 German and Dutch films in the 1920s and 1930s.
Adolphe Engers was born in 1884 in Gulpen, The Netherlands. Though in 1938 he celebrated his 30th year career on stage, the first mentions of his name in plays appear in Dutch newspapers in 1911-1912. Engers soon became an active actor in the companies of Willem Roijaards and Louis Chrispijn, the latter the future film director at the Hollandia film studios of Maurits Binger. He was also active in translating foreign plays for the Dutch stage, in particular those of Ferenc Molnar for the Hague based company of Cor van der Lugt Melsert. In 1917 Engers also published a tragedy on the life of Oscar Wilde. In 1918 Engers made his film debut in Holland with De Kroon der schande / The Crown of Shame (Maurits Binger, 1918) before appearing in the British-Dutch production Fate's Plaything / Wat eeuwig blijft (Maurits Binger, B.E. Doxat-Pratt, 1920) and the Dutch production De Bruut / The Brute (Theo Frenkel, 1922). Soon after The Crown of Shame however Engers moved to Germany to act in films there, probably starting with Madeleine (Siegfried Philippi, 1919) with Ria Jende. Already in his second German film, Der Liebescorridor / The Love Passage (Urban Gad, Emil Albes 1920), Engers had the male lead of the film, opposite Erika Glässner. In the 1920s, he became a very busy actor in Germany, often playing with fellow Dutch actors like Ernst Winar, who eventually would become a prolific filmmaker in Germany as well. Engers played in his German-Dutch coproduction De man op den achtergrond/Der Mann im Hintergrund / The Man in the Back (Ernst Winar, 1922). He was also highly successful with his leading role in the Flappy serial, three short films directed by Winar for the Berliner Terra Film AG. Engers also acted in films by other Dutch filmmakers residing in Berlin like Theo Frenkel and Jaap Speyer.
Adolphe Engers acted in well-known films of the Weimar era like Die Geliebte Roswolskys / The Lover of Roswolky (Felix Basch, 1921) starring Asta Nielsen, Sie und die Drei / She and the Three (Ewald André Dupont, 1922) starring Henny Porten, Der Frauenkönig / The King of the Ladies (Jaap Speyer, 1923), Friedrich Wilhelm Murnau’s delicious comedy Die Finanzen des Grossherzogs / Finances of the Grand Duke (1924), Auf Befehl der Pompadour / By Order of That Pompadour Woman (Friedrich Zelnik, 1924) and Elegantes Pack (Jaap Speyer, 1925). In the second part of the 1920s the impressive actor went on to appear in such films as Nick, der König der Chauffeure / Nick, King of the Drivers (Carl Wilhelm, 1925) with Carlo Aldini, Der Prinz und die Tänzerin / The Prince and the Dancer (Richard Eichberg, 1926) with Hans Albers, Die Fahrt ins Abenteuer / The Wooing of Eve (Max Mack, 1926) with Ossi Oswalda and Willy Fritsch, Gehetzte Frauen / Badgered Women (Richard Oswald, 1927) and Das gefährliche Alter / The Dangerous Age (Eugen Illés, 1927) both with Asta Nielsen, Die Königin seines Herzens / The Queen of His Heart (Victor Janson, 1928) with Liane Haid, Don Juan in der Mädchenschule / Don Juan in the Girls’ School (Reinhold Schünzel, 1928), Sündig und süss / Sinful and Sweet (Carl Lamac, 1929) with Anny Ondra, and Sensation im Wintergarten / Their Son (Joe May, Gennaro Righelli, 1929), Engers' last silent performance in Germany.
The sound film meant the end of Adolphe Engers film career in Germany. He returned to Holland where he first acted in a never finished project by Gerard Rutten, Finale, a black comedy in which Engers played a funeral carriage master. Only some rushes and one reel of edited shots survive. Engers then co-wrote and played the lead in the film Terra Nova / New Land (Gerard Rutten, 1932). This fisher drama was meant as the first Dutch sound film - Engers spoke the first words in a Dutch film: De dijk is dicht! [The dyke has closed!] - but disappeared completely after differences about the result between the director and the producer Willem/William Rienks of Electra Film (his nephew Piet also played the lead). In the following years Engers acted regularly in front of the camera, as in the musical Op stap / On the Road (Ernst Winar, 1935) with Fien de la Mar, De Big van het regiment (Max Nosseck, 1935), Op een avond in mei (Jaap Speyer, 1936), Veertig Jaren / Forty Years (Johan De Meester, Edmond T. Gréville, 1938) and De spooktrein / The Ghost Train (Carl Lamac, 1939). In the 1930s, he was also active as an author of stage plays and novels like 'Ardjoena - Indische roman' (1936). He also gave acting classes at the Conservatory of The Hague. In 1938 Engers celebrated his 30 years of his stage career, but as he was an openly gay man, not everybody wanted to be in the organising committee. In the beginning of World War II Engers was a member of the stage company De Komedianten, but the Nazis gave the half Jewish Engers a Berufsverbot. He went into hiding in a village near Eindhoven, helped by Alfred Mazure and Piet van der Ham. From there he secretly contributed to his last film Moord in het modehuis / Murder in the Fashion Store (Alfred Mazure, Piet van der Ham, 1943), a film version of Mazure’s popular detective comic 'Dick Bos'. The film would only be shown in 1946, after Engers' death. One of the reasons was that Mazure refused to make a Nazi of his hero. After the liberation Engers continued acting but was physically exhausted. In December 1945 Adolphe Engers died in The Hague. In 1991 suddenly a copy of Engers’ lost film Terra Nova (Gerard Rutten, 1932) was found. The Filmmuseum reconstructed the film and added a new score, based on the original music by Hans Brandts Buys, which was found at the Haags Gemeentemuseum, while the dialogue was spoken in by modern actors Gerard Thoolen (Engers) and Huub Stapel (Piet Rienks). The reconstructed version premiered in 1994.
Source: Thomas Staedeli (Cyranos), Filmtotaal.nl, Wikipedia, IMDb, Community Joods Monument.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Maker: Adolphe Braun from drawings by Jules Buisson
Born: France
Active: France
Medium: book
Size: 12 in x 10 in
Location:
Object No. 2020.215
Shelf: N-6
Publication: Adolphe Braun, Musée des Souverains: Reproductions Photographiques de Croquis Dessinés D'Après Nature A L'Assemblée Nationale, Adolphe Braun a Dornach, Paris, 1873
Other Collections:
Provenance: PBA Galleries, Sale 696, March 5, 2020, Rare Photography: Books & Images From the Robert Enteen Collection, Lot 26
Notes: With 202 photographs by Adolphe Braun mounted on boards reproducing caricatures of deputies of the French National Assembly made by Jules Buisson. leather-backed cloth-covered boards bordered in gilt, lettered in blind. stamped in blind on spines.
Compendium of most of the caricatures made by Buisson during his time in the Assembly. In the 1870s, Adolphe Braun specialized in the reproduction of works of art. Jules Buisson (1822-1909) was a painter of the Toulouse School. Adolphe Braun was a French photographer, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. One of the most influential French photographers of the 19th century, he used contemporary innovations in photographic reproduction to market his photographs worldwide.
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Tissue stereoview from the series "Les Théatres de Paris" made by B.K. (Adolphe Block) 1860s/1870s.
In this view, it is obvious that all the figures are made of clay or plaster. The same face and pose of some of the dancers in the foreground.
Since the colouring of tissue views is only visible by illumination from the reverse (otherwise it looks like a normal b/w photograph), I have made a sandwich from a normal scan and a backlit photograph.
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: albumen print
Size: 15 in x 18 7/8 in
Location: France
Object No. 2008.092
Shelf: F-7
Publication:
Other Collections:
Notes: Braun exhibited this photograph at the 11th Annual Exposition of the Societe Francaise de Photographie in in Paris in 1876. The Lion of Lucerne (modeled in 1819), carved inthe cliff at Lucerne in 1819-1821 by Lucas Ahorn, was the first of the commissions for monumental works that Thorvaldsen received from various European cities in these years. The colossal image of a dying lion commemorates the Swiss guards who remained faithful to Louis XVI and were massacred defending the Tuileries Palace against the Paris mob in 1792.
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Maker: Jean César Adolphe Neurdein dit "Charlet" (1806-1867) & Louis Charles Jacotin (1828-1896)
Born: France
Active: France
Medium: albumen print
Size: 2 1/4 in x 4 in
Location:
Object No. 2022.296a
Shelf: E-18-C
Publication:
Other Collections:
Provenance: 1 moment in time
Rank: 15
Notes: TBAL
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31st July 2011 at Regents Park, London.
The Saxophone was invented in 1841 by Adolphe Sax from the Belgium. It consists of a single reed mouthpiece and a conical metal tube, with keys which open and close by pressing buttons with the fingers.
The Baritone Saxophone is curved and has a lower pitch than most other members of the Saxophone family (there are Bass and Contrabass instruments with lower pitches, but these are much less common).
Saxophones are assigned the number 422.212 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
4 = Aerophones. Sound is primarily produced by vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes.
42 = Non-free aerophones. The vibrating air is contained within the instrument.
422 = Reed Instruments. The player's breath is directed against a lamella or pair of lamellae which periodically interrupt the airflow and cause the air to be set in motion.
422.2 = Single Reed Instruments or Clarinets. The pipe has a single 'reed' consisting of a percussion lamella
422.21 = Single Clarinets [as opposed to sets of Clarinets].
422.212 = With conical bore.
Maker: Philip Adolphe Klier
Born: Germany
Active: Burma
Medium: albumen print
Size: 2.25" x 4"
Location: Burma
Object No. 2013.264
Shelf: A-22
Publication:
Other Collections:
Notes: TBAL
For information about reproducing this image, visit: THE PHOTO HISTORY TIMELINE COLLECTION
Maker: André Adolphe Eugène Disderi (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 10 7/8 in × 8 9/16 in
Location: France
Object No. 2021.113i
Shelf: C-62
Publication: Mr. Disderi, Windsor Castle, Twenty-nine Photographic Views of the interior of WindsorCastle, Photographed by the Gracious Permission of Her Majesty The Queen, London, 1867
Other Collections: The Getty, Royal Collection Trust
Provenance:
Notes: André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Eder writes "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861, he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard."
(Source: Andrew. Cahan)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE>
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: carbon print
Size: 9.5" x 13"
Location: France
Object No. 2015.278
Shelf: L-12
Publication:
Other Collections:
Notes: Printed on mount, MUSEE DE VENISE,
MICHEL-ANGE, PARIS, 15 Rue Cadet, ADOLPHE BRAUN, PHOT,
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ANCIENNE BASE MILITAIRE À ST-ADOLPHE D’HOWARD
La base militaire canadienne du Lac-St-Denis fut en opération des années 1950 aux années 1980. Elle était situé à Saint-Adolphe-d'Howard, dans les Laurentides, au Québec, à une heure au nord-ouest de Montréal. Elle avait pour fonction de surveiller l'espace aérien du sud-ouest du Québec et du Nord-Est de l'Ontario.
Construite dans la foulé des constructions anti-communiste de la guerre froide, la base militaire du Lac-St-Denis était en étroite collaboration avec la Base Aérienne de la Macaza dans les Hautes-Laurentides. Celle de Saint-Adolphe-d'Howard, observait l'espace aérien, et la base de la Macaza devait intervenir à l'aide des chasseurs Canadiens. Plus de 1000 personnes y travaillaient.
Ce fut un grand moteur économique de la région. Sur le village militaire, on y trouvait des maisons de soldats, une hôpital, une épicerie, une salle de quilles ainsi qu'une salle de cinéma, à l'usage exclusive des membres des forces canadienne. Vers la fin de la guerre froide, vu l'amélioration technologique, NORAD et le gouvernement du Canada décidèrent donc de fermer cette base militaire, ce qui entraîna une certaine dégradation du secteur. Maintenant, le village pour les militaires est un lotissement résidentielle, et c'est à cet endroit que loge le Camp musical des Laurentides. Du radar et du centre d'analyse, il reste qu'une armature en béton, le tout avait été acheté afin d'un produire un spectacle équestre qui ne remporta pas le succès escompté. Ce site est à l'abandon depuis 2005.
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