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Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
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Maker: Louis-Adolph Humbert de Molard (1800-1874)
Born: France
Active: France
Medium: modern gelatin silver print
Size: 7" x 9 1/2"
Location:
Object No. 2016.936
Shelf: E-25
Publication:
Other Collections:
Provenance: Texbraun Galerie
Notes: Baron Louis Adolphe Humbert de Molard, born in Paris on October 30, 1800 and died on March 17, 1874, was a French pioneer of photography. From the beginning of the 1840s, Baron Humbert de Molard became interested in the first photographic techniques. He is one of those wealthy amateurs who were passionate about this emerging art. After the death of his first wife, he remarried in 1843 with Henriette Renée Patu, miniaturist designer and lithographer, who owned land in Lagny-sur-Marne. From 1843 to 1850, he produced a series of daguerreotypes but gradually favored the calotype technique , which he experimented with from 1844. He was partly trained by his friend Hippolyte Bayard . He used other techniques, such as albumen printing and wet collodion . He came into contact with Abel Niépce de Saint-Victor to try to improve certain processes and then became the defender of the development techniques promoted by Gustave Le Gray. His productions have remarkable pictorial qualities and reveal a great mastery of the technical stages (lighting, emulsion, development). He staged activities related to the peasant world, as well as several gender figures, helped by his steward and model named Louis Dodier. In 1854, he was a founding member of the Société française de photographie and sought to promote various techniques of development on paper from negatives and resigned in 1864 for health reasons. He published his research between 1851 and 1866 in the journal La Lumière, which was for a time the bulletin of the Société héliographique de Paris. (Source: Wikipedia)
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Steel engraving from History of the French Revolution by Adolphe Thiers 1845.
From Thier’s Historical Works Series. Translated from the German by Thomas Redhead.
Published by A.Fullerton, London, Edinburgh & Dublin. Four volumes,. half leather binding, this volume 790 pages 26cm x 17.5cm.
Peony 'Adolphe Rousseau' 23W24 Lactiflora F2- (Dessert & Mechin, 1890) (3-DB-RD) Lactiflora Cultivar Peony, Mature plant size: 36in., RED, Tall Height, Double, Red shaded maroon, early midseason bloomer, USDA Hardiness Zone 3-8, Michigan Bloom Week ISO WW22, In Garden Bed F2 for 4.1 YEARS (Wild). Planted in 2019.
APS Registration: ADOLPHE ROUSSEAU (Dessert & Mechin, 1890) - Double - Red - Early - Midseason. Tall. Moderate fragrance, but disagreeable. Dark, lustrous red shaded maroon, showing yellow stamens and light red stigmas in center; odor somewhat disagreeable. Tall; floriferous; stems very strong. Foliage dark, tinged red.
Bloomed in 2021, not true to name. 2022: no buds.
Photo by F.D.Richards, SE Michigan. Link to additional photos of this plant from 2019, 21, 23:
www.flickr.com/search/?user_id=50697352%40N00&sort=da...
#Michigan, #49236, #usdaZone6, , #week4, #Perennial, #Double, #Heirloom, #Red, #Peony, #NOID, #AdolpheRousseau, #23W24
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Installation des étudiants du lycée Chérioux - Rue du Général Renault (Paris 11e) - Crédits Chérioux, lycée des métiers de l'habitat et de l'aménagement urbain
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Timother ADOLPHE, Guide Jeffrey JOHN, FRA, Athletisme, 100m - T11 à Rio 2016 Paralympic Games, Brazil
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Installation des étudiants du lycée Chérioux - Rue du Général Renault (Paris 11e) - Crédits Chérioux, lycée des métiers de l'habitat et de l'aménagement urbain
Original = Adolphe William Bouguereau
Parure des champs, The jewel of the fields, 1884
Óleo sobre lienzo, 163 x 90 cm
Musée des Beaux-Arts, Montreal, Canada
Catalog #: 09_01021
Title: Adolphe Heri DuBois Special Collection Photo
Additional Information: Four unidentified military ships at sea, Adolphe Heri DuBois served during World War I,
Tags: Adolphe Heri DuBois Special Collection Photo
Repository: San Diego Air and Space Museum Archive
PEGOUD nous a appris à voler !
Je tiens à crier bien haut
que sans lui la guerre aérienne
était impossible
Il convient de rappeler
tout ce que nous lui devons
et quelle fut sa part dans la victoire
journal 26 avril 1919
Jules Védrines aviateur
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Les Bretonnes au Pardon
Pascal-Adolphe-Jean Dagnan-Bouveret (1852-1929)
France, 1887
Oil on canvas
In the late 1880s, naturalism reached the height of its popularity. The interest surrounding themes associated with the detailed depiction of the rural world explains the enormous success achieved by this objective composition at the 1889 Salon, where it received an award.
An ethnographic representation of pious customs, the painting evokes the ceremony of the Pardon, an indulgence granted by the Church to the faithful, and serves as a pretext for casting an analytical gaze at a world struggling to resist the changes of the end of the century. At the time, Brittany was the focus of particular attention from artists working in various movements and one of the most stimulating counterpoints to this painting was created by Gauguin.
Photographs taken by Dagnan-Bouveret in Rumengol and successive attempts at creating portraits of isolated models contributed to the end result of the painting. The final work, brought together by the painter in his studio, is therefore the result of a considerable amount of prior effort and a complex process of scenic arrangement.
Museu Calouste Gulbenkian ● Calouste Gulbenkian Museum
Lisbon, Portugal
20171112_083041
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Timothee Adolphe of France in the men's 400m T11
2021.06.03 World Para Athletics European Championships Bydgoszcz 2021
Photo Adrian Stykowski
PRODUCT
Coffee
The Barbecues, Middleton Coffee Plantation area, St. Andrew, Jamaica, circa 1907
Image from the National Library of Jamaica Photograph Collection. Permission to reproduce this image must be obtained from the National Library of Jamaica
This image is a Duperly photograph presented by Norman Barham 19 July 1967.
Further information - Coffee
COFFEE (Coffee arabica)
Coffee, which originated in the highlands of Ethiopia, was introduced into Jamaica in 1728 by Sir Nicholas Lawes, a former governor who planted it at his Temple Estate in St. Andrew. Jamaica’s coffee production is low by world standards (approximately 2.72 million kg) but it ranks high internationally in quality and flavor especially that grown on the slopes of the Blue Mountains which commands a high price on the world market. Coffee labeled “Blue Mountain” has to be grown within a 16km radius of the Peak. The other generic category of coffee is Jamaica Prime, grown on the mountains of the central parishes but outside the Blue Mountain range. Most of Jamaica’s coffee is exported and cheaper varieties imported and blended for local consumption. Japan is Jamaica’s best market for unroasted coffee and the Japanese are involved with the expansion of the industry. The Coffee Industry Board established by the government in 1950, is the centralized facility for processing and quality control.
Coffee berries which contain the coffee bean, are produced by several species of small evergreen bush of the genus ‘Coffea’. The two most commonly grown species are ‘Coffea canephora’ (also known as ‘Coffee robusta’ and ‘Coffee arabica’ (which is the type grown in Jamaica). Once ripe, coffee berries are picked, processed and dried. The seeds are then roasted, undergoing several physical and chemical changes. They are roasted to varying degrees, depending on the desired flavor. They are then ground and brewed to create coffee [drink]
Jamaican Blue Mountain Coffee is a classification of coffee grown in the Blue Mountains of Jamaica. The best lots of Blue Mountain coffee are noted for their mild flavor and lack of bitterness. Over the last several decades, this coffee has developed a reputation that has made it one of the most expensive and sought-after coffees in the world. In addition to its use for brewed coffee, the beans are the flavor base of Tia Maria coffee liqueur.
Sources
Duperly, Adolphe, Adolphe Duperly “Daguerian Excursion in Jamaica" (1844)
Senior, Olive, Encyclopedia of Jamaican Heritage. St. Andrew, Jamaica: Twin Guinep Publishers Ltd., 2003
Master of Città di Castello
Crucifixion with the Virgin and Saint John the Evangelist
tempera on panel, gold ground, with a shaped top
Provenance
Florence art trade;
Where acquired in the 1920s by Adolphe Stoclet (1871-1949), Brussels (as Ugolino Lorenzetti);
By inheritance to Philippe R. Stoclet;
By whom sold, London, Sotheby’s, 24 March 1965, lot 9, where acquired by Agnew’s for £16,000 (as Duccio di Buoninsegna);
With Thos. Agnews & Sons, Ltd., London;
From whom acquired by the present owner.
Literature
R. Van Marle, ‘Dipinti sconosciuti della scuola di Duccio’, in Rassegna d’arte senese, XIX, 1926, p. 4 (as Ugolino Lorenzetti);
C.H. Weigelt, Sienese Painting of the Trecento, Florence 1930, p. 70, under note 28 (as fairly near to Duccio’s workshop);
B. Berenson, Italian Pictures of the Renaissance, Oxford 1932, p. 294, (as an early work by Ugolino Lorenzetti);
C. Brandi, Duccio, Florence 1951, pp. 154-55, as (Ugolino Lorenzetti);
E. Carli, Dipinti senesi del contado e della Maremma, Milan 1955, pp. 57-58;
J. H. Stubblebine, Duccio di Buoninsegna and His School, Princeton 1979, vol. I, p. 176, reproduced vol. II, fig, 434 (as Polyptych 39 Master, a follower of Ugolino di Nerio, after the Madonna and Child inv. no. 39 in the Siena Museum; with erroneous provenance of a further sale at Sotheby’s 11 June 1965);
L. Kanter, “Ugolino di Nerio; Saint Anne and the Virgin”, in National Gallery of Canada Bulletin, 5, 1981-82, pp. 9-28 (as Ugolino di Nerio, the pinnacle to the Madonna and Child in the Museum of Fine Art, Boston, inv. no. 16.65);
L. Kanter, Italian Paintings in the Museum of Fine Arts, vol. 1, Boston 1994, p. 80 (as the pinnacle to a painting in the Museo dell’Opera del Duomo, Siena also by the Master of Città di Castello);
G. Mazzoni, Quadri antichi del Novecento, Vicenza 2001, pp. 104 - 106, reproduced p. 449, figs. 223 and 224 (as Follower of Duccio);
A. Bagnoli in Duccio, Alle origini della pittura senese, exhibition catalogue, Milan 2003, p. 292, under cat. no. 41.
Catalogue Note
This pinnacle panel is an extremely rare work by the so-called "Master of Città di Castello," one of the two most important painters active in Siena in the immediate wake of Duccio di Buoninsegna. An initial reconstruction of his oeuvre began in 1908, when Frederick Mason Perkins noted a physiognomic correlation between three Madonnas: that in the central panel of a polyptych now in the Pinacoteca Nazionale, Siena (inv. no. 33); the Madonna and Child in the Museo dell'Opera del Duomo, Siena; and the eponymous Madonna and Child Enthroned in the Pinacoteca Comunale, Città di Castello (inv. no. 3).1 The group of works attributed to this master grew to approximately seventeen pictures over the 20th century, though there remained much confusion as to their chronology, with some scholars believing his activity to have begun as early as the 1280s, while others dated his works to as late as the 1330s.2
It seems most credible, as Bagnoli argues, that the artist was active between the last years of the 13th century and the first two decades of the 14th century.3 This painting was first correctly attributed in 1988 by Laurence Kanter (see Literature) who believes it to be the pinnacle of a painting by the Master of Città di Castello in the Museo dell'Opera del Duomo, Siena (fig. 1); the hypothesis however is yet to be tested by a firsthand examination.
The Master of Città di Castello was primarily influenced by Duccio; in fact his eponymous polyptych is believed to follow a now lost composition by that master, painted in 1302, for the Nove chapel in the Palazzo Pubblico, Siena.4 When the present painting was offered at Sotheby's London as Duccio in 1965 (see Provenance), the untreated area at the bottom of the panel (where it would have attached to a larger panel as its pinnacle) had been filled in and the folds of the Madonna's robe had been distinctively outlined with gilding in order to give the work a more "Duccesque" appearance. Despite his references to Duccio, however, the superb Master of Città di Castello was no mere derivative follower, but was a developed and individual painter who adhered to Byzantine and Sienese Gothic traditions whilst simultaneously displaying a profound knowledge of Giotto di Bondone's progressive style of painting.
The figure types in this painting are most closely related to those in the painted cross from the church of Madonna delle Grazie a Montecerboli in Pomerance (see A. Bagnoli under Literature, op. cit., cat. no. 41, reproduced p. 291). The figure of Christ is remarkably similar in both paintings, as the artist masterfully represents the weight of his body suspended from the cross through the tension of his musculature.5 The stance of the two lateral figures, and their placement marginally in front of the cross, create a convincing illusion of depth against the otherwise stark backdrop. As in the Montecerboli cross, the Master depicts the Madonna and Saint John the Evangelist with extraordinary expressivity, and the detail of Saint John’s clasped fingers and brow, knitted in anguish, evokes profound emotion and pathos.
1. For the Madonna in the Museo dell'Opera del Duomo see A. Bagnoli under Literature, op. cit., p. 296 - 298, cat. no. 42, reproduced; this paintnig forms the central panel of a polyptych, the flanking panels of which are now in the Pinacoteca Nazionale, Siena (inv. nos. 29, 30, 31 and 32).
2. For a full list of works attributed to the Master of Città di Castello see A. Bagnoli under Literat ure, op. cit., p. 288.
3. Ibid.
4. C. Brandi, Duccio, Florence 1951, pp. 141 - 142.
5. A. Bagnoli, op. cit., p. 289.
This Manchester businessman, travelling on the Titanic with a selection of perfumes, is buried in Hoop Lane Jewish Cemetery, Golders Green.
Maker: Louis-Adolph Humbert de Molard (1800-1874)
Born: France
Active: France
Medium: modern gelatin silver print
Size: 7" x 9 1/2"
Location:
Object No. 2016.889
Shelf: E-25
Publication: Andre Jammes and Eugenia Parry Janis, The Art of the French Calotype, Princeton University Press, Princeton, 1983, pg 192
Raymond Lecuyer, Histoire de la Photographie, Baschet et Cie, Paris, 1945, pg 67
Bossert et Guttmann, Les Premiers Temps de la Photographie 1840-1870, Flammarion, Paris, 1930, fig 192
Other Collections: SFP
Provenance: Texbraun Galerie
Notes: Baron Louis Adolphe Humbert de Molard, born in Paris on October 30, 1800 and died on March 17, 1874, was a French pioneer of photography. From the beginning of the 1840s, Baron Humbert de Molard became interested in the first photographic techniques. He is one of those wealthy amateurs who were passionate about this emerging art. After the death of his first wife, he remarried in 1843 with Henriette Renée Patu, miniaturist designer and lithographer, who owned land in Lagny-sur-Marne. From 1843 to 1850, he produced a series of daguerreotypes but gradually favored the calotype technique , which he experimented with from 1844. He was partly trained by his friend Hippolyte Bayard . He used other techniques, such as albumen printing and wet collodion . He came into contact with Abel Niépce de Saint-Victor to try to improve certain processes and then became the defender of the development techniques promoted by Gustave Le Gray. His productions have remarkable pictorial qualities and reveal a great mastery of the technical stages (lighting, emulsion, development). He staged activities related to the peasant world, as well as several gender figures, helped by his steward and model named Louis Dodier. In 1854, he was a founding member of the Société française de photographie and sought to promote various techniques of development on paper from negatives and resigned in 1864 for health reasons. He published his research between 1851 and 1866 in the journal La Lumière, which was for a time the bulletin of the Société héliographique de Paris. (Source: Wikipedia)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Catalog #: 09_00993
Title: Adolphe Heri DuBois Special Collection Photo
Additional Information: Four unidentified men in military uniform, Adolphe Heri DuBois served during World War I,
Tags: Adolphe Heri DuBois Special Collection Photo
Repository: San Diego Air and Space Museum Archive
Adolphe - Charles Adam
Giselle
direttore: Barry Francisco Pérez
coreografia: Mats Ek
scene e costumi: Marie Luise Ekman
luci: Jorgen Janson
direttore del Corpo di Ballo: Giuseppe Carbone
Adolphe W. Blondheim
Born: Baltimore, Maryland 1888
Died: Baltimore, Maryland 1969
lithograph with tint stone on paper
image: 9 3/4 x 11 1/2 in. (24.8 x 29.3 cm)
Smithsonian American Art Museum
Transfer from the Internal Revenue Service through the General Services Administration
1962.8.69
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