View allAll Photos Tagged Adolphe
Antoine-Joseph Sax, bekend als Adolphe Sax, was een Belgische bouwer van muziekinstrumenten. Zijn grootste bekendheid heeft hij te danken aan zijn uitvinding van de saxofoon.
Geboren: 6 november 1814, Dinant, België
Antoine-Joseph "Adolphe" Sax (Dinant 6 November 1814 – 7 February 1894) was a Belgian inventor and musician who invented the saxophone in the early 1840s, patenting it in 1846. He also invented the saxotromba, saxhorn and saxtuba, and redesigned the bass clarinet in a fashion still used to the present day. He played the flute and clarinet.
Die Adolphe-Brücke im Zentrum der Stadt Luxemburg wurde 1900-1903 errichtet. Sie galt zu dieser Zeit als größte Steinbogenbrücke der Welt. Der große Doppelbogen hat eine Spannweite 85 Metern. -
The Adolphe-Bridge was built between 1900 and 1903 in the center of Luxembourg City. It was considered the largest double arch bridge in the world at the time. The large double arch has a wingspan of 85 meters.
Nîmes (Gard) - Musée des Beaux-Arts - "Lyssia" (Alfred-Adolphe-Edouard Lepere, 1827-1904).
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Marbre, 1858.
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fr.wikipedia.org/wiki/Mus%C3%A9e_des_beaux-arts_de_N%C3%A...
Taking a break from shaking over the cobbles on Beamish Museum town street is an 1885-built Clément tricycle, ungainly but typical of the sort that became very popular with Victorians.
This one has been fully restored and is now part of the museum's extensive cycle collection. It currently comes complete with it's impeccably dressed "Victorian" cyclist!
Clément Cycles was a French bicycle manufacturer that was founded in 1876 by the industrial entrepreneur Adolphe Clément. By 1890 Clément was the leading cycle brand in France. In 1896 the company merged into a major bicycle manufacturing conglomerate of Clement, Gladiator & Humber & Co Limited.
Copyright © 2023 Terry Pinnegar Photography. All Rights Reserved. THIS IMAGE IS NOT TO BE USED WITHOUT MY EXPRESS PERMISSION!
Adolphe Bridge (Luxembourgish: Adolphe-Bréck) is an arch bridge in Luxembourg City, in southern Luxembourg. The bridge takes road traffic across the Pétrusse, connecting Boulevard Royal, in Ville Haute, to Avenue de la Liberté.
Le pont Adolphe franchit la Pétrusse dans la capitale du Grand-Duché de Luxembourg entre le boulevard Royal et l'avenue de la Liberté.
Mont Blanc - I satelliti:
Gran Cpucin 3838 m. - Roi du Siam 3632 m. - Pic Adolphe Rey 3536 m. - Pyramid du Tacul 3468 m.
À la fin du XVIIIe siècle, sous le régime révolutionnaire français, l’église gothique de la fin du Moyen Âge qui avait remplacé l'église primitive est rasée. À son emplacement, la Ville de Bruxelles aménage une place publique au centre de laquelle est installée une fontaine, surmontée d’un obélisque datant de 1767, récupérée de la cour de l’abbaye de Grimbergen.
Œuvre de l’architecte Adolphe Vanderheggen, le bâtiment est inauguré en 1882. Le bâtiment de style néorenaissance flamande est un remarquable exemple architectural de la conception de halles. L’intérieur, qui inclut l’ancienne fontaine, comportait quatre rangées de doubles étals de pierre bleue. La structure de l’édifice est métallique.
Malgré un classement du bâtiment en 1987 et plusieurs tentatives de réaffectation commerciales ou culturelles sans lendemain, il faut plus de vingt ans pour que les halles bénéficient d’une réhabilitation définitive.
Depuis 1999 les Halles Saint-Géry sont occupées par un centre d’information consacré au patrimoine bruxellois et à la qualité de vie de ses habitants. De nombreuses expositions et différents évènements y sont organisés.
Le quartier Saint-Géry revitalisé, est aujourd’hui un des endroits de la capitale où le nombre de tables en terrasse au mètre carré est le plus élevé. L'ambiance détendue du quartier en fait un des lieux les plus fréquentés et les plus agréables de la capitale.
At the end of the eighteenth century, under the French revolutionary regime, the Gothic church of the late Middle Ages that had replaced the original church was razed. At the location, the City of Brussels landscape a public square in the center of which is installed a fountain topped by an obelisk dating from 1767, recovered from the courtyard of the Abbey of Grimbergen. Designed by architect Adolf Vanderheggen, the building was inaugurated in 1882. The Flemish Renaissance Revival style building is a remarkable architectural example of the design of halls. The interior, which includes the old fountain had four rows of double stalls blue stone. The structure of the building is metal.
Despite a ranking of the building in 1987 and several commercial or cultural reassignment attempts without a future, more than twenty years it takes for the halls have a final rehabilitation. Since 1999 the Halles Saint-Gery is occupied by a dedicated information center in Brussels heritage and quality of life of its inhabitants. Many exhibitions and various events are organized. The Saint-Gery neighborhood revitalized, today is one of the places in the capital where the number of square meter terrace tables is highest. The relaxed atmosphere of the neighborhood makes it one of the busiest places and the most pleasant of the capital.
This 1916 Monument to Faith on the Place d’Armes near the Château Frontenac was designed by Rev. Adolphe Garneau. The architect was David Ouellet. No mention of a sculptor.
The bronze was poured in France.
Le monument-fontaine de style néogothique commémore les 300 ans de l’établissement de la foi chrétienne au Canada, avec l’arrivée des missionnaires récollets en 1615. La statue personnifie la Foi tenant une croix ainsi qu’une palme, récompense divine.
HAPPY EASTER
The Flagellation of Our Lord Jesus Christ (1880)
Painting by William-Adolphe Bouguereau (1825-1905)
HDR by Me
Image & Notice of Use from: commons.wikimedia.org/wiki/File:William-Adolphe_Bouguerea...
_-_The_Flagellation_of_Our_Lord_Jesus_Christ_(1880).jpg){kind=link}
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John 20:14-18
"They have taken my Lord away," she said, "and I don't know where they have put him." At this, she turned around and saw Jesus standing there, but she did not realize that it was Jesus.
"Woman," he said, "why are you crying? Who is it you are looking for?"
Thinking he was the gardener, she said, "Sir, if you have carried him away, tell me where you have put him, and I will get him."
Jesus said to her, "Mary."
She turned toward him and cried out in Aramaic, "Rabboni!" (which means Teacher).
Jesus said, "Do not hold on to me, for I have not yet returned to the Father. Go instead to my brothers and tell them, 'I am returning to my Father and your Father, to my God and your God.' "
Mary Magdalene went to the disciples with the news: "I have seen the Lord!" And she told them that he had said these things to her.
Wright Archive collection
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Carte de Visite photograph of a young woman, late 1800s.
Photograph by James Frederick Lowrie who traded under the name of F Valery and operated a studio in The Parade, Beckenham, England. Lowrie was born in 1853 and died in his other studio at Victoria Chambers, High Street, Bromley, in May 1906 from a heart attack.
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The carte de visite, (visiting card), abbreviated CdV or CDV, was a type of small photograph which was patented in Paris, France by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. It was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm (2.125 in) × 89 mm (3.5 in) mounted on a card sized 64 mm (2.5 in) × 100 mm (4 in). In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format. This made the format an overnight success. The new invention was so popular it was known as "cardomania" and it spread throughout Europe and then quickly to America and the rest of the world.
Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.
By the early 1870s, cartes de visite were supplanted by "cabinet cards," which were also usually albumen prints, but larger, mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in). Cabinet cards remained popular into the early 20th century, when Kodak introduced the Brownie camera and home snapshot photography became a mass phenomenon.
Source Wikipedia: en.wikipedia.org/wiki/Carte_de_visite
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Maker: Adolphe Block (1829-1903)
Born: France
Active: France
Medium: albumen print
Size: 3 1/2 in x 7 in
Location: France
Object No. 2022.518
Shelf: E-14-B
Publication:
Other Collections:
Notes: Adolphe Block (1829-1903) was a noted photographer who became a prolific publisher of stereoviews, especially "tissues" which were albumen photographs printed on thin paper backed by another thin sheet containing spots of color. When backlit, the dull albumen print becomes a colorful image. Nos Mondaines were tissue views of women in provocative poses, though usually full clothed.
French tissue stereocard techniques were developed by J.L. Tardieu in 1853. Tissue stereocards consist of a print on translucent paper mounted on a card cut to frame the print and often with a tissue added . The image could be tinted and the tint visible when lit from behind as a transparency. The tissue format of stereocards were available commercially by 1855. The largest amount of tissue stereocards were produced between 1858 and 1875. Many tissue stereocard producers are still unidentified. Many are marked only by initials such as these which are marked B.K. Photos and J.M.
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This is my first Red Camellia this year (2022) and the rains really beat it up but I think it is so nice to have a bit of color...
Valette was a French artist who came to Manchester in 1904. He is famous for his impressionistic paintings of the city. This shot was taken from a window in a room in the Manchester Art Gallery which currently houses an exhibition of Valette's work.
Vladimir Lenin's car, modified by Adolphe Kegresse in 1922.
On display in Gorky Museum, Russia.
Beautiful chrome silver coating by Chrome Block City:
www.bricklink.com/store.asp?p=Aurimax
Thank You Auri !
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith
…Despite the traditional hoarse voice, rough appearance, and quarrelsome tone, cab-drivers are as a rule reliable and honest men, who can boast of having fought the battle of life in an earnest, persevering, and creditable manner. Let me take, for instance, the career, as related by himself, of the cab-driver who furnishes the subject of the accompanying illustration. He began life in the humble capacity of pot-boy in his uncle's public-house, but abandoned this opening in consequence of a dispute, and ultimately obtained an engagement as conductor from the Metropolitan Tramway Company. In this employment the primary education he had enjoyed while young served him to good purpose, and he was soon promoted to the post of time-keeper. After some two years' careful saving he collected sufficient money to buy a horse, hire a cab, and obtain his licence…
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