View allAll Photos Tagged Adolphe
Maker: Adolphe Braun (French, 1812 - 1877)
Title: Suisse et Savoie, Au Appareil Panoramique Breveté de Johnson Brandon & Braun (Switzerland and Savoy, From the Panoramic Camera of Johnson Brandon & Braun)
Date: 1860's
Medium: Albumen print on card
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
River and State was commissioned by the ICOA Chamber Orchestra, Daniel Feng, Conductor, as part of their New World/New Music series. The piece is in honor of the 125th anniversary of Antonin Dvorak's 9th Symphony, From the New World, and was premiered at the Bohemian National Hall in NYC. The accompanying composition is Dvorshock by Bruce Adolphe - also commissioned by the ICOA. The premiere of River and State featured a live performer, Laura King-Pazuchowski, on stage with the orchestra, interacting with the VR environment we developed. This video was captured from within the VR environment used during the performance. The music is a live recording of Dvorshock.
Our concept for this virtual cinema performance is about the promise of a new world, its unlimited potentials, personal freedoms and inevitable progress, and how technology has always played a role in these fantasies.
Our performer, Laura King-Pazuchowski traversed the membrane of our shared environment of lived experience and the fantasy of virtual, illimitable, dream-space.
The VR environment features renderings of Lower Manhattan, Inwood Hill Park, Ellis Island, and an amalgam of different Subway stations. The piece is also inspired by observing flash floods on certain Manhattan streets built above drained streams. whose resulting chaos suggest the transposed, consistent presence of foundational forces occluded by the trappings of contemporary material culture.
The Tulips are a reference to the Tulip tree of Inwood Hill Park where the initial meeting, and subsequent purchase of Manhattan from the Native population occurred. The tree died in the 1933. The sculpture of the Tulips encountered during the capsule scene is a rendering of a currently infamous Jeff Koons sculpture that has a connection to the Statue of Liberty.
The metronome seen at the beginning on the shore returns in the final scene as a monument sized rendering of Man Ray's "Indestructible Object". The character in front of the metronome in the final scene is a rendering of the performance artist.
video and additional information on mayarouvelle.com
It's a rainy day.
Rue Adolphe Jullien is a street in the 1 st arrondissement of Paris. The street was opened in 1886 by the City of Paris, to serve as access to trading. It is named after Adolphe Jullien (1803-1873), engineer, director of the Compagnie des Chemins de fer de l'Ouest, a leading proponent of railways in France.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Organized by the LVI on February 24, 2014 to protest the lack of cycling infrastructure on the Adolphe Bridge
Organized by the LVI on February 24, 2014 to protest the lack of cycling infrastructure on the Adolphe Bridge
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 2 1/16 in x 3 3/8 in
Location: France
Object No. 2024.1134v
Shelf: J-5.5
Publication:
Other Collections:
Provenance: Catawiki
Rank:
Notes: According to McCauley Galerie des contemporains could either be purchased in volumes of 25 biographies or assembled by subscribers. Disdéri reached an agreement with the editor Zacharias Dollingen in which Dollingen hired journalists to provide the biographical notices which would accompany Disdéri's photographs.
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 themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 2 1/16 in x 3 3/8 in
Location: France
Object No. 2024.1134ae
Shelf: J-5.5
Publication:
Other Collections:
Provenance: Catawiki
Rank:
Notes: According to McCauley Galerie des contemporains could either be purchased in volumes of 25 biographies or assembled by subscribers. Disdéri reached an agreement with the editor Zacharias Dollingen in which Dollingen hired journalists to provide the biographical notices which would accompany Disdéri's photographs.
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 themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Paeonia 'Adolphe Rousseau', 2019 photo, Common Name: (3-DB-RD) lactiflora cultivar Peony, Size: 36", Tall Height, Double, Red shaded maroon, early midseason bloomer, Breeder: (Dessert & Mechin, 1890), USDA Hardiness Zone 4, Michigan Bloom Month 6a, In Garden Bed N2.08.1 for 0 DAYS (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.
#Paeonia #Peony
The SS Adolphe ran aground in Newcastle harbour in 1904. The Stockton breakwall later incorporated it in its construction.
Architect - Adolphe Staatje Date - 1933
fr.wikipedia.org/wiki/Adolphe_Staatje
Not sure how reliable this info is as there is no source reference for it on the wikipedia page
Organized by the LVI on February 24, 2014 to protest the lack of cycling infrastructure on the Adolphe Bridge
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Adolphe-William Bouguereau. Nymphs and Satyr. 1873. sterling and Francine Clark Art Institute. Williamstown. Massachusetts.
SIMILI VERRE. BK. Vues d'Italie. Rome. Salle du Trône. 1900
Dernier sursaut de B.K, Adolphe Block pour les intimes, avec cette collection de simili verre.
Certains photographes travaillant déjà sur pellicules, B.K ne trouva qu’en Allemagne un fabricant pour son simili verre. (le sigle D.R.G.M. allemand et signifiant "Deutsches Reichs-Gebrauchsmuster" ,soit "protection de modèle d'utilité" et a été utilisé en Allemagne sous cette désignation de 1891 à 1945.)
La gélatine visionnée à l’œil reste bien souvent très foncé, seul un éclairage ni trop fort ni trop doux vous permettra de réellement voir l’image. D’un ton dur sans échelle de gris et un noir omniprésent pour bloquer la lumière, une mise en couleur minimaliste et une gélatine gondolant qui finalement se révélera bien plus fragile que le verre aux traces de doigts et poussières, rien qui ne pouvait attirer le public…
En gagnant sur plusieurs couches de papier, ce procédé probablement moins cher a fabriqué fut un échec commercial.
On en trouve très peu sur le marché, n'attirant personnes encore aujourd’hui !
Adolphe Block mourra le 21 mars 1903, son fils et sa femme reprenant l’entreprise quelques années.
Block bâtard de naissance, montera tous les échelons pour être assurément le premier distributeur de stéréos en France et à l’étranger. Avec certains accrocs à l’anthologie des droits d’auteurs, certes... Photographe Éditeur, B.K aura quand même à sa manière fait progresser la photographie durant son activité.
B.K., known to his friends as Adolphe Block, made one last attempt with this collection of imitation glass.
As some photographers were already working with film, B.K. could only find a manufacturer for his imitation glass in Germany. (The German acronym D.R.G.M. stands for “Deutsches Reichs-Gebrauchsmuster,” meaning “utility model protection,” and was used in Germany under this designation from 1891 to 1945.)
Gelatin viewed with the naked eye often remains very dark; only lighting that is neither too strong nor too soft will allow you to really see the image. With a harsh tone without a gray scale and omnipresent black to block the light, minimalist coloring, and warped gelatin that ultimately proved to be much more fragile than glass with fingerprints and dust, there was nothing to attract the public...
By saving on several layers of paper, this probably cheaper process was a commercial failure.
Very few examples can be found on the market, and even today they still fail to attract buyers!
Adolphe Block died on March 21, 1903, and his son and wife took over the business for a few years.
Block, who was illegitimate at birth, rose through the ranks to become the leading distributor of stereos in France and abroad. Admittedly, there were a few hiccups with copyright law... As a photographer and publisher, B.K. nevertheless advanced photography in his own way during his career.
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