View allAll Photos Tagged Adolphe
Maker: Adolphe Godard (1817-1883)
Born: France
Active: Italy/France
Medium: salted paper print from a wet collodion negative
Size: 6 3/4 in x 9 in
Location:
Object No. 2021.269
Shelf: B-15
Publication:
Other Collections:
Provenance: Robert Hershkowitz, Gary Edwards Gallery, 2021
Rank: 750
Notes: Adolphe Godard (1817-1883) was born in Bernay and began photographing in the French Pyrenees in the mid-1850s. The first landscape photographer to work in Isère, he also took views of Grenoble and Uriage. He became a member of the Société Française de Photographie in 1854. He opened a studio in Genoa in 1856, deposited a series of views of Genoa and Pisa at the Bibliothèque Nationale of Paris in 1857, and exhibited at the 1861 exhibition of the Société Française de Photographie . He produced large format views, stereoscopic views and carte d’vistes of Italian cities including Genoa, Pisa, Rome and Naples, some published with an editorial label "I travel to Italy". In 1862 he was commissioned to document the zinc and lead mines of Monteponi. Between 1860 and 1866 he worked in partnership with the Genoese photographer Giovanni Battista Caorsi (1829- 1900) and continued activity in Genoa as the Etablissement Photographique Adolphe Godard until 1871. By 1880 Godard was living in Aix-en-Provence.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Willian-Adolphe Bouguereau
French
Jeune Bergère, 1868
oil on canvas
Bouguereau was intensely collected by Americans of the Gilded Age and he is part of many American Museum collections. At one time looked down by the Art Mafia he has gained new respect among the public.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith
"Recruiting in London is almost exclusively circumscribed to the district stretching between the St. George's Barracks, Trafalgar Square, and Westminster Abbey. Throughout London it is known that all information concerning service in the army can be obtained in this quarter, and intending recruits troop down to this neighbourhood in shoals, converging, as the culminating point of their peregrinations, towards the celebrated public-house at the corner of King Street and Bridge Street. It is under the inappropriate and pacific sign-board of the 'Mitre and Dove' that veteran men of war meet and cajole young aspirants to military honours. Here may be seen
every day representatives of our picked regiments.
[...]
The most prominent figure in the accompanying photograph, standing with his back to the Abbey, and nearest to the kerb stone, is that of Sergeant Ison, who is always looked upon with more than ordinary curiosity as the representative of the 6th Dragoon Guards, or Carbineers – a regiment which of late has been chiefly distinguished for having included in its ranks no less a person than Sir 'Roger Tichborne himself! To the Carbineer's right we have the representatives of two heavy regiments, Sergeant Titswell, of the 5th Dragoon Guards, and Sergeant 'Badcock, of the 2nd Dragoons, or Scots Greys; the latter is leaning against the corner of the public-house. Close to him may be recognized the features of Sergeant Bilton, of the Royal Engineers, while Sergeant Minett, of the 14th Hussars, turns his head towards Sergeant McGilney, of the 6th Dragoons, or Enniskillen, whose stalwart frame occupies the foreground. This group would not, however, have been complete without giving a glimpse at Mr. Cox, the policeman, to whose discretion and pacific interference may be attributed the order which is generally preserved even under the most trying circumstances at the 'Mitre and Dove.'"
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
The Royal Ballet: Giselle 2021 (Osipova & Clarke)
The most famous ballet of the Romantic era and a significant work in The Royal Ballet’s repertory: Peter Wright’s hallmark production of Giselle returns to the Royal Opera House 4 Nov - 3 Dec 2021 with a special digital stream on 3 Dec and on demand for 30 days.
Company: The Royal Ballet
Choreography: Marius Petipa after Jean Coralli
Music: Adolphe Adam Edited by Lars Payne
Scenario: Théophile Gautier after Heinrich Heine
Production: Peter Wright
Additional choreography: Peter Wright
Designer: John Macfarlane
Original lighting: Jennifer Tipton
Lighting re-created by David Finn
Cast
Giselle: Natalia Osipova
Albrecht: Reece Clarke
Queen of the Willis: Mayara Magri
photo © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
The Adolphe Bridge (Luxembourgish: Adolphe-Bréck, French: Pont Adolphe, German: Adolphe-Brücke) is a double-decked arch bridge in Luxembourg City, in southern Luxembourg. The bridge provides a one-way route for road traffic across the Pétrusse, from Boulevard Royal, in Ville Haute, to Avenue de la Liberté, in Gare. Its upper deck is 153 m in length and carries two lanes of road traffic, and two pedestrian footpaths. Its lower deck, opened in 2018, suspended beneath the upper deck, is 154 m in length, and carries a dedicated bidirectional bicycle path, with access provided for pedestrian use.[1] As of 13 December 2020, following the completion of the second phase of the construction of the city's new tramline, the bridge carries bidirectional tram traffic on its upper deck.[2]
The Adolphe Bridge has become an unofficial national symbol of sorts, representing Luxembourg's independence, and has become one of Luxembourg City's main tourist attractions. The bridge was designed by Paul Séjourné, a Frenchman, and Albert Rodange, a Luxembourger, and was built between 1900 and 1903. Its design was copied in the construction of Walnut Lane Bridge in Philadelphia, the United States.[3]
The bridge was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905, and was the first monarch to hold the title not in personal union with another. Although it is now over 100 years old, it is also known as the New Bridge (Luxembourgish: Nei Bréck, French: Nouveau pont, German: Neue Brücke) by people from Luxembourg City. The 'old bridge' in this comparison is the Passerelle, which was built between 1859 and 1861.
Conversion to a double-decked bridge
In concordance with the reintroduction of trams in Luxembourg, major redesign and renovation work occurred between 2014 and 2017, with a temporary bridge constructed parallel operating in the interim.[1] The Adolphe Bridge was widened and reinforced to accommodate the new tramlines installed on its upper-deck.[1] Additionally, a 154 m long and 4 m wide lower deck was suspended beneath the existing deck, between the arches of the bridge, to act as dedicated bidirectional bicycle path and footpath.[1][7] Bicycle-friendly sloped approaches were dug on the western side of both ends of the bridge, and an additional stairwell was added on the eastern side of the Ville Haute approach.[1]
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"At the corner of Church Lane, Holborn, there was a second-hand furniture dealer, whose business was a cross between that of a shop and a street stall. The dealer was never satisfied unless the weather allowed him to disgorge nearly the whole of his stock into the middle of the street, a method which alone secured the approval and custom of his neighbours. As a matter of fact, the inhabitants of Church Lane were nearly all what I may term “street folks” – living, buying, selling, transacting all their business in the open street. It was a celebrated resort for tramps and costers of every description."
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
Visita micamara.es/belgica/, para conocer lugares de interés de
Bélgica.
Navega en micamara.es/ para
disfrutar de arte, historia, folclore, fauna y flores de más países del
mundo.
"Women and saxophones" (bronze and bluestone,detail 1994)
Dinant Belgium
Thank you for your c omments & Fav.!
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
'The accompanying photograph represents a street group gathered round a dealer whose barrow is one of the most attractive I have seen during my wanderings about town. The story of its owner was narrated to me in the following words :-
[...]
“There are now too many 'swags' and most of them ain't the gentlemen they used to be. I should say there are 1500 ‘swag' dealers about London, counting women, boys, and girls. The average clear profits all round would, I think, be about fourteen shillings each a week. My missus and myself between us, we make clear over thirty shillings a week. It takes about thirty shillings to keep us, five shillings a week rent, and the rest for clothes, food, and fuel. Three or four years ago I have drawn as much as two pounds on a Saturday night. Out of that I had about twenty-six shillings profit. Now I have not been drawing more than five shillings a day, except on rare occasions. The profits are much lower at present. Ten shillings out of the sovereign is considered good now. The profit is not so great as it looks, when you think of how long we stand and how many are the folks we supply before we get a pound. It must take about fifty customers to make up a pound of money. Times are bad, and I have left the streets for a regular job. My wife minds the barrow. But bad as times be, it's wonderful how women will have ornaments. I have had them come with their youngsters without shoes or stockings, and spend money on ear-drops, or a fancy comb for the hair.”'
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
Although often associated with the Barbizon school, Breton (French, 1827 - 1906) favoured a more idealised treatment of his subjects and a more polished style of painting. In this rural scene, probably set in the artist's native Pas-de-Calais, north of Paris, three young women return from the fields at dusk. Their idealised forms contrast markedly with the harshness of Millet's depictions of peasant life.
[Walters Art Museum, Baltimore - Oil on canvas, 69.5 x 104 cm]
gandalfsgallery.blogspot.co.uk/2012/12/jules-adolphe-bret...
Canadian GT
For my video; youtu.be/Xz06fsEFzRQ
Ritchot, Manitoba, Canada
The Volvo Amazon was a mid-sized car manufactured and marketed by Volvo Cars from 1956 to 1970.
St. Adolphe, Manitoba, Canada;
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"Awaiting the moment when the costermonger is able to procure a barrow of his own he must pay eighteen pence per week for the cost of hiring. Then he must beware of the police, who have a knack of confiscating these barrows, on the pretext that they obstruct the thoroughfare and of placing them in what is termed the Green Yard, where no less than a shilling per day is charged for the room the barrow is supposed to occupy. At the same time, its owner will probably be fined from half a crown to ten shillings so that altogether it is much safer to secure a good place in a crowded street market. In this respect, Joseph Carney, the costermonger, whose portrait is before the reader, has been most fortunate. He stands regularly in the street market that stretches between Seven Dials and what is called Five Dials, making his pitch by a well-known newsagent's, whose shop serves as a landmark. Like the majority of his class, he does not always sell fish, but only when the wind is propitious and it can be bought cheaply. On the day when the photograph was taken, he had succeeded in buying a barrel of five hundred fresh herrings for twenty five shillings. Out of these he selected about two hundred of the largest fish, which he sold at a penny each, while he disposed of the smaller herrings at a halfpenny.
"Trade was brisk at that moment, though the fish is sometimes much cheaper. Indeed, I have seen fresh herrings sold at five a penny; and this is all the more fortunate, as notwithstanding the small cost, they are, with the exception of good salmon, about the most nutritious fish in the market."
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
The Manneken Pis replica in Colmar is a unique symbol of friendship and solidarity between Colmar and Brussels. Donated by Adolphe Max, a former mayor of Brussels, after World War I, this gesture recognized the shared suffering and resilience during the war. Located at the corner of Rue des Marchands and Grand Rue, the statue is a faithful reproduction of the famous Brussels figure, adding charm and whimsy to Colmar’s streets – Colmar, Alsace Region, France
Artist: Baron Adolphe de Meyer
Artist Bio: French, 1868 - 1949
Creation Date: 1912
Process: gelatin silver print
Credit Line: Gift of G. Ray & Susan Hawkins
Accession Number: 1989.033.001
Though artist Claude Monet’s father Adolphe was shocked to hear the news that his son was soon to have a child, little of the tension between father and son is visible in his painting of this peaceful scene. Monet's treatment of the sandy garden path is particularly sophisticated: a warm pink in sunlight and a deep purple gray in shade, the line of demarcation between the two zones breached by spots of the opposite tone. The distant view outside the garden, at center, is almost unexpectedly nuanced, layers of atmosphere softening the deep greens and blues at the horizon.
This is an early, rarely seen Claude Monet painting. It was painted in 1866 while the 27-year-old artist was staying at a seaside resort with his family. There are accounts that Monet had about 20 paintings in the works at the time, and several of them show his father in various states of lounging, all in the same outfit, complete with a panama hat.
The painting was photographed on exhibition ('Monet, The Early Years') at The Legion of Honor in San Francisco. This is the first major US exhibition devoted to the initial phase of Claude Monet’s career.
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. 2016.934
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)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Accession Number: 1977:0638:0015
Maker: Adolphe Neyt (1830 - 1893)
Title: Photomicrograph of a flea
Date: ca. 1865
Medium: albumen print
Dimensions: 19.8 x 15.0 cm.
George Eastman House Collection
About the Collection · Blog · Reproductions & Image Licensing
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“But old age, and want of proper food and rest, reduces them to a lethargic condition which can scarcely be preferable to death itself. It will be noticed that they are constantly dozing, and yet are never really asleep. Some of them are unable to lie down for days. They sit on the hard stone step of the workhouse, their heads reclining on the door, and here by old custom they are left undisturbed. Indeed, the policeman of this beat displays, I am told, much commiseration for these poor refugees, and in no way molests them. When it rains, the door offers a little shelter if the wind is in a favourable direction, but as a rule the women are soon drenched, and consequently experience all the tortures of ague and rheumatism in addition to their other ailments. Under such circumstances sound sleep is an unknown luxury, hence that drowsiness from which they are never thoroughly exempt. This peculiarity has earned them the nick-name of" dosses," derived from the verb to doze, by which they are sometimes recognized. The crawlers may truly be described as persons who sleep •with one eye open.”
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
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"Then there is something irresistible in the bright glitter of his eyes, in. his cheerful gait, and his fascinating manners; While English mendicant is coarse, ungainly, dirty, rude of speech, unartist-like in his appearance, out of tune when he sings, vulgar in all his deeds, and often bears the stamp of a hopeless drunkard. This perhaps explains how it is that Italians, sons of peasants, agricultural labourers, and others who might lead respectable lives in their own country, prefer to come over to England where they are sometimes treated as mere beggars. They find that a beggar in England is richer than a labourer in Italy; and if he be not equally prosperous it is because he is not equally abstemious and economical. The Italian, therefore, migrates with the knowledge that he may rely on the generosity of the English, and that, if he only receives as much as many of the English poor, he may hope to save enough to buy himself a farm in his own country. They arrive, therefore, in shoals, and seeing how their presence is appreciated, do not realize the somewhat humiliating character of their avocation.
Many, on the contrary, proudly claim a right to be ranked above the mendicant class. They urge, and to a certain extent justl y, that they are of use to the community; that, as a rule, their performance, whether with the barrel-organ, the piano-organ, the harp, fiddle, or other instrument, gratifies the majority of their hearers, and propagates the love for music among the poor. The only difference, so far as the political economy of the case is concerned, between them and actors and professional singers is the fact that they impose themselves on the public by performing in the street, and have to solicit, cap in hand, their reward. Otherwise, they argue, that they simply cater for the public amusement; that if their performance is of a very inferior character to what may be heard in concert-rooms or theatres, they consequently receive very inferior pay. This is in fact but a mere question of supply and demand."
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
A remix of Adolphe William Bouguereau's 19the century masterpiece "Orestes Pursued by the Furies," created by an anonymous Photoshopper, and shared with us by Boing Boing community member Takuan.
French postcard by Lyna, Paris, no. 150-72.
Sexy French actress Nadine Tallier (1932) played various film roles from the late 1940s till the early 1960s. In 1962, she married banker Edmond Adolphe de Rothschild and then retired. Later she became a writer.
Nadine de Rothschild was born as Nadine Lhopitalier in Saint-Quentin, France, in 1932. She left school at age 14 and worked as a salesgirl and in an auto factory. Lhopitalier became the model of the painter Jean-Gabriel Domergue, a socialite who opened the door to the worlds of theatre and film. In 1949, she began her acting career under the pseudonym of Nadine Tallier and played various roles till 1964. First, she played many small sometimes uncredited parts. She doubled Martine Carol in a nude scene in Caroline Chérie (Richard Pottier, 1951). In 1952, she played a supporting role in Manina, la fille sans voiles/Manina, the Girl in the Bikini (Willy Rozier, 1952) starring Brigitte Bardot at the age of 17. Manina was controversial for the scanty bikinis worn by the young Bardot in the film. It was one of the first occasions when a bikini appeared in film, at a time when the bikini was still widely considered immodest. Tallier’s first bigger role was in the Western comedy Fernand cow-boy (Guy Lefranc, 1956), featuring Fernand Raynaud. She is also known for her work in the Louis de Funès comedy Comme un cheveu sur la soupe/Crazy in the Noodle (Maurice Régamey, 1957), and the Spanish-French crime drama Los cobardes/The street of Fear (Juan Carlos Thorry, 1959) with Vicente Parra. In Great Britain, she appeared in the comedy Girls at Sea (Gilbert Gunn, 1958).
In 1962, Nadine Tallier married Edmond Adolphe de Rothschild of the French branch of the Rothschild family. At the time, Edmund was chairman and principal owner of the Edmond de Rothschild Group, a private banking group headquartered in Geneva, Switzerland. Although she was raised Roman Catholic, she converted to Judaism stating: "It would not have been possible to have the name Rothschild and be a Catholic... Nor would it be right for the son of a Rothschild to be half-Jewish and half-Catholic." The couple had one son born in 1963, Benjamin de Rothschild, shortly after their marriage. She became a Baroness, with an Austrian title. In 2004, she opened in Genève the académie Nadine de Rothschild International Way of Life. She wrote a book about manners (Le Bonheur de Séduire l'Art de Réussir) and her autobiography (La baronne rentre à cinq heures). In addition, she provided some reviews in the press on the same subject. Her husband died in 1997.
Sources: Wikipedia and IMDb. Marlene Pilaete identified the nameless pin-up of this card as Nadine Tallier. Thanks! See also this wonderful blog, Pulp International.
Join now our group Vintage Bikini Postcards. And take a look at our albums Sizzling Swimwear Postcards, Va-Va-Va-Voom Vintage Pin-ups, Beefcake, Beautiful Bikini Beach Babes and It's a Bikini World .
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"There are, undoubtedly, many most honest, hard-working, and in every sense worthy men, who hold licences from the Watermen's Company, or from the Thames Conservancy. That these men are rough and but poorly educated is a natural consequence of their calling. N ever stationary in anyone place, it is difficult for them to secure education for their children, and regular attendance at school would be impossible unless the child left its parents altogether. Thus there is an enormous percentage of men who cannot read at all. Their domestic arrangements are, however, better than the canal bargemen. . Cramped up in little cabins, the scenes of over-crowding enacted on board canal barges, equal and even exceed in their horrors what occurs in the worse rookeries of London. Fortunately, the very nature of their occupation compels the men to enjoy plenty of fresh air and invigorating exercise, and this naturally counteracts the evil effects resulting from their occasional confinement in cabins unfit for human habitation."
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
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 !