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Maker: André Adolphe-Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 7 7/8 x 9 1/8 in
Location:
Object No. 2016.392a
Shelf: B-2
Publication:
Provenance: Photography: The First 80 Years, Christies On-Line, April 21, 2016, Lot 64
Other Collections:
Notes: numbered '7419' in ink (recto); annotated 'M de Carracciolo' in pencil (verso); titled, dated and numbered '7419' in ink on enclosed original label. 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)
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Maker: Baron Adolph de Meyer (1868-1946)
Born: France
Active: Europe/USA
Medium: platinum print
Size: 5 1/8 in x 7 1/8 in
Location:
Object No. 2025.189
Shelf: A-2
Publication:
Other Collections:
Provenance: photolover2000
Rank: 632
Notes: Lucrezia Bori was a Spanish operatic singer and lyric soprano. Baron Adolphe de Meyer was a German-French photographer, painter, and art collector. He was heavily influenced by the Pictorialism movement, became a member of the Royal Photographic Society in 1893, and moved to London in 1895. De Meyer specialized from the turn of the century in artistic portrait photography, published several works in Alfred Stieglitz's photography magazine Camera Work, and around 1910 shifted to fashion photography, where he did significant pioneering work.
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From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“The owner of the stall in the accompanying photograph had, however, a different story to tell concerning keys. He possessed some keys which he would gladly sell for twopence, and he reminded me that this branch of his business was subject to certain restrictions which made him at times "lose a job or two." If keys were sold and made indiscriminately, burglars, and in fact all thieves would find easy access to other people's property. Hence certain laws were enacted with the object of preventing anyone buying keys save the rightful owners of the locks they were intended to fit. A locksmith is, therefore, not allowed to make a key from an impression. Either the lock itself must be brought to him, or the locksmith must be allowed to enter the premises and fit his key into the door. Otherwise it would suffice to obtain an impression of a key on a piece of soap or wax for a thief to procure himself a similar one, and thus open the lock protecting the coveted treasure. Further, it is illegal for a locksmith to lend a bunch of his keys; and, in a word, before exercising his art to open locks he must assure himself that his services are not required for any dishonest purpose.”
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.
“…The" wall working" or fence working, described by Parker as a " fine property," is a system of cheap advertising. Where a portion of a wall or fence, near some public thoroughfare, can be rented or obtained gratuitously, it is covered with an array of boards, which are hung up in the morning and taken in at night. In this instance, the boards covered with thin bills are supplied to Cannon [seated on the right], who hangs them up in the morning and receives about a shilling weekly for each board. But the number of boards afford no clue to the income derived from this mode of advertising, as an indefinite number of dummies are displayed to fill up vacant spaces. The dummies are carefully selected; the advertisements they carry must be as imposing as the names of their owners are respectable. Cannon assured me that it required tact and experience to manage this sort of property. Unfortunately the dummies have been dominant of late, owing to depression in all departments of trade. The result is that the" wall worker's " property produces a return so poor as hardly to repay the pains bestowed on its management.”
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
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: albumen print
Size: 6 in x 7 1/2 in
Location:
Object No. 2023.1211
Shelf: L-12
Publication:
Other Collections:
Provenance:
Notes: TBAL
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From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“Thus in the photograph before us we have the calm undisturbed face of the skilled artisan, who has spent a life of tranquil, useful labour, and can enjoy his pipe in peace, while under him sits a woman whose painful expression seems to indicate a troubled existence, and a past which even drink cannot obliterate. By her side, a brawny, healthy "woman of the people," is not to be disturbed from her enjoyment of a "drop of beer" by domestic cares; and early acclimatizes her infant to the fumes of tobacco and alcohol. But in the fore-ground the camera has chronicled the most touching episode. A little girl, not too young, however, to ignore the fatal consequences of drink, has penetrated boldly into the group, as if about to reclaim some relation in danger, and drag him away from evil companionship. There is no sight to be seen in the streets of London more pathetic than this oft-repeated story the little child leading home a drunken parent. Well may those little faces early bear the stamp of the anxiety that destroys their youthfulness, and saddens all who have the heart to study such scenes. Inured to a life crowded with episodes of this description, the pot-boy stands in the back-ground with immoveable countenance, while at his side a well-to-do tradesman has an expression of sleek contentment, which renders him superior to the misery around.”
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
...angel flying too close to the ground...
Iva Vitić Gameiro as Myrtha
Croatian National Theater in Zagreb
Maker: Adolphe Dallemagne (1811-1882)
Born: France
Active: France
Medium: albumen print
Size: 6 3/8 in x 8 7/8 in
Location:
Object No. 2020.332
Shelf: D-22
Publication:
Other Collections: BNL
Provenance: fautographie
Rank: 100
Notes: Léon Auguste Adolphe Belly (1827–1877) was a French landscape painter.
Adolphe Dallemagne started out as a painter, having studied with Ingres, Cogniet and Monvoirsin, and then switched to photography. He created a series of photographs of contemporary artists, published as Galerie des Artistes Contemporains, which appeared in different painting frames from the time periods and styles of LouisXIV, Louis XV and Louis XVI, complete with a theatrical velvet curtain. A full set of these can be seen at: DALLEMAGNE-BNL
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Portrait du saxophoniste Diego Delporte, Diplômé du Conservatoire Royal de Liège, lauréat du concours Adolphe Sax de Dinant.
Portrait of saxophonist Diego Delporte, graduated from Royal Higher Conservatory for Music of Liège (Belgium) and prize-winner of the international music competition "Adolphe Sax" of Dinant (Belgium)
one flash setup (YN568 1/2 35mm + white umbrella + white reflector + trigger YN622N)
The bridge was designed by Paul Séjourné, a Frenchman, and Paul 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.
The bridge was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905.
en.wikipedia.org/wiki/Adolphe_Bridge
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From 'Street Life in London', 1877, by John Thomson and Adolphe Smith.
"Italian ice men constitute a distinct feature of London life, which, however, IS generally Ignored by the public at large, so far as It’s intimate details are concerned. we note in various quarters the ice-barrow surrounded by groups of eager and greedy children, but fail to realize what a vast and elaborate organization is necessary to provide this delicacy in all parts of London. Most parsons are aware that there is an Italian colony at Saffron Hill, but it is strange how few visitors ever penetrate this curious quarter…
…In little villainous-looking and dirty shops an enormous business is transacted in the sale of milk for the manufacture of halfpenny ices. This trade commences at about four in the morning. The men in varied and extraordinary desltabzlle pour into the streets, throng the milk-shops, drag their barrows out, and begin to mix and freeze the ices. Carlo Gatti has an ice depot close at hand, which opens at four in the morning, and here a motley crowd congregates with baskets, pieces of cloth, flannel, and various other contrivances for carrying away their daily supply of ice. Gradually the freezing process is terminated, and then the men, after dressing themselves in a comparatively-speaking decent manner, start off, one by one, to their respective destinations; It is a veritable exodus. The quarter, at first so noisy and full of bustle, is soon deserted, a few women only remaining to attend to the domestic affairs and to quarrel with their loquacious neighbours."
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:
“At Clapham Common - where the accompanying photograph was taken - Hampstead, Greenwich, Battersea Park, etc etc, on a broiling summer's day, there is a great demand for light, refreshing drinks, and more than £ I may be taken during one day by those who have a sufficient supply of ginger-beer with them, or some friend who can bring a fresh stock in the course of the afternoon. In ordinary times, however, twenty shillings a week net profit is considered a very fair reward for selling ginger-beer in the streets. Apart from the very hot days, and the pleasure-g rounds around the metropolis, the best time and place for the sale is near the closed public-houses on a Sunday morning. The enormous number of persons who have spent their Saturday evening and wages in getting lamentably drunk, come out in the morning •with their throats parched and are glad of anything that will relieve the retributive thirst from which they suffer. Ginger-beer, under these circumstances, is particularly effective in restoring tone and mitigating the consequences of intemperance; and these are facts which readily account for the large sales effected on Sunday mornings.”
[…]
“The real "mush-fakers" are men who not only sell, but can mend and make umbrellas. Wandering from street to street, with a bundle of old umbrellas and a few necessary tools under their arm, they inquire for umbrellas to mend from house to house. When their services are accepted, they have two objects in view. First, having obtained an umbrella to mend, they prefer sitting out doing the work in the street, in front of the house. This attracts the attention of the neighbours, and the fact that they have been entrusted with work by the inhabitants of one house generally brings more custom from those who live next door. When the job is terminated, the “mush-faker " looks about him, as he enters the house, in quest of an umbrella which has passed the mending stage ; and, in exchange for the same, offers to make a slight reduction in his charge. Thus he gradually obtains a stock of very old umbrellas, and by taking the good bits from one old "mushroom” and adding it to another, he is able to make, out of two broken and torn umbrellas, a tolerably stout and serviceable gingham.
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:
'After playing in many provincial theatres, Caney finally made his debut in London on the boards of the old Garrick, the Britannia, and the Standard. He rendered good services at these houses in the cause of the people's amusement. No consideration of bone or nerve interfered with his assaults on the pantaloon. He was irrepressible in the matter of bonneting the police; and he tumbled and danced, and fought, and shouted to the delight of his rough and ready audiences, - and, poor fellow, to his own disadvantage. His exertions to please the people who greeted his first sally with vehement applause, caused the bursting of a varicose vein in his leg, and Caney's successful career was over. There was not enough bodily strength left in him even for a pantaloon. After enduring an operation which was performed at old St Thomas's Hospital, Caney was finally pronounced to be cured, but forbidden to attempt any violent exercise.
[...]
But of all the work he undertook, that of mending chairs seems to have brought him the most constant employment. In all cases his friends are of this opinion, for they have unanimously dubbed him" Caney," and it is under this soubriquet that he is best known in the purlieus of Drury Lane. At times, however, the old spirit broke loose again, and though he never appeared on the boards of any theatre, he has often graced the streets with some of his clownish antics. At Christmas, and other holiday seasons, he sometimes resorts to the familiar hare's foot and rouge, dons a clown's suit, which is certainly the worse for wear, and follows a band of itinerant street performers, among whom his superior accomplishments and experience insure ready welcome.'
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
created for Play to Game challenge~ William Adolphe Bouguereau
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From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
‘“But it's hard to pick up money on the streets; there is so many at the same game now, that it's about all we can do to get food. Fridays and Saturdays we stands a better chance of extra custom. Fish on Fridays goes down with the Irish, and on Saturday nights we get often a better class of customers than on other days. The workmen and their wives and sweethearts are about then, and hardly know how to spend their money fast enough. After visiting the public-houses they finish up with a fish supper of the very finest sort. Although I say it, no finer can be got, not at Greenwich or anywhere else. I've got to know exactly what I am about, and always to keep things going on the barrow in a style that brings folks back again. It's no use for a man always on the same pitch going in for the cheap and-nasty; he couldn't stand a day against the competition of his neighbours. I never pick out anything that looks the least thing gone, for fear of losing the run of trade. When it's possible to work off some doubtful goods is at night, at the bar of a public house, when the men drinking are too far gone to be nice about smell or taste, so long as they gets something strong. But even that is a dangerous game to be tried on too often, so I for my part leaves it alone."’
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
1862 by André-Adolphe-Eugène Disdéri.
She was born on 27th Feb 1836 in St. Petersburg and died on 16th March 1882 and was the wife of the noted choreographer Marius Petipa.
She joined the Imperial Bolshoi Kamenny Theatre of St. Petersburg in 1854.
Her daughter was Marie Petipa [1857-1930] who created roles in The Sleeping Beauty and The Nutcracker.
This is an anonymously published postcard showing the view in Piccadilly Circus looking east towards Coventry Street with Shaftesbury Avenue on the left. This is July 1947 and the people of London are well supplied with west end entertainment, a time to forget about rationing and austerity for a little while. At the London Pavilion, the 25-year-old silent docudrama, “Nanook of the North” made by Robert J. Flaherty in 1922, played there from 21st July until 21st August. The film is now considered a masterpiece of documentary film making although some scenes were staged, it tells the story of an Eskimo/Innuit family in northern Canada and their struggle to survive. For light relief the theatre goer could go to the Palladium where Tommy Trinder starred in a Gay Musical called "Here, There and Everywhere" which ran from 2nd April until 3rd January 1948. Another Musical, this time described as a Musical Romance was playing at the Hippodrome in its third year, Ivor Novello’s “Perchance to Dream” ran from 21st April 1945 until 11th October 1948. At the Leicester Square Theatre for just one week, the British made film “So Well Remembered” was shown, starring John Mills, Martha Scott and Patricia Roc, the film was based on James Hilton’s novel about life in a northern Mill town. The last film advertised is “The Hucksters”, an American film starring Clark Gable, Deborah Kerr, Sidney Greenstreet and Adolphe Menjou, it was Deborah Kerr’s first American film which portrayed the American advertising industry. The advertisement for “Bile Beans”, just under the sign for “Votrix Vermouth” was a regular in this spot until the early 1950s. “Bile Beans” were a laxative/Tonic and came in the form of a gelatine pill, much like the old cod liver oil pills that were handed out at my primary school. The Bile Bean Manufacturing Company set up the firm of C.E. Fulford Ltd to manufacture the pills in Leeds at the turn of the century, it was run by an Australian and a Canadian who claimed that there was an Australian plant in the ingredients which did the trick, but it was later discovered that the pills contained Liquorice, Rhubarb, Cascara and Menthol. I don’t know, it probably did work. There is an advertisement on the Shaftesbury Avenue side of the London Pavilion for “Swallow Raincoats” whose catch phrase was “Fine in the Rain”. The company was based in Birmingham and from the early 1930s until the early 1990s manufactured Men’s, Women’s and Children’s raincoats. They were contracted at the end of WW2 to supply raincoats for the servicemen and women who were being demobilised, their adverts of the time state that there may be some shortages due to the contract. It looks like in 1947 they were back on track.
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Maker: Louis-Adolph Humbert de Molard (1800-1874)
Born: France
Active: France
Medium: modern gelatin silver print from original paper negative
Size: 7" x 9 1/2"
Location:
Object No. 2016.943
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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Boulevard Adolphe Max
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 5.5" x 7.1"
Location: France
Object No. 2016.206
Shelf: D-22
Publication:
Provenance: Levert Collection
Other Collections:
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: A.A.E. Disderi (1819-1889)
Born: France
Active: France
Medium: albumen print from wet plate collodion negative
Size: 2.25" x 4"
Location: France
Object No. 2022.201a
Shelf: E-18-D
Publication:
Other Collections:
Provenance: maaland
Rank: 42
Notes: William Alexander Louis Stephen Douglas-Hamilton, 12th Duke of Hamilton, 9th Duke of Brandon, 2nd Duke of Châtellerault KT (12 March 1845 in London – 16 May 1895 in Algiers) was a Scottish nobleman. Hamilton was born at Connaught Place, London, the son of William Hamilton, 11th Duke of Hamilton and Princess Marie of Baden, the adoptive granddaughter of Napoleon Bonaparte. Through his mother, Hamilton was related to numerous European royal families. Among his first cousins were King Carol I of Romania and Queen Stephanie of Portugal (children of his aunt Josephine) and Queen Carola of Saxony (daughter of his aunt Louise).
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Created For~Explore Worthy, Playing With Textures #19
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Cake~Grabbaggraphics
Sky ~My Own
Grass~My Own
Angels~~William-Adolphe Bouguereau.
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Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: carbon print
Size: 18 5/8" x 14 1/2"
Location: France
Object No. 2016.514
Shelf: B-66
Publication:
Other Collections:
Provenance: Adolphe Braun studio
Notes: TBAL
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