View allAll Photos Tagged Descriptive,
Descriptive catalogue of flowering, ornamental trees, shrubs, bulbs, herbs, climbers, fruit trees, &c., &c., &c. /.
Yokohama, Japan :Yokohama Nursery Co..
Descriptive Title: Surgical instruments for amputation.
Actual Title: Tome 6. Pl. 55
Artist: Jacob, Nicolas Henri, 1781-1871
Technique: lithography, with hand-colouring
Dimensions: 39 x 27 cm.
Digital ID: RBAI077-0524
Scope and Content: Surgical instruments for amputation, shown in isolation, in 27 numbered illustrations. Various scalpels, saws, hammers, scissors shown.
General: Plate drawn by N.H. Jacob; printed by Lemercier, Benard et Cie.
Artist: Lemercier, Benard
Subject: Amputation
Subject: Surgical Instruments
This plate is taken from the book:
Title: Traité complet de l'anatomie de l'homme
Author: Bourgery, Marc Jean, 1797-1849
Published: Paris : C. Delaunay, 1831-1854
Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm
Scenes from Madison Historical Society's summer Exhibition, "Over Here Over There - Madison In World War I". Sponsored by the Madison Historical Society, the Charlotte L. Evarts Memorial Archives, Inc., and cthumanities, the exhibit opened July 30 at the Lee Academy (see madisonhistory.org/current-exhibitions/). It features many of the images and artifacts in the Albums shown at right, plus many many more along with informative research and commentary.
See other scenes from the Exhibit at flic.kr/s/aHskEaskZU
(Photo credit Bob Gundersen - www.flickr.com/photos/bobphoto51/albums)
A Descriptive catalogue of the lepidopterous insects contained in the Museum of the honourable East-India company,
London,Published by Parbury, Allen, & Co.,1828-29.
The following descriptive text was written by the artist, Martin Travers. Travers painted this outstanding mural in 2002 on a wooden fence in Balmy Alley, the Mission District, San Francisco, California
____________________________________________
“NAYA BIHANA” is about communities taking their power back into their own hands, reclaiming what is theirs, utilizing the natural resources of their communities. The resources that have been taken from them for hundreds of years which have made Europe and North America so rich whilst keeping the rest of the world in dire poverty.
This mural depicts a community that has resisted and is reclaiming its power. The broken chains symbolize the breaking away from the imperial policies of the West and its financial institutions like the World Bank, IMF and the G8.
Nepal was chosen as the subject for this mural because it is one of the poorest countries in the world in which the poorest of them are rising up to regain their dignity and move Nepal into a state of self sufficiency and to determine their own future. Although I chose Nepal to represent an example of people struggling to be self sufficient, it could really be many other places in the world facing similar problems.
________________________________________________
Martin Travers is an international muralist, street artist and professional visual artist. He travels the world painting murals and working on community arts projects. Martin was born and raised in South London. He is a mural artist who has lived and worked in many different countries and his love for working
with communities has kept him close to the locals. Martin's art is rooted in a mixture of figurative realism, muralism and aerosol art. He derives inspiration from the rich heritage of artists working as social critics and documentarians. Influenced by the Mexican, Chicano and African American mural movements. His
art deals passionately with the concepts of identity and self-empowerment. Martin’s goal is to work towards building positive creative alternatives for at risk youth and communities and he specializes in teaching and facilitating workshops on this subject.
Descriptive catalogue of flowering, ornamental trees, shrubs, bulbs, herbs, climbers, fruit trees, &c., &c., &c. /.
Yokohama, Japan :Yokohama Nursery Co..
Dhanyakuria is a non descriptive village, near Barasat, about 40 km from Kolkata.
The non descriptive village houses some magnificent palaces belonging to the Gayen, Ballav, Sahoo and Mondal families.
Out of these the Gayen Bagan Bari of the Gayen Castle stands out.
The Cinderella styled castle is complete with towers and turrents, flanked by battlements and projected oriole windows.
Presently it is in sorry state with and have lost most of its ornamentation. The landscaped garden, with decorative fountains, which surrounded the castle is overgrown with grasses and weeds.
A detailed blog post on the Palaces of Dhanyakuria will be comming up soon in my blog.
A special thanks to my friend and fellow heritage enthusiast for arranging the necessary permission.
For more details refer to my blog post on Dhanyakuria
Descriptive catalogue of the nests & eggs of birds found breeding in Australia and Tasmania /
Sydney :F.W. White, general printer,1889.
Descriptive catalogue of the nests & eggs of birds found breeding in Australia and Tasmania /
Sydney :F.W. White, general printer,1889.
This descriptive plaque is located near the entrance to the carousel, with the river in the background.
I suppose it was just an accident of the way the sun was shining on it, but I thought the reflection was pretty cool ...
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Because I work and live in Manhattan, I don’t often visit the four other boroughs of New York City … but there’s a magical place in Brooklyn that I want to tell you about, located in Brooklyn Bridge Park at the edge of the East River. It’s right on the water, framed by the Manhattan Bridge on the north and the Brooklyn Bridge on the south. A few NYC residents and perhaps even a few visitors are already nodding their heads as they read this, but I suspect that most readers of these Flickr notes are as oblivious as I was, and have never heard of Jane’s Carousel.
“Jane” is, as I’ve now learned, Jane Walentas, an artist who spent 20 years overseeing the restoration of a magnificent 48-horse carousel, created by the Philadelphia Toboggan Company, and first installed in a park in Youngstown, Ohio in 1922. Ms. Walentas and her husband, David, bought the carousel and the wooden horses at an auction in 1984 for $385,000; I have no idea what inspired them to do so, or what could possibly have inspired Jane to spend the next 20 years scraping off layers of paint and restoring the original design and colors, the pin-striping and the gold leaf as the carousel sat in a studio in Dumbo (for the non-New Yorkers who might have stumbled onto this page of notes, “DUMBO” is an acronym that means “Down Under the Manhattan Bridge Overpass).
Anyway, the carousel was opened in mid-September 2011, and for reasons unknown, I was completely oblivious as to its existence for the next three years. It’s located in a $9 million transparent acrylic “jewel box” that was designed by the French architect Jean Novel, and it’s absolutely stunning to see. My wife coaxed me into taking the somewhat laborious subway ride from the Upper West Side (via the “C” and the “F” trains) over to Brooklyn a couple days ago, and we were lucky to have chosen a brilliantly sunny Saturday afternoon, arriving just at the beginning of the “golden hour” when the light was perfect for photography.
In the three years since it opened, Jane’s Carousel has apparently attracted a lot of attention: there were some New Yorkers like me wandering around, and some visitors from nearby New Jersey and Long Island … but I also heard and saw evidence of visitors from France, Germany, Russia, Japan, Korea, and a lot of other places which would normally have great difficulty distinguishing Brooklyn from the Bronx or Staten Island. You can arrange birthday parties at the carousel; and there were heavily-costumed bridal parties along with the dog-walkers, the photographers, and the tour boats (including the venerable Circle Line) cruising up and down the East River.
And speaking of the East River, one of the most dazzling aspects of this place is the view that you get, with the two mammoth bridges spanning the river, along with the Wall Street skyline, the South Street Seaport, and the massive Freedom Tower in the background. Even if you didn’t spend a minute looking at the brightly painted carousel horses, and listening to the hypnotic music of the carousel, you could easily spend the afternoon watching the tugboats and sailboats and barges and ferries, the cruise boats and the motorboats chugging up and down the river. One can only imagine what it must have been like a century ago, before the railroads and jet planes had eliminated the bulk of water travel.
I’m embarrassed that it took me so long to visit this place, and I hope that you’ll take the hint and go see it yourself, at your first opportunity. If you would like to see some more details about the place, you might want to start with the official website for Jane’s Carousel, located here:
A New York Times article, written shortly before the official opening of the carousel in mid-September 2011, can be found here
www.nytimes.com/2011/09/02/arts/design/janes-carousel-at-...
and an October 2012 New Yorker article about the impact of Hurricane Sandy on the carousel can be found here:
www.newyorker.com/culture/culture-desk/the-carousel-survives
Descriptive catalogue of the nests & eggs of birds found breeding in Australia and Tasmania /
Sydney :F.W. White, general printer,1889.
Maker: F.W. Maynard
Born: UK
Active: UK
Medium: book
Size: 10 1/2 in x 14 1/2 in
Location:
Object No. 2022.683
Shelf: N-41
Publication: F.W. Maynard, Descriptive Notice of the Drawings and Publications of the Arundel Society, from 1869 to 1873 Inclusive; (Being a continuation of "Twenty Yaers of the Arundel Society") Illustrated by Photographs of All the Publications, Arranged in the Order of Their Issue, Arundel Society, Nichols and Sons London, 1873
Other Collections:
Provenance:
Notes: A 1873 catalog illustrated with photographs listing the books published by the Arundel Society between 1869 and 1873 years. The Arundel Society was founded at London in 1849 and named after the Earl of Arundel, the famous collector of the Arundel Marbles and one of the first great English patrons and lovers of the arts. The society's purpose was to promote knowledge of the art works of the old Italian, Flemish, and other European masters. Much of the work of the society consisted of publishing chromolithographs of Italian art works, especially fresco paintings, of earlier centuries and raising public awareness for the preservation of these works. The society was discontinued in 1897.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Descriptive Title: Treatment for a depressed skull fracture.
Technique: engraving/etching
Dimensions: 20 x 12 cm.
Digital ID: RBAI010-0021
Scope and Content: Treatment of patient with depressed skull fracture to the parietal bone. Surgical instrument used to drill into the bone and lift the fractured section.
General: Male head, in vivo.
Subject: Skull
Subject: Skull Fractures
Subject: Surgical Instruments
This plate is taken from the book:
Title: Succenturiatus anatomicus
Author: Paaw, Pieter, 1564-1617
Published: Lugduni Batavorum [Leiden] : Apud Iodocum á Colster, 1616
Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm
From a descriptive text on Germany's 1950s industrial reconstruction a rather fine view of the post-war reconstruction of the Germania Colliery in Dortmund-Marten, that belonged to the post-war grouping of the G.B.A.G. that had been spun out of the pre-war giant Vereinigte Stahlwerke AG. The company was one of the true giants of the deep coal mining business and operated some large collieries in the Ruhr district around Essen and Gelsenkirchen, shafts being organised so as to best utilise reserves that were both relatively easy to 'win' along with ones that were of more meager output.
I probably need some one with local knowledge but I'm wondering of one of the structures we see here is the headframes now relocated to the German Mining Museum at Bochum when the Germania complex closed in 1971?
The Museum's headframes. that stood over the main shaft of the Germania mine complex in Dortmund-Marten. Designed by renowned industrial architects, Fritz Schupp and Martin Kremmer, this solid-walled double headframe was constructed in 1943-44.
Descriptive catalogue of the nests & eggs of birds found breeding in Australia and Tasmania /
Sydney :F.W. White, general printer,1889.
Descriptive catalogue of the nests & eggs of birds found breeding in Australia and Tasmania /
Sydney :F.W. White, general printer,1889.
Go to Page 552 in the Internet Archive
Title: A manual of human anatomy [electronic resource] : descriptive, practical, and general
Creator: Knox, Robert, 1791-1862
Creator: Westmacott, Richard, 1775-1859
Creator: Phillips, John, Sir, 1855-1928, former owner
Creator: Blandford, G. Fielding, (George Fielding) 1829-1911 former owner
Creator: King's College London
Publisher: London : Renshaw
Sponsor: Jisc and Wellcome Library
Contributor: King's College London, Foyle Special Collections Library
Date: 1853
Language: eng
Description: "Illustrated by 250 highly finished wood engravings, from drawings by Dr. Westmacott." -- title page
Includes index
This material has been provided by King’s College London. The original may be consulted at King’s College London
King’s College London
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
Descriptive catalogue of the lepidopterous insects contained in the Museum of the Honourable East-India Company :.
London :Parbury, Allen,1828-1829..
Descriptive Title: Dissection of the head and neck, cranial, spinal and sympathetic nerves.
Actual Title: Tome 3. Pl. 93
Artist: Jacob, Nicolas Henri, 1781-1871
Technique: lithography, with hand-colouring
Dimensions: 36 x 23 cm.
Digital ID: RBAI077-0268
Scope and Content: Dissection of the head and neck, cranial and sympathetic nerves, shown in situ. Neck muscles, salivary glands, carotid artery also shown. Lateral view.
General: Plate drawn by N.H. Jacob; transferred to the stone by Léveillé. Printed by Lemercier.
Artist: Léveillé
This plate is taken from the book:
Title: Traité complet de l'anatomie de l'homme
Author: Bourgery, Marc Jean, 1797-1849
Published: Paris : C. Delaunay, 1831-1854
Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm
Keokuk or the Watchful Fox. Daguerreotype by Thomas M. Easterly, 1847. Missouri History Museum Photographs and Prints Collection. Thomas Easterly Daguerreotype Collection. N17179.
Descriptive Detail:
The piercing eyes of Keokuk, a well-known Sac and Fox chief, look out at us in this 1847 daguerreotype by Thomas Easterly. Keokuk is wearing a large headdress and a string of bear claws around his neck. His aging face and stern expression suggest wisdom and hardship, yet he seems somewhat fragile in the isolated frame of the daguerreotype. His resolute gaze is suggestive of his alias, the “Watchful Fox.” Keokuk was the chief of a tribe officially recognized by the government as the Sac and Fox band of the Mississippi. At the time, the tribe lived on the Nemaha Reservation, south of the Missouri River, near the mouth of the Little Nemaha. Keokuk’s tribe had been moved there from Iowa just months before he visited Easterly’s studio in St. Louis. Keokuk is one of many American Indians whose image is captured in early photographs or depicted in portraits by famous American artists.
Local Historical Connections:
The movement of Keokuk’s tribe from Iowa to the Nemaha Reservation was part of the government’s efforts to move all tribes that had originally inhabited the Mississippi and lower Missouri valleys to Indian Territory west of the Iowa-Missouri-Arkansas border. Keokuk had probably come to St. Louis to attend to official business at the office that managed Nemaha Agency tribes. He may have also appeared at the circus, as a St. Louis newspaper reported that Keokuk, Apponoose (a secondary chief), and their companions were “superbly decorated in genuine Indian style” that included dyed animal hair headdresses and were sure to draw a crowd for their performances.
At the time, many white Americans had a romanticized view of American Indians as exotic “primitives” who looked much as they did before contact with white settlers altered their customs and dress. For decades before this image was taken, artists had depicted American Indians in a dramatized fashion, making the American public think of them in a stereotypical way. In fact, it was common for artists to generalize the appearance of their subjects to conform to popular notions of the dignified “noble savage.” The appeal of these types of images was enhanced by the widely held belief that the American Indian was destined to become extinct as western “civilization” took over their lands.
This prediction was sadly true—a special census of Indians in 1890 showed that there was fewer than one Indian per 1,000 inhabitants in Missouri and fewer than 100 in the entire state of Illinois. By 1910, there was fewer than one Indian per 1,000 people in Missouri. Many American Indians died from European diseases like smallpox as well as starvation and warfare, and thousands more were forced to move to reservations far from their native lands.
Artist Information:
The ability to record American Indians truthfully did not come about until photography became widely used. Thomas Easterly, the photographer of this image, was well known for his attempts to depict his sitters realistically. His subjects inhabit most of the frame, giving us the opportunity to see their faces in detail. By the 1860s, many commercial galleries owned collections of Indian props, including full costumes, which they used without regard to tribal customs. Easterly’s portraits do not show evidence of this practice; he was not interested in creating images to serve as “novelty.” Easterly was devoted to the documentary style and to the daguerreotype, even when more advanced photography techniques were developed.
---From: www.biasandtolerance.org/gallery.php?gallery=artifacts#
Please be cautious: This is a gruesome, descriptive story.
Okay, enjoy.
My eyes widen and flit to the door as the knob turns and opens, letting in a slit of light. I squint against the gleam shining from the metal carelessly tossed about the small, low-ceilinged room. My heartbeat quickens and pounds; feels like it’s about to burst out of my chest. I wriggle and try to scream as he walks toward the table, but silver duck tape stops the yell at my my throat; metal chains restrain my legs and arms. Still, I fight against the rusted iron and tears slip from my eyes in frustration.
An amused glint shines in his eyes as he slowly cranks a lever that tightens my arms against the cool surface. He grabs a sharp, silver object I can’t name from a small shelf that lies against the wall. I try to shake my legs free to no avail. He takes his time walking around the table until he comes to a stop above my right my arm. More tears fall from my eyes as I stare into his cold, silver irises. I know I need to calm down, but another scream that feels like it rises from my feet, tries to tear through my closed lips.
My hands hang limp at the edge of the table from lack of blood, and he presses the sharp object against my arm, sliding it down the slick skin until he reaches the edge of my palm. He stays there for a few minutes, letting me take in my surroundings. My eyes flit from his face, the sharp object, around the darkness, and back. I can see the outline of an old lamp by a glazed window from the corner of my eye. I start to turn my head to the left, but stop in a sudden shock of pain that radiates from my wrist and scream a muffled scream.
He carves a deformed F into the thick skin, sending waves of pain that makes me thrash around with silenced screams. My thoughts scatter as my mind focuses on that one point of reality.
His lips form a smirk while he continues to tear apart my skin, shoving the infected metal deep with brute force. I try to sit still; moving is just making myself get worse wounds. Tears pool around the unyielding tape covering my mouth. Seconds, minutes of unbearable pain passes, feeling like a century. Why am I not passing out? Please. Let me pass out, I think.
But before my prayer can be granted, he stops and laughs. My screams turn into whimpers, and I look from his disgust-filled eyes to my arm. My eyes widen as I take in the word, the scars that will always be with me; FREAK. He throws the blood-stained metal piece onto my chest and walks to the door with heavy thumps. He turns and looks at me with those silver eyes I once thought were kind, caring, beautiful.
“Freak.”
And with that, he shuts the door and leaves me alone in the damp room. I lay there, resisting the dark that threatens to over take me. But as the seconds pass, I get weaker and weaker from loss of blood. So I let the burning pain and cold silence drag me into the uncaring darkness. I let my mind go numb and the tears spill over with a wretched sob..
I stay there, laying in a world of black pain.
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Don't worry, I don't think I'm a freak and I don't usually write things like this.
But, this was a dream I had a few nights ago. I guess you can call it a nightmare lol
It felt real though, and even though I usually forget everything, I remembered this with perfect clarity. So I decided to write it up as a story and share it with the Flickr community.
Hope I didn't creep you out too much ;) ♥
All Rights Reserved
Descriptive Title: Muscles.
Technique: engraving/etching
Dimensions: 10 x 22 cm.
Digital ID: RBAI040-0003
Scope and Content: Muscles, superioficial view. Male figure, lateral view.
General: Figure shown in a landscape.
General: Illustration serves as head-piece. Repeated at p. 1, 11, 60, 91, 103.
This plate is taken from the book:
Title: Myotomia reformata
Author: Cowper, William, 1666-1709
Published: London : Printed for Robert Knaplock, and William and John Innys ...; and Jacob Tonson ..., 1724
Part of the digital collection Anatomia 1522-1867 located at link.library.utoronto.ca/anatomia/application/index.cfm
A descriptive catalogue of choice vegetable, flower, and agricultural seeds /.
Boston, MA :Curtis & Cobb..
Possible/probable descriptive text associated with 107P-KSC-66P-300:
"Lift off of Saturn Mission SA-203, the second in the up-rated Saturn I development mission series, was accomplished from the Cape's Launch Complex 37 at 10:53 a.m., July 5, 1966.
The up-rated Saturn I - consisting of an S-IB stage, S-IVB stage, and an instrument unit - boosted an unmanned payload into an original orbit of 185 by 189 kilometres. The inboard engine cut-off of the first stage occurred after 2 minutes 18 seconds of flight and the outboard engine cut-off was 4 seconds later. The S-IVB engine burned 4 minutes 50 seconds. No recovery was planned and the payload was expected to enter the earth's atmosphere after about four days."
An absolutely stunning photograph.
In the Prague ZOO there are descriptive labels of the birds living in nature in Czech republic. While I was waiting to take a picture of another bird, this small tit arrived close to me and sat exactly on its own descriptive label. Just a case or maybe they are smarter than we can imagine? :)