Bain News Service,, publisher.

At start of plane mail service

[between ca. 1915 and ca. 1920]

1 negative : glass ; 5 x 7 in. or smaller.

Notes:

Title from data provided by the Bain News Service on the negative.

Forms part of: George Grantham Bain Collection (Library of Congress).

Format: Glass negatives.

Rights Info: No known restrictions on publication.

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.26825

Call Number: LC-B2- 4590-6

Identifier: SFFf-1989013.181122

Description: A group of youngsters photographed outside. Fauske's studio back cloth can be seen behind the group.

Medium: Glass plate negative

Extent: 13 x 18 cm

Photographer: Olai Fauske

Number:

179362

Date created:

1997

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Description:

Front row: 1) Golden; 2) Lovejoy; 3) Meshinchi; 4) Neuhaus; 5) Dover; 6) McMillan; 7) Reis; 8) Siberry; 9) Robin; 10) Ko; 11) Torjesen.

Second row: 1) Loeb; 2) LaRosa; 3) Kumer; 4) LaBella; 5) Snead; 6) Barker; 7) Choukair; 8) Nguyen.

Third row: 1) Rice; 2) Schamber; 3) Straub; 4) Goodstein; 5) Johnson; 6) Kaufman; 7) Ebel; 8) Iannone. Fourth row: 1) O'Brien; 2) Sessions; 3) Jacobsohn; 4) McCurley; 5) Keefer; 6) Metcalf; 7) Curet; 8) Naiman; 8) Ahn; 9) Mehra; 10) Rosenthal. Fifth row: 1) Ganunis; 2) Krugman; 3) Barbe; 4) Barbe; 5) Brown; 6) Mailander; 7) Wong; 8) Hofert; 9) Ashman; 10) Chiello. Back row: 1) Macauley; 2) Vickers; 3) Leary; 4) Hirshfeld; 5) Sharkey; 6) Roberts; 7) Alexander; 8) Goldstein; 9) Chaitovitz; 10) Cabana.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital. Department of Pediatrics--People

Golden, William Christopher

Lovejoy, John Cooper

Meshinchi, Soheil

Neuhaus, Ellen M.

Dover, George

McMillan, Julia

Reis, Brijit Meehan-Bert

Siberry, George Kelly

Robin, Beverley

Ko, Lydia

Torjesen, Kristine A.

Loeb, David Mark

LaRosa, Angela Rose

Kumar, Gaurav

LaBella, Cynthia Rose

Snead, Katie L.

Barker, Piers Christopher

Choukair, Mary K.

Nguyen, Theresa T. H.

Rice, James W.

Schamber, Pamela Christine

Straub, Diane Marie

Goodstein, Miriam R.

Johnson, Mary Heather

Kaufman, Beth Dawn

Ebel, Beth E.

Iannone, Robert

O'Brien, Colleen Hope

Sessions, Jessica Christine

Jacobsohn, David Alex

McCurley, Robert Skyler

Keefer, Jeffrey Renn

Metcalf, Teri S.

Curet-Salim, Maria Theresa

Naiman, Beverly

Ahn, Sook Hee

Mehra, Munisha

Rosenthal, Marjorie Sue

Ganunis, Travis F.

Krugman, Scott Daniel

Barbe, John David

] Brown, Robert Clark

Mailander, Mary Catherine

Wong, Hui-Hsing

Hofert, Sheila Mohajer

Ashman, Rosemary Isabel

Chiello, Christine

Macauley, Robert C. Jr.

Vickers, Rebecca F.

Leary, Margaret A.

Hirshfeld, Amy Babcock

Sharkey, Martha Ann

Roberts, Wendy Burk

Alexander, Diana Cecelia

Goldstein, Mitchell Alan

Chaitovitz, Susan Joan

Cabana, Michael D.

Group portraits

Portrait photographs

Notes: Photographer unknown.

Local Accession Number: 11_07_003621

Title: Blind boys feel models of human fetuses at Perkins School for the Blind, Watertown

Creator/Contributor: Grant, Spencer, 1944- (Photographer)

Genre: Slides; Group portraits

Date created: 1980

Physical description: 1 slide : color ; 35 mm.

General notes: Title from photographer caption.

Subjects: Blind persons; Medical equipment & supplies; Mannequins

Collection: Spencer Grant Collection

Location: Boston Public Library, Print Department

Rights: Copyright (c) Spencer Grant

Oil on canvas; 60 x 76.2 cm.

Morris Topchevsky was born in Bialystock, Poland. His father immigrated to the United States in 1910, and the rest of the family followed later. Four of the Topchevsky children perished in the Bialystock pogroms of 1905. Topchevsky studied art at the Hull House and the School of the Art Institute of Chicago. His teachers were Enella Benedict and Albert Krenbiel. In 1925, he traveled to Mexico with Jane Addams to visit poor neighborhoods and to meet with local leaders. During his studies, Topchevsky worked as a billboard designer and painter. When he became ill from toxic paint, his doctor advised him to move to a better climate to improve his health. In 1926, he traveled back to Mexico.

His experiences in Mexico had a dramatic influence on his career. He was inspired by the Aztec and Maya sculptures and by the Mexican muralists Diego Rivera (1886-1957) and José Clemente Orozco (1883-1949). When Topchevsky returned to Chicago during the Depression, he applied the social messages and monumental effect of the Mexican muralists to his work. His works expressed the agony of the unemployed and scenes of Chicago’s industrial areas. In 1936, he painted the mural North American Children Working in Holmes School in Oak Park, Ill.

Topchevsky was the most politically radical artist of those who contributed to A Gift to Biro-Bidjan. In the book Art of Today: Chicago, 1933 (written by J.Z. Jacobson and published by L.M. Stein), he boldly revealed his revolutionary ideas: At the present time of class struggle, danger of war and mass starvation, the artist cannot isolate himself from the problems of the world, and the most valuable contribution to society will come from the artists who are social revolutionists.

In all my work I have felt that movement of masses of people is the most important element. At first it was because I was fascinated by the problem it afforded. At the present, and I hope in my future work, it will be a means of helping the revolutionary movement of this country and the liberation of the working masses of the entire world. In 1933, the year he was quoted, Topchevsky created the painting Century of Progress. He grotesquely displayed unemployed workers in shantytown observing the extravagant pavilions of Chicago’s World’s Fair, A Century of Progress, which celebrated the city’s 100 years of “advancement.”

Out of the Archives: In June 1923, before licenses were even required for all drivers, Board of Water Supply employees operating City-owned vehicles had these ID photos taken for their chauffeur’s license applications. Photographing 3 or 4 people at a time must have economized on time, film, and printing supplies while leaving us some interesting portraits.

Licenses for all drivers were not required in New York State until 1924.

Left to right: Laborer George C. Houck, Assistant Engineer David T. Pitkethly, Storekeeper Eben F. Vuswell, and Laborer Harold M. Oakley. (Image ID: p011050)

group (11,4x13,8inch)

No one is eighteen, not even the eighteen years old

(esther gerritsen)

Photographer: Reuben R. Sallows (1855 - 1937)

Description:

Twenty-five women, most wearing light blouses, standing in back row; nineteen men, not wearing hats, seated in foreground; back of automobile on extreme right; two trees in background; Sallows imprint on lower right corner

Object ID : 0338-rrs-ogohc-ph

Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).

French painter, sculptor, and teacher. He studied in Paris and painted melodramatic and often erotic historical and mythological compositions, excelling as a draftsman in the linear style of Jean-Auguste-Dominique Ingres. In Paris, he struggled, painting religious cards and selling them on the steps of churches in order to survive. After a few years, he left for Italy. In the late 1840s the French government gave Gérôme a monumental commission to paint the massive Age of Augustus. In preparation for this commission, he traveled extensively in Europe and Asia Minor. He spent two years working on the painting. With the money realized from this work, Gérôme indulged his wanderlust and spent several months traveling and sketching in Egypt.

His best-known works are scenes inspired by the visits to Egypt. For the last twenty-five years of his life, he concentrated on sculpture. His studio became a meeting place for artists, actors, and writers, and he was appointed a professor at the École des Beaux-Arts. Gérôme became a legendary and respected master. He exerted much influence as a teacher at the École des Beaux-Arts; his pupils included Odilon Redon and Thomas Eakins. A staunch defender of the academic tradition, he tried in 1893 to block the government's acceptance of the Impressionist works bequeathed by Gustave Caillebotte.

Number:

163800

Date created:

1943

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Front row: 1) M. Jones; 2) A. Iredell; 3) L. Schoonover; 4) N. Hutchinson; 5) L. Davis; 6) E. Botsford; 7) M. Becker; 8) J. Girton; 9) S. Smith. Second row: 1) E. McCardell; 2) L. Burman; 3) L. Elledge; 4) C. Howe; 5) B. Liggett; 6) S. Furey; 7) M. Flynn; 8) M. Hanson; 9) N. Hofsetter; 10) L. Buckley. Third row: 1) M. O'Leary' 2) V. Myers; 3) H. Kuntz; 4) B. Meek; 5) M. Upham; 6) S. Buck; 7) M. Bower; 8) M. Hall; 9) R. Larrabee. Fourth row: 1) L. Bence; 2) M. MacMillan; 3) M. Harlan; 4) L. Riherd; 5) B. Kline; 6) M. Yokum. Fifth row: 1) E. Ludwig; 2) J. Fitzpatrick; 3) R. Gilray; 4) L. Featherstone; 5) V. Jackson; 6) M. Bender. Last row, center: 1) R. Woodman; 2) M. Milliken; 3) E. Moore; 4) Miss Wolf; 5) L. Gill; 6) N. Hinz; 7) M. McClure; 8) C. Knotts. Last row, sides: 1) M. Lantz; 2) J. Phillips; 3) A. Mathys; 4) H. Wright.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital School of Nursing--People

Shotwell, Margaret Becker

Bender, Mildred K.

Greene, Eleanore Ruth Botsford

Tonjes, Marjorie Bower

Adams, Sallie Buck

Marler, Louise Buckley

Karelius, Linnea Burman

Cuthbert, Betty Liggett

Davis, Louise Evelyn

Elledge, Lillie E.

Featherston, Lila E.

Fitzpatrick, Joan

Flynn, Mary F.

Miller, Sylvania Furey

Gill, M. Lucille (Lucy)

Schmuck, Roberta Gilray

Davis, Jean Girton

Hall, Mollie O.

Hanson, Margaret Plater

Ellis, Margaret Harlan

Tittsworth, Natalie Hinz

Bowerman, Naomi Hofstetter

Rizzo, Claire Howe

e] Bunch, Nancy Hutchinson

Iredell, Ann S.

Sweeney, Virginia Jackson

Wallace, Marian Jones

Slegel, Betty Kline

Knotts, Carolyn M.

Kuntz, Mary N., 1917-

Lantz, Jessie Marie

Seehausen, Regena Larrabee

Sprow, Ellen Ludwig

Skeggs, Mabel MacMillan

Fuller, Anne Mathys

Hohman, Ethel McCardell

Hodgkinson, Mary McClure Stearns

Daniels, Betty Meek

Swoope, Margaretha Milliken

Griffith, S. Evelyn Moore

Myers, Vertie Elizabeth

Palmer, Marie O'Leary

Bence, Julia E. Philips

Geiger, Lucile Riherd

Sanford, Jane

Schoonover, Lillian B.

Leach, Sarah Smith

Upham, Margory Christine

Stein, Ruth E. Woodman

Wright, Helen Gene

Yocum, Margaret A.

Nursing students--Maryland--Baltimore--1940-1950

Nurses--Maryland--Baltimore--1940-1950

Graduation ceremonies--Maryland--Baltimore--1940-1950

Portrait photographs

Group portraits

Notes: Photographer unknown.

Number:

179387

Date created:

1999

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Description:

Front row, from left to right: 1) Powell; 2) Scherer; 3) Vasan; 4) Siberry; 5) McMillan; 6) Dover; 7) Iannone; 8) McWilliams; 9) Gesualdo; 10) Roberts.

Second row, from left to right: 1) Reed; 2) Peddy; 3) Aggarwal; 4) Brown; 5) Fields; 6) Robin; 7) Chiang; 8) Yao; 9) Makker; 10) Lewis.

Third row, from left to right: 1) Straub; 2) Hofert; 3) Reimschisel; 4) Greg; 5) Jacobsohn; 6) Choukair; 7) Sard; 8) Snell; 9) Arana; 10) McCurley.

Fourth row, from left to right: 1) Suzuki; 2) Gossett; 3) Erikson; 4) Fleischer; 5) Clendenin; 6) K. Yohay; 7) Law; 8) Koenig; 9) Cristofalo; 10) O'Riordan.

Fifth row, from left to right: 1) Ensor; 2) Ebel; 3) Lantz; 4) Pai; 5) Hirshfeld; 6) Ellison; 7) Schamber; 8) Kaufman; 9) Sessions; 10) Raffini.

Back row, from left to right: 1) Fadrowski; 2) Soergel; 3) Agrawal; 4) Nechyba; 5) A. Yohay; 6) Van Voorhis; 7) Gunn; 8) Rigby; 9) Baggett.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital. Department of Pediatrics--People

Powell, Kristina Nevin

Sherer, Susan Denys

Vasan, Sandhya

Siberry, George Kelly

McMillan, Julia

Dover, George

Iannone, Robert

McWilliams, Deborah Bohn

Gesualdo, Lisa Ann

Roberts, Wendy Burk

Reed, Erica Kristine

Peddy, Stacie Bershak

Aggarwal, Sanjay Kumar

Brown, Patrick Andrew

Fields, Michael Jay

Robin, Beverley

Chiang, Lydia Ko

Yao, Tong-Yi

Makker, Manisha

Lewis, Karen Elizabeth

Straub, Diane Marie

Hofert, Sheila Mohajer

Reimschisel, Tyler E.

Garg, Ruchira

Jacobsohn, David Alex

Choukair, Mary K.

Sard, Brian Eric

Snell, Julie Elizabeth

McCurley, Robert Skyler

Suzuki, Manaji Mary

Gossett, Jeffrey Gale

Erikson, Dana Wray

Fleischer, David Mark

Clendenin, Colleen Sue

Yohay, Anne-Lise Jacobsen

Yohay, Kaleb Hayim

Law, Paul Aubrey

Koenig, Allison Jill

Cristofalo, Elizabeth Adele

O'Riordan, Declan Patrick

Ensor, Allison Marie

Ebel, Beth E.

Lantz, Karen Elisabeth

Pai, Namrata

Hirshfeld, Amy Babcock

Ellison, Angela Michelle

Schamber, Pamela Christine

Kaufman, Beth Dawn

Sessions, Jessica Christine

Raffini, Leslie Jane

Fadrowski, Jeffrey John

Soergel, David Griffin

Agrawal, Hans R.

Nechyba, Christian Alexander

Van Voorhis, Kerry Thomas

Gunn, Veronica Lawson

Rigby, Mark Ransford

Baggett, Henry Clifford III

Pediatricians

Group portraits

Portrait photographs

Notes: Photographer unknown.

Alexandre Nikolayevich Benois was an influential artist, art critic, historian, preservationist, and founding member of Mir iskusstva. His influence on the modern ballet and stage design is considered seminal. He was born into the artistic and intellectual Benois family. Alexandre's father and brother Leon Benois were noted architects. Alexandre didn't plan to devote his life to art and graduated from the Faculty of Law, St. Petersburg University. Three years later, while in Versailles, he painted a series of watercolors depicting Last Promenades of Louis XIV. When exhibited by Pavel Tretyakov they brought him to attention of Sergei Diaghilev and Leon Bakst. Together they founded the art movement Mir iskusstva which aimed at promoting the Aesthetic Movement and Art Nouveau in Russia.

During the 1910s, Benois continued to edit Mir iskusstva and pursue his scholarly interests. He printed several monographs on 19th-century Russian art. From 1918 to 1926, he ran the gallery of Old Masters in the Hermitage Museum. In 1903, he printed his illustrations to Pushkin's Bronze Horseman which have since been recognized as one of the landmarks in the genre. In 1901, Benois was appointed scenic director of the Mariinsky Theatre. Since then, he devoted most of his time to stage design and decor. Although he worked primarily with Diaghilev for the Ballets Russes, he simultaneously collaborated with the Moscow Art Theatre and other notable theatres of Europe.

Cabinet card. Plain back.

Bought from an eBay seller in Winsen, Germany.

Photographer: Reuben R. Sallows (1855 - 1937)

Description:

Studio portrait of two young boys, full-length, facing front; boy on left stands holding handles of wheelbarrow; boy on right is seated in wheelbarrow; both boys wear dark jackets, knickers and caps, black stockings and boots; Sallows imprint in bottom right corner of matte

Object ID : 0509-rrs-ogohc-ph

View additional photographs by Sallows that are held in other collections at the Reuben R. Sallows Digital Library.

Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).

(what I did this afternoon to avoid paperwork)

And Chloe wasn't interested.

Family Portrait. Photograph.

Written on reverse:

One & All

André Derain, (b. June 10, 1880, Chatou, France—d. September 8, 1954, Garches), French painter, sculptor, printmaker, and designer who was one of the principal Fauvists.

Derain studied painting in Paris at the Académie Carriere from 1898 to 1899. He developed his early style in association with Maurice de Vlaminck, whom he met in 1900, and with Henri Matisse, who had been Derain’s fellow student at the Académie Carriere. Together with these two painters, Derain was one of the major exponents of Fauvism from 1905 to 1908. Like the other artists who worked in this style, he painted landscapes and figure studies in brilliant, sometimes pure colours and used broken brushstrokes and impulsive lines to define his spontaneous compositions.

Derain broke with Fauvism in 1908, when he was temporarily influenced by the works of the Post-Impressionist painter Paul Cézanne. Derain worked for a few years in a stylized form of Cubism, but by the 1920s his paintings of nudes, still lifes, and portraits had become increasingly Neoclassical, and the spontaneity and impulsiveness that had distinguished his earlier work gradually disappeared. His art underwent virtually no change after the 1920s, though his more conservative style brought him financial success.

Derain had considerable ability as a decorator and created theatrical designs, notably for the Ballets Russes. He also produced numerous book illustrations, often in woodcut, for works by authors such as François Rabelais, Antonin Artaud, and André Breton.

Photographer: Reuben R. Sallows (1855 - 1937)

Description:

Studio portrait of man and woman, full-length, facing front; woman standing on left wears long black dress, trimmed with black velvet, white collar; man seated on right wears black jacket, buttoned at top, black pants, boots and glove on right hand, holds book in lap; painted backdrop; floral carpet in foreground; Sallows imprint on back of photocard

Object ID : 0539-rrs-ogohc-ph

Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).

Number:

179349

Date created:

1996

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Description:

Front row: 1) Hom; 2) Torjesen; 3) McMillan; 4) Barone; 5) Dover; 6) Domenech; 7) Ahn; 8) Curet; 9) O'Grady; 10) Gerald; 11) Misra.

Second row: 1) Chiello; 2) Siberry; 3) Sills; 4) Cabana; 5) Neuhaus; 6) Slote; 7) Naiman; 8) Wong.

Third row: 1) Kruse; 2) Bardwell; 3) Kadan; 4) LaRosa; 5) Lee; 6) O'Brien; 7) Levey; 8) Metcalf.

Fourth row: 1) Sharkey; 2) Gould; 3) Nguyen; 4) Cuervo; 5) Ferran; 6) Nunez; 7) Crocetti.

Fifth row: 1) Macauley; 2) Jacobs; 3) Meshinchi; 4) Rockcress; 5) Rice; 6) Loeb; 7) Johnson; 8) Leary; 9) Chaitovitz; 10) Ganunis.

Back row: 1) Lovejoy; 2) Barbe; 3) Rosenthal; 4) Mailander; 5) Dudas; 6) Snead; 7) Kumar; 8) Krugman; 9) Barker; 10) Saha.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital. Department of Pediatrics--People

Hom, Xenia B.

Torjesen, Kristine A.

McMillan, Julia

Barone, Michael A.

Dover, George

Domenech, Laura

Ahn, Sook Hee

Curet-Salim, Maria Theresa

O'Grady, Denise Maryann

Gerald, Laura Iris Nadine

Misra, Vinod Kumar

Chiello, Christine

Siberry, George Kelly

Sills, Marion Ruth

Cabana, Michael D.

Neuhaus, Ellen M.

Slote, Adam Y.

Naiman, Beverly

Wong, Hui-Hsing

Kruse, Debra Lynne

Bardwell, Susan A.

Kadan, Nina Singh

LaRosa, Angela Rose

Lee, Lucia H.

O'Brien, Colleen Hope

Levey, Eric B.

Metcalf, Teri S.

Sharkey, Martha Ann

Gould, Rebecca B.

Nguyen, Theresa T. H.

Cuervo, Elizabeth Halstead

Ferran, Diane A.

Nunez, Jeanne Sabine

Crocetti, Michael T.

Macauley, Robert C. Jr.

Jacobs, Rebecca F.

Meshinchi, Soheil

Rockcress, Beth R.

Rice, James W.

Loeb, David Mark

Johnson, Mary Heather

Leary, Margaret Chaitovitz, Susan Joan

Ganunis, Travis F.

Lovejoy, John Cooper

Barbe, John David

Rosenthal, Marjorie Sue

Mailander, Mary Catherine

Dudas, Robert Arthur

Snead, Katie L.

Kumar, Gaurav

Krugman, Scott Daniel

Barker, Piers Christopher

Saha, Prantik

Pediatricians

Group portraits

Portrait photographs

Notes: Photographer unknown.

Telemaco Signorini was an Italian artist who belonged to the group known as the Macchiaioli. He was born in Florence, and with the encouragement of his father, a court painter for the Grand Duke of Tuscany, he decided to study painting. In 1852 he enrolled at the Florentine Academy, and by 1854 he was painting landscapes en plein air. The following year he exhibited for the first time. In 1855, he began frequenting the Caffè Michelangiolo in Florence, where he met Giovanni Fattori, Silvestro Lega, and several other Tuscan artists who would soon be dubbed the Macchiaioli. The Macchiaioli, dissatisfied with the antiquated conventions taught by the Italian academies of art, started painting outdoors in order to capture natural light, shade, and color. They were forerunners of the French Impressionists.

Signorini was a volunteer in the Second Italian War of Independence in 1859, and afterwards painted military scenes which he exhibited in 1860 and 1861. He made his first trip outside Italy in 1861 when he visited Paris, to which he would often return . There he met Degas and a group of expatriate Italian artists, including Giovanni Boldini. He became not only one of the leading painters of the Macchiaioli, but also their leading polemicist. Art historian Giuliano Matteucci has written: "If we acknowledge Fattori and Lega as the major creative figures of the macchiaioli, then Signorini must surely be recognized as their 'deus ex machina'", describing his role as "that of catalyst and energetic doctrinarian. In transforming attention away from history painting and the academic portrait towards a new poetical interpretation of natural landscape, the part of Signorini was of fundamental consequence to macchiaioli painting.

Easter Vigil Mass

Baptism RCIA 2020/2021 Mandarin

Celebrant: Father Martin Then, CDD and Father Andrew Wong, CDD

Outdoor group portrait of children and adults in Hungary, 1940s, dressed for a formal or community event.

Vasily Ivanovich Surikov was the foremost Russian painter of large-scale historical subjects. His major pieces are among the best-known paintings in Russia. He was born in Krasnoyarsk, Siberia, where a monument to him was recently opened by his great-grandsons. In 1869-1871 he studied under Pavel Chistyakov at the Imperial Academy of Arts.

In 1877, Surikov settled in Moscow, where he contributed some imposing frescoes to the Cathedral of Christ the Savior. In 1881 he joined the Peredvizhniki movement. From 1893 he was a full member of the St.Petersburg Academy of Arts. Surikov painted images from Russia's past that focused on the lives of ordinary people. His works are remarkable for the original way in which they represent space and movements of people. In some cases he seems to have painted the same image in more than one size, probably as a prototype to a bigger image which he has in his mind, or he may have liked the smaller version so much that he decided it would look nicer when enlarged.

From l., Maude Inness, Jake Hartrampf Ruth J. Meade B. Gertrude I. Rufus T. Helen F. Dr. Dann Delos Thomas

front: JLB (my grandmother) kneeling, Fred B. Edna I. Ray Anderson, Helen R. Edward I , in front.

**

There is part of a series from a whole album of photos that belonged to my Grandfather called "Stone's Cottage." What was Stone's Cottage? I don't know. The pictures are charming snapshots of life for young professionals in the early 1900s.

Most of the ladies were new schoolteachers. Most of the men were bankers and lawyers. My grandfather posed, lit , shot and developed the photographs, so he is rarely portrayed here.

It is his eye through which we see.

*

This is a series of photographs from around 1910 staged and shot by my grandfather. My grandmother is crouching on the left. They had just met. Nothing like fooling around with your friends. I found this series of photo that I am calling "Stone Cottage" after my mother died. A lot of sleuthing around on flickr and other photo archives helped me to place the photos a bit better in time and place. My Grandfather died when I was very young. Studying his albums has allowed me to know him as a person and an artist. What a wonderful gift.

*

"Each person who ever was or is or will be has a song. It isn't a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their song instead."

~Neil Gaiman

*

"Every life is inexplicable, I kept telling myself. No matter how many facts are told, no matter how many details are given, the essential thing resists telling. To say that so and so was born here and went there, that he did this and did that, that he married this woman and had these children, that he lived, that he died, that he left behind these books or this battle or that bridge - none of that tells us very much."

~Paul Auster

*

Photographer: ?

Date: ? 1909 -1912

Location: Bucharest, Romania

The portrayed: Group of professors at the Bucharest's Faculty of Medicine; the second from left, in the sitting row, seems to be Thoma Ionescu (1860-1926), the great surgeon and anatomist (at that time dean of the medical school ( ro.wikipedia.org/wiki/Thoma_Ionescu) (; the first from left (half of face, only), in the standing row, probably is Nicolae Paulescu(http://en.wikipedia.org/wiki/Nicolae_Paulescu ) (1869-1931;one of the discoverers of Insulin) (he became professor of medicine in 1900)(; the little bald gentleman, with black moustache, fourth from left, in the standing row, is, for sure, Alexandru Obregia, the psychiatrist; he became professor of medicne in 1909; the photo was from his album.

Help from Romanian historians of medicine, would be very welcome.

Format: remains of a bigger photo, on cardboard; although in a deplorable state, I feel it to be too interesting, not to be known.

(By courtesy of Mrs. Lilian Theil)

Lovely Family from Swampscott, MA with Relatives from California on Commonwealth Avenue Mall, Boston, MA

Dario Ortiz is a Colombian neo-realistic artist known for his contemporary compositions based on classic subjects. He is a leading figure of the Renaissance of the contemporary narrative art in Latin America. He is a self taught artist. Between 1990 and 1991 he studied History and Art Appreciation in the Jorge Tadeo Lozano University; Contemporary art with the Art Critic Juan Carlos Conto. He won an award in the II Artistic World Art-Vie in Paris (1990) and another in the XI Italy prize for the visual arts in Florence (1996). “His paintings are complex interplays of forms in space that document an emotional as well as a physical process and are as disturbing as they are convincing in their reality.” said art critic Carol Damian Director of The Frost Art Museum of Miami.

Mayday 1919

*

"At every moment, behind the most efficient seeming adult exterior, the whole world of the person's childhood is being carefully held like a glass of water bulging above the brim. And in fact, that child is the only real thing in them. It's their humanity, their real individuality, the one that can't understand why it was born and that knows it will have to die, in no matter how crowded a place, quite on its own. That's the carrier of all the living qualities. It's the center of all the possible magic and revelation."

- Ted Hughes

"And that's how we measure out our real respect for people - by the degree of feeling they can register, the voltage of life they can carry and tolerate - and enjoy. End of sermon. As Buddha says: live like a mighty river. And as the old Greeks said: live as though all your ancestors were living again through you."

- Ted Hughes

Henri Cartier-Bresson (August 22, 1908 – August 3, 2004) was a French photographer considered to be the father of modern photojournalism. He was an early adopter of 35 mm format, and the master of candid photography. He helped develop the "street photography" or "life reportage" style that has influenced generations of photographers who followed.

Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of five children. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother's family were cotton merchants and landowners from Normandy, where he spent part of his childhood. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, near Le Pont de l Europe (the Europe Bridge), the point where six major avenues crossed, leading out in all directions: the Rue de Berne, the Rue de St. Petersbourg, the Rue de Constantinople, the Rue de Madrid, the Rue de Vienne (Vienna), the Rue de Londres (London), and the Rue de Berlin.[1] His parents were able to provide him with financial support to develop his interests in photography in a more independent manner than many of his contemporaries. Cartier-Bresson also sketched in his spare time.

As a young boy, Cartier-Bresson owned a Box Brownie, using it for taking holiday snapshots; he later experimented with a 3×4 inch view camera. He was raised in a traditional French bourgeois fashion, required to address his parents using the formal vous rather than the familiar tu. His father assumed that his son would take up the family business, but the youth was strong-willed and upset by this prospect.

He attended École Fénelon, a Catholic school that prepared students to attend Lycée Condorcet. The proctor caught him reading a book by Rimbaud or Mallarmé, and reprimanded him: "Let's have no disorder in your studies!" Cartier-Bresson said, "He used the informal 'tu'-which usually meant you were about to get a good thrashing. But he went on: 'You're going to read in my office.' Well, that wasn't an offer he had to repeat."[2]

In 1952, Cartier-Bresson published his book Images à la sauvette, whose English edition was titled The Decisive Moment. It included a portfolio of 126 of his photos from the East and the West. The book's cover was drawn by Henri Matisse. For his 4,500-word philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz: "Il n'y a rien dans ce monde qui n'ait un moment decisif" ("There is nothing in this world that does not have a decisive moment"). Cartier-Bresson applied this to his photographic style. He said: "Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.").[8]

Both titles came from publishers. Tériade, the Greek-born French publisher whom Cartier-Bresson idolized,[peacock term] gave the book its French title, Images à la Sauvette, which can loosely be translated as "images on the run" or "stolen images." Dick Simon of Simon & Schuster came up with the English title The Decisive Moment. Margot Shore, Magnum's Paris bureau chief, did the English translation of Cartier-Bresson's French preface.

"Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative," he said. "Oop! The Moment! Once you miss it, it is gone forever."[9]

Cartier-Bresson held his first exhibition in France at the Pavillon de Marsan in the Louvre in 1955.

Cartier-Bresson died in Montjustin (Alpes-de-Haute-Provence, France) on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery and was survived by his wife, Martine Franck, and daughter, Mélanie.

Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish civil war, the liberation of Paris in 1944, the 1968 student rebellion in Paris, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the Berlin Wall, and the deserts of Egypt. And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Pound and Giacometti. But many of his most renowned photographs, such as Behind the Gare St. Lazare, are of ordinary daily life, seemingly unimportant moments captured and then gone.

Cartier-Bresson was a photographer who hated to be photographed and treasured his privacy above all. Photographs of Cartier-Bresson do exist, but they are scant. When he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed.[2] In a Charlie Rose interview in 2000, Cartier-Bresson noted that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous.[12]

Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again.

In 2003, he created the Henri Cartier-Bresson Foundation with his wife and daughter to preserve and share his legacy.

en.wikipedia.org/wiki/Henri_Cartier-Bresson

Number:

179346

Date created:

1995

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Description:

Front row: 1) Loomes; 2) Shim; 3) Price; 4) Girman; 5) Gajary; 6) Reis; 7) Fragetta; 8) Dover; 9) McMillan; 10) Brubaker; 11) Wright; 12) Bucchieri; 13) Vienna.

Second row: 1) Kwiatowski; 2) Rheingold; 3) Goodman; 4) Bogen; 4) Ginsberg; 5) Beck; 6) Koch; 7) Phillips; 8) Sibinga; 9) Hom.

Third row: 1) Cabana; 2) Cuervo; 3) Gould; 4) Bardwell; 5) Shoves; 6) Goodstein; 7) Johns; 8) Brinkmann; 9) Sills; 10) Ratanawongsa.

Fourth row: 1) LaBella; 2) Snead; 3) Kruse; 4) Chaitovitz; 5) Nguyen; 6) Leary. Fifth row: 1) Torjesen; 2) Crocetti; 3) Marino; 4) Meshinchi; 5) Rice; 6) Loeb; 7) Chen.

Back row: 1) Brown; 2) Dudas; 3) Levey; 4) Slote; 5) Gilbert; 6) Lee; 7) Saha; 8) Hearns; 9) Clemens.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital. Department of Pediatrics--People

Loomes, Kathleen M.

Shim, Hyunbo H.

Price, Laura

Girman-Ratan, Andrea Marie

Gajary, Zia L.

Reis, Brijit Meehan-Bert

Fragetta, James E.

Dover, George

McMillan, Julia

Brubaker, Gillian L.

Wright, Gail Elizabeth

Viennas, Zaharoula A.

Kwiatkowski, Janet L.

Rheingold, Susan Robbins

Goodman, Stanton C.

Bogen, Debra L.

Ginsberg, Jill Phillips

Beck, Valerie Anne

Phillips, Susan A.

Sibinga, Erica M.

Hom, Xenia B.

Cabana, Michael D.

Cuervo, Elizabeth Halstead

Gould, Rebecca B.

Bardwell, Susan A.

Shores, Jennifer Clare

Goodstein, Miriam R.

Johns-Femino, Christina

Brinkmann, Kirsten M.

Sills, Marion Ruth

Ratanawongsa, Boosara

LaBella, Cynthia Rose

Snead, Katie L.

Kruse, Debra Lynne

Chaitovitz, Susan Joan

Nguyen, Theresa T. H.

Torjesen, Kristine A.

Crocetti, Michael T.

Marino, Bradley S.

Meshinchi, Soheil

Rice, James W.

Loeb, David Mark

Chen, Kathleen J.

Brown, Robert Clark

Dudas, Robert Arthur

Levey, Eric B.

Slote, Adam Y.

Gilbert, Donald L.

Lee, Lucia H.

Saha, Prantik

Hearns, Michelle L.

Clemens, Christopher T.

Pediatricians

Group portraits

Portrait photographs

Notes: Photographer unknown.

Oil on Canvas; 85 × 69 cm (33.46 × 27.17 in)

One of the leading Austrian painters of the Biedermeier period. He studied at the Vienna Academy. He lived in Bratislava, then worked as a teacher of art in the house of Count Gyulay. After his return to Vienna, he copied pictures of old masters, and painted portraits, genre subjects, and still-life, but is perhaps best known for his landscapes, which in their loving attention to detail illustrate his belief that the close study of nature should be the basis of painting. He became the most significant representative of Biedermeier: he was second to none in depicting nature in delicate colours. His many genre-pictures are also significant. He became a teacher of the Vienna Academy. However, his views were in opposition to the official doctrines of ideal art promulgated by the Vienna Academy, and after he had published his works on art education, he was forced to retire in 1857. He was rehabilitated in 1863.

Keith, John Frank, 1883-1947, photographer.

ca. 1910-1940

1 photographic print : gelatin silver; 14 x 9 cm. (5.5 x 3.5 in.)

Image provided for reference purposes. Please visit our rights and reproductions website for information about obtaining publication-quality reproductions: www.librarycompany.org/collections/rightsrepro/index.htm.

Oil on burlap; 190 x 285 cm.

Anselm Kiefer is a German painter who became one of the most prominent figures in the Neo-Expressionist art movement of the late 20th century.

Kiefer abandoned his law studies at the University of Freiburg in 1966 to pursue art. He subsequently studied at art academies in Freiburg, Karlsruhe, and Dusseldorf. In the latter city in 1970 he became a student of the conceptual artist Joseph Beuys, who encouraged Kiefer’s early use of symbolic photographic images to deal ironically with 20th-century German history. Beuys also encouraged Kiefer to paint, and in such huge paintings as “Germany’s Spiritual Heroes” (1973) and “Operation Sea Lion” (1975) Kiefer was able to develop an array of visual symbols by which he could comment with irony and sarcasm on certain tragic aspects of German history and culture, in particular the Nazi period. These paintings used garish, somber colors and coarse, naive drawing, but they did achieve powerful effects owing to their imaginative allusions to Nazism. In the 1970s he also painted a series of landscape vistas that capture the rutted and somber look of the German countryside and that use linear perspective with great dramatic effect.

Kiefer’s landscapes and interiors done in the 1980s acquired an intense physical presence by means of perspectival devices and the incorporation of unusual textures on the surface of the painted canvas. Though Kiefer continued to treat Germany’s Nazi past in such paintings as “Interiors” (1981), the range of his themes broadened to include references to ancient Hebrew and Egyptian history, as in the large painting “Osiris and Isis” (1985–87).

Taken near Pisaq, Peru. © 2013 All Rights Reserved.

My images are not to be used, copied, edited, or blogged without my explicit permission.

Please!! NO Glittery Awards or Large Graphics...Buddy Icons are OK. Thank You!

I'm posting some more photos from a two-week trip to Peru November 24 to December 7, 2001.

This was a year and a half before my first digital camera and so have been scanned from prints.

Monday we flew into Cusco and bussed to Wilka Ti'ka, near Urubamba, where we slept all week, Tuesday we explored Ollantaytambo, Wednesday three of us taxied to Chinchero, and now it's Thursday, market day at Pisaq. But first our group hiked up to the archeological site high above the town. There our group of tourists from Montana met a group of touring schoolchildren from Cusco.

We had to have a group portrait!

Have a bright and cheerful day, my Flickr friends! Thanks so much for your visits and sharing my experience in Peru with me. I'll be posting all the photos I wish to scan from this trip in the next week or two. I hope it's not an overdose for you!

ODT - group of people

Albumen print. 6.9 x 10.7 cm.

Bought from an eBay seller in Old Kilpatrick, Dunbartonshire, Scotland.

Number:

179495

Date created:

1988

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Description:

Front row, from left to right: 1) DeAngelis; 2) Barnes; 3) Oski.

Second row, from left to right: 1) Lewis; 2) Zuckerberg; 3) McColley; 4) Resar; 5) Fasano; 6) Atton; 7) May; 8) McGrath-Morrow.

Third row, form left to right: 1) Reardon; 2) Keller; 3) Solow; 4) Wong; 5) Kapphahn; 6) Markel; 7) Scharfstein; 8) Ballaban; 9) Livingston.

Fourth row, from left to right: 1) Greene; 2) Cortese; 3) Cooke; 4) Christenson; 5) Daft; 6) Morrison; 7) Bazell; 8) Bernstein; 9) Pao; 10) Scheel; 11) Hart.

Fifth row, from left to right: 1) Orel; 2) Besser; 3) Broadbent; 4) Ragheb; 5) Baldwin; 6) Egan; 7) Thomas; 8) Elder; 9) Wittpenn; 10) Pearson; 11) Shenker.

Back row, from left to right: 1) Duggan; 2) Wechsler; 3) Molrine; 4) Orzech; 5) Funkhouser; 6) Burns; 7) Flotte; 8) Shearer; 9) Johnson.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital. Department of Pediatrics--People

DeAngelis, Catherine D.

Barnes, Steven D.

Oski, Frank A

Lewis, Lisa S.

Zuckerberg, Aaron L.

McColley, Susanna A.

Resar, Linda Smith

Fasano, Mary B.

Atton, Andrew Vincent

May, Michael W.

McGrath-Morrow, Sharon Ann

Reardon, David A.

Keller, Bradley B.

Solow, Linda A.

Wong, Jackson

Kapphahn, Cynthia Joyce

Markel, Howard

Scharfstein, Suzanne King

Ballaban, Karen R.

Livingston, Robert Alan

Greene, Mary G.

Cortese, Margaret Mary

Cooke, David William

Christenson, Marie J.

Daft, Paula A.

Morrison, Leslie Anne

Bazell, Carol Martin

Bernstein, Elizabeth F.

Pao, Maryland

Scheel, Janet Nagle

Hart, Carolyn Elizabeth

Orel, Howard N.

Besser, Richard E.

Broadbent, Kenneth R.

Ragheb, Jack A.

Baldwin, Robert M.

Egan, Marie E.

Thomas, Pamela M.

Elder, Melissa A.

Wittpenn, Ann Saylor

Pearson, Ellyn B.

Shenker, Andrew

Duggan, Christopher Paul

Wechsler, Daniel S. G.

Molrine, Deborah Claire

Orzech, Bonnie L.

Funkhouser, Ann Ward

Burns, Stephanie Ann

Flotte, Terrence R.

Shearer, Patricia D.

Johnson, Kevin Brian

Pediatricians

Group portraits

Portrait photographs

Notes: Photographer unknown.

Number:

179758

Date created:

1969

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Description:

Front row, from left to right: 1) Headings; 2) Brayton; 3) Swick; 4) Jones; 5) Michra; 6) Cooke; 7) Debuskey; 8) Asnes.

Second row, from left to right: 1) Scheidt; 2) Magee; 3) Alter; 4) McCloskey; 5) Finkel; 6) Rachelefsky; 7) Bernstein; 8) Kallen; 9) Camitta; 10) Bland; 11) Suskind.

Third row, form left to right: 1) Polmar; 2) Mellies; 3) Kesler; 4) Schwarz; 5) Parks; 6) Sheff; 7) Sheff; 8) Smith; 9) Maxwell; 10) Kolsky; 11) Chesney.

Fourth row, from left to right: 1) Elliott; 2) Nissley; 3) Robinson; 4) English; 5) Simon; 6) Force; 7) Adams; 8) Brown; 9) Reider; 10) Stevenson.

Fifth row, from left to right: 1) Bucknall; 2) Lipmann; 3) Joffrion; 4) DeVoe; 5) Paige; 6) Waller; 7) Tori; 8) Myers; 9) Bowyer; 10) Thoene; 11) Kelly; 12) Holden; 13) Kerr; 14) Austin.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital. Department of Pediatrics--People

Headings, Dennis L.

Brayton, James B.

Swick, Herbert M.

Jones, Kenneth B.

Mishra, Baruni

Cooke, Robert E.

Debuskey, Buster Matthew

Asnes, Russell S.

Scheidt, Peter C.

Magee, Kenneth G.

Alter, Blanche P.

McCloskey, Keith R.

Finkel, Annette

Rachelefsky, Gary S.

Bernstein, Michael T.

Kallen, Lowell H.

Camitta, Bruce M.

Bland, Richard Suskind, Robert Polmar, Stephen H.

Mellies, Margot J.

Kesler, Richard W.

Schwarz, Milton D.

Parks, Gary A.

Sheff, Robert N.

Arnold, Bonnie Smith

Maxwell, Margaret E.

Kolsky, Neil H.

Chesney, Russell W.

Elliott, Jan A.

Nissley, Peter S.

Robinson, Lawrence D.

English, Joseph M. III

Simon, Frank A.

Force, Judson F.

Adams, Myron J.

Brown, James R.

Reider, Ronald O.

Stevenson, Roger E.

Bucknall, William E.

Lipmann, Ellen E. M.

Joffrion, Van C.

DeVoe, William F.

Paige, David M.

Waller, David A.

Tori, Carlos A.

Myers, Martin G.

Bowyer, Frank P.

Thoene, Jess G.

Kelly, P. Colin

Holden, Kenton R.

Kerr, Douglas S.

Austin, Tom L.

Pediatricians

Group portraits

Portrait photographs

Notes: Photographer unknown.

1870-1910

George & George's Federal Studio.

Group portrait of seven young women, seated, two holding tennis rackets.

Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/18545

Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures

Photograph. 5.4 x 8.2 cm [not including mount]. Plain back.

Bought from an eBay seller in Winsen, Germany.

Could that be a box camera sitting on the bench at right of frame?

81 x 65 cm

Anker was a painter and illustrator who has been called the "national painter" of Switzerland because of his enduringly popular depictions of 19th-century Swiss village life. He took early drawing lessons with Louis Wallinger in 1845–48. In 1849–51, he attended the Gymnasium in Berne. Afterwards, he studied theology, in Berne and continuing in Germany. In Germany he was inspired by the great art collections, and in 1854 he convinced his father to agree to an artistic career. He moved to Paris, where he studied with Charles Gleyre and attended the Ecole Impériale et Spéciale des Beaux-Arts in 1855–60. In 1866, he was awarded a gold medal at the Paris Salon for Schlafendes Mädchen im Walde (1865) und Schreibunterricht (1865); in 1878 he was made a knight of the Légion d'honneur.

During his studies, Anker produced a series of works with historical and biblical themes. Soon after returning to Switzerland, though, he turned the everyday life of people in rural communities. His paintings depict his fellow citizens in an unpretentious and plain manner, without idealizing country life, but also without the critical examination of social conditions that can be found in the works of contemporaries such as Daumier, Courbet or Millet. Although Anker painted occasional scenes with a social significance, such as visits by usurers or charlatans to the village, his affirmative and idealistic Christian world-view did not include an inclination to issue any sort of overt challenge.

Anker was quick to reach his artistic objectives and never strayed from his chosen path. His works, though, exude a sense of conciliation and understanding as well as a calm trust in Swiss democracy; they are executed with great skill, providing brilliance to everyday scenes through subtle choices in coloring and lighting. His work made him Switzerland's most popular genre painter of the 19th century, and his paintings have continued to enjoy a great popularity due to their general accessibility. Indeed, as a student, Anker summed up his approach to art as follows: "One has to shape an ideal in one's imagination, and then one has to make that ideal accessible to the people."

Depicts the family of five women, a man, and a boy posed in front of their two-story house with a porch, trellis, and picket fence. The boy stands next to a dog, the man sits astride a horse, and the women stand behind the fence. (The United States View Company, was established by Newton Graybill and Lewis Garman of Richfield, Pennsylvania in the 1890s. It was one of several view companies which employed operators and salesmen to photograph and sell the prints of small town residents posed in front of their homes and community buildings.) P.9253.74

Link to record on ImPAC, the Library Company’s digital collections catalog: lcpdams.librarycompany.org:8881/R/-?func=dbin-jump-full&a...

Number:

174332

Creator: Brinley of Baltimore

Date created:

1965

Extent:

1 photographic print : gelatin silver ; 11 x 14 in.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital School of Nursing--People

Acheson, Sarah Jennie

Adams, Mrs. Mary Harris

Arnsberger, Patricia L.

Austin, Mary Redburn

Benton, Denise Webster

Bernard, Elizabeth (Beth) R.

Bauman, Rae Blevins

Boldman, Alana

Boyd, Judith L.

Bruening, Susan Ellen

Burris, Judith

Caruso, Teresa

Chapman, Brenda E.

DiBagio, Julie (Julia) Clark

Davies, Linda Joan

Barber, Sherry Dence

Duford, Dorothy

Dunn, Elizabeth L.

Hood, Nancy Eddleman

Egbert, Anne Coleman

McLaughlin, Cynthia Enyedy

Fable, Mrs. Donna Stine

Ford, Claire S.

Spalla, Rebecca Furbay

Galinat, Margaret Joy

Segre, Margaret Gerber

Goyert, Linda

Greene, Leslie F.

Haldeman, Georgiann

Denny, Ann Louise Harkness

Harvey, Ann Regina

Heim, Stephanie

Hess, Kathleen L.

Leiendecker, Margaret Huff

Hultberg, Vicki E.

Hyatt, Susan

Jacobs, Nancy Ann

Solberg, Leslie James

Kistler, Anne E.

Koones, Kathleen Adams

Lesher, Marilyn Kutz

LaCroix, Donna Mexger

Landis, Carol A.

LaReau, Karen

Wilverding, Susan MacLean

McMillan, Joan

Matherly, Sandra Cummins

Hohnstein, Doris Mathis

Snyder, Marguerite Tod Motley

Ryan, Anne Mullady

Newberry, Karen

Stamoolis, Evelyn Nilsson

Norman, Barbara

Ochs, Gail Geiger

Wallace, Paula Patterson

Paul, Charlene

Perley, Judith Gail

Dempsey, Ellen Posey

Pritchard, L. Jane Greenamyre

Purnell, Jane Evans

Rees, Mary R.

Jones, Kathleen Rene Robbins

Zecha, Carol Robinson

Sands, Dorothy L.

Schmidt, Nancy E.

Jordan, Carol Schmidt

Schneider, Karen

Hermann, Stacy Schneir

Rees, Bonita Shattuck

Simmons, Valerie

Maddrey, Elizabeth (Beth) Snow

Soper, Joan R.

Staley, Barbara Hahn

Tank, Helen C.

Trump, Patricia A.

Drewer, Nancy E. (Betsy) Tyler

Voseipka, Virginia R.

Kelly, Daphne, Ware

Warmington, Mary F.

Willard, Cathy Jo

Williams, Mary C. (Mrs. George H.)

Daughtry, Elvadean Wilson

Wilson, Joan Benigna

Wiseman, Elizabeth Ann

MacRae, Jean Ann Wright

Heller, Martha Wright

Conrad, Jayne Wurstner

Price, Mary Sanders

Weibel, Sally

Nursing students--Maryland--Baltimore--1960-1970

Nurses--Maryland--Baltimore--1960-1970

Portrait photographs

Group portraits

My mother, Lillian, is at the top right. Directly below him is Irv Rutman and to the right Is Anita Rutman. Don’t know they had been married before was made. I can”t identify the others.

Photographer: Reuben R. Sallows (1855 - 1937)

Description:

Studio portrait of six men, facing front, in winter dress, all wearing hats, coats and gloves; background is painted winter scene; man seated cross-legged in foreground; three men seated in centre; two men standing in background; (sticker across bottom identify men as Eric Malcomson, Jim Gordon; A. Gooding; George Porter; M. Gordon; Charlie Davis); Sallows imprint across bottom; (written date on back January 18th 1883)

Object ID : 0318-rrs-ogohc-ph

Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).

Number:

179493

Date created:

1987

Extent:

1 photographic print : gelatin silver ; 7.5 x 9.5 in.

Description:

Front row, from left to right: 1) Rosenstein; 2) DeAngelis; 3) Rowe; 4) Oski.

Second row, from left to right: 1) Solow; 2) Greenberg; 3) Resar; 4) McColley; 5) Atton; 6) Markel; 7) Counts; 8) Kavanaugh-McHugh; 9) Thomas; 10) Germaine-Lee; 11) Fasano.

Third row, form left to right: 1) Tifft; 2) Orel; 3) Livingston; 4) Elder; 5) Zuckerberg; 6) Ballaban; 7) Nagel; 8) Kang; 9) Cadwalader; 10) Ault.

Fourth row, from left to right: 1) Pearson; 2) Glauser; 3) Lewis; 4) Flotte; 5) Egan; 6) Oliva; 7) Cortese; 8) Rasmusson; 9) Greene; 10) Shearer.

Fifth row, from left to right: 1) Hamosh; 2) Gallo; 3) Plautz; 4) Reardon; 5) Thompson; 6) Byrne; 7) Barnes; 8) Shenker.

Back row, from left to right: 1) Goldstein; 2) Besser; 3) Chez; 4) Small; 5) McCloskey; 6) Christenson; 7) Keller; 8) McGrath-Marrow; 9) Dietz; 10) Hunger.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital. Department of Pediatrics--People

Rosenstein, Beryl J.

DeAngelis, Catherine D.

Rowe, Peter C.

Oski, Frank A

Solow, Linda A.

Greenberg, Robert S.

Resar, Jon R.

McColley, Susanna A.

Atton, Andrew Vincent

Markel, Howard

Counts, Debra R.

Kavanaugh-McHugh, Ann

Thomas, Pamela M.

Germain-Lee, Emily L.

Fasano, Mary B.

Tifft, Cynthia J.

Orel, Howard N.

Livingston, Robert Alan

Elder, Melissa A.

Zuckerberg, Aaron L.

Ballaban, Karen R.

Nagel, Janet

Kang, Jungjoo

Cadwalader, Ann M.

Ault, Bettina H.

Pearson, Ellyn B.

Glauser, Tracy A.

Lewis, Lisa S.

Flotte, Terrence R.

Egan, Marie E.

Oliva, Maria Magdalena

Cortese, Margaret Mary

Rasmusson, Ann M.

Greene, Mary G.

Shearer, Patricia D.

Hamosh, Ada

Gallo, Richard L.

Plautz, Gregory E.

Reardon, David A.

Thompson, William R. III

Byrne, Barry

Barnes, Steven A.

Shenker, Andrew

Goldstein, Edward Morris

Besser, Richard E.

Chez, Michael G.

Small, Donald

McCloskey, John J.

Christenson, Marie J.

Keller, Bradley B.

McGrath-Morrow, Sharon Ann

Dietz, Harry C.

Hunger, Stephen Patrick

Pediatricians

Group portraits

Portrait photographs

Notes: Photographer unknown.

Number:

174331

Creator: Hutzler Brothers Co. (Baltimore, MD)

Date created:

1963

Extent:

1 photographic print : gelatin silver ; 10 x 12.5 in.

Rights:

Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.

Subjects:

Johns Hopkins Hospital School of Nursing--People

Hooper, Martha Laney

Sullivan, Carol Beattie

Grieve, Donna Wilkinson

White, Betsy Ann

Thornton, Elizabeth Ann

Umthun, Jodell

Ringwald, Barbara D.

Pennington, Martha Leigh

Bray, Susan Moore

Arnold, Bonnie Smith

Thompson, Roberta Hudson

Guinane, Linda Goss

Concato, Suzanne

Collins, Vicki Bingham

Putt, Sylvia Stunkard

Boyd, Sandra Street

Beck, Janice (Jan) M.

Schoeck, Joan Ann

Cable, Gloria Treadwell

Kimmel, Wendy Ann

Hickey, Nancy Silva

Small, Doty Jane

Smith, Ellen Ann

Chandler, Karen Schmidt

Rudick, Donna C. Abramson

Walton, Emily Dorsch

Bramlette, Kathleen Kateley

Ramins, Velga

Tuthill, Linda Maurer

Mumma, Sally J.

Nugent, Caron

Garner, Diane E.

Frederick, Linda

Himes, Donna Lee Keener

Ma'luf, Jan McGehee

LeFevre, Pamela (Pam)

Wessel, Genevieve Lipa

Hodge, Joanne Jensen

Johnson, Denine Ann

Jackson, Mary Louise Isaacs

Goldschmidt, Ellen

Wilson, Mary Bier

Fitzgerald, Ann V.

Biddle, Shirley L.

Baird, Susan Barker

Hefferon, Lynne Pendorf

Villard, Toni Jones

Mowrer, Naomi Gerber

Feeser, Maureen

Sutton, Joan D. Masek

Diver, Norma Kozlowski

Hufert, Susan

Gunther, Elizabeth A.

Millard, Sandra

Monty, Elizabeth Mary

Howell, Linda Carol Moore

Martell, Elizabeth (Liz)

Bradley, Kathleen

Elligson, Kathleen McGowan

Shockley, Judith Salmon

Powell, Patricia

Parker, Cynthia

Harper, Sara A. Nolt

Custer, Joan E.

Hunnicutt, Patricia

Peterson, Susan Bartlett

Fry, Sara Thomson

Crane, Sandra Hines

Robert, Marjorie

Brooks, Anne Elizabeth

Allen, Lorraine

Robbins, Mary Jo Andrews

Duncan, Deanna

Clarke, Susan Davis

Schlender, Shirley Bonser

Sterling, Anne MacKay

Wells, Barbara Atwood

Achenbach, Georganne

Ives, Sandra (Sandy) E.

Bair, Brenda V.

Horst, Sandra Ann

Bonstelle, Sandra Fritch

Fitzpatrick, Louise

Vitskey, Barbara Fralic

Elwell, Ronnie M.

Searing, Mary Louise Kerr

Moltman, Nancy Williamson

Wheeler, Barbara J.

Sefton, Blanche A.

Piercy, Judith Roth

Magee, Sheila T.

Kramer, Janice (Jan) Lloyd

Lallman, Alyce Ann

Hall, Anne Klassen

Anschuetz, Gertrude

Chamberlain, Judith Thomas

Crooks, Eileen M. (Peg) Collingwood

Link, Marilyn A.

Kostopoulos, Margaret Royer

Mary S. Price

Klotz, Francine L.

Nursing students--Maryland--Baltimore--1960-1970

Nurses--Maryland--Baltimore--1960-1970

Portrait photographs

Group portraits

From The Marriage Series

Oil on canvas; 60 x 49 cm.

Jean Dubuffet was a French painter, sculptor, and printmaker, best known for his development of art brut (“raw art”). As an art student in Paris, Dubuffet demonstrated a facility for academic painting. In 1924, however, he gave up his painting, and by 1930 was making a living as a wine merchant. He did not return to a full-time art career until the early 1940s.

After World War II, as one of the leading artists of the School of Paris, he developed the techniques and philosophy of art brut. Derived from Dubuffet’s studies of the art of children and of the mentally ill, art brut is intended to achieve immediacy and vitality of expression not found in self-conscious, academic art. To reflect these qualities, Dubuffet often used crude ideographic images incised into a rough impasto surface made up of such materials as tar, gravel, cinders, ashes, and sand bound with varnish and glue. His drawings and paintings are by turns childlike and obsessive, and their unfinished appearance excited much controversy.

During the 1960s Dubuffet experimented with musical composition and the creation of architectural environments. In various graphic and sculptural mediums he continued to explore the potentials of art brut. In his later years he also created several large sculptures of black-and-white painted fiberglass for various public spaces.