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Permanent Makeup plays WonderRoot, Atlanta, GA on May 10, 2014.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts.
Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative candelabra and a clock surmounted by Barye's Roger and Angelica (1840-1846, location unknown; later serial variants) as a mantelpiece garniture.
Barye submitted works to the Salon only rarely after the jury rejected his surtout elements in 1837. Unable to capitalize on that outlet and on royal patronage, which declined after the death of the duc d'Orléans in 1842, he embarked on a new venture that lasted his entire career. He began to market his figurative and ornamental works as small-scale serial bronzes, first through the foundry Maison Besse in 1844, then directly to the public. He then worked in partnership with entrepreneur Emile Martin from 1845 to 1857, after which he proceeded independently. This serial production provided Barye's most widespread and enduring reputation, with casts distributed throughout the United States and Europe during the artist's lifetime. In the process he closely aligned himself with high-quality industrial craftsmanship. He won the coveted Grand Gold Medal for technical excellence for a selection of his serial proofs in the industrial arts section of the Paris Universal Exposition of 1855, while simultaneously garnering accolades in the fine arts section for his bronze Jaguar Devouring a Hare (Musée du Louvre, Paris). In 1863 he became a founder and president of the consultative Commission of the Central Union of the Arts Applied to Industry.
Other professional skills were put to work during the Second Republic and the Second Empire. Beginning in 1848, Barye served as director of plaster casting at the Louvre and curator of the gallery of plaster casts. In 1850 he taught drawing at the agricultural school at Versailles and, from 1854 until his death, he was master of zoological drawing at the Muséum d'Histoire Naturelle, where the young Rodin briefly studied with him in 1863. Simultaneously, his career as a monumental sculptor revived. He received several government commissions during this period: ornamental eagle reliefs for the Pont d'Iéna (1849); a series of decorative masks for the Pont Neuf (c. 1851); four allegorical seated groups (Strength, Order, Peace, and War) for the facade of the Louvre (1854); an allegorical pedimental relief, Napoleon I Crowned by History and the Fine Arts (1857); and a bronze relief with the equestrian portrait of Napoleon III as emperor, à l'antique (1861, destroyed; presentation drawing, Musée du Louvre, Paris, office of the architect-in-chief). Barye received two important government commissions for provincial dynastic equestrian monuments: the imperial Napoleon I surmounting the Bonaparte family monument at Ajaccio, inaugurated in 1865; and a second Napoleon I for Grenoble, a commission of 1862, which he abandoned in 1866. In 1869 Barye executed pairs of monumental lions and tigers in stone for the gates of the Palais de Longchamps at Marseilles.
During the Second Empire Barye was showered with distinctions. He received the Légion d'Honneur in 1833 and was promoted to chevalier in 1855. In 1868 he was elected to the Institut de France. He died in Paris in 1875, and after an elaborate funeral to signal his high artistic stature, Barye was buried at Père-Lachaise Cemetery.
Though also a painter and printmaker, Barye triggered important debate, through his sculpture, about animal subjects, complex narrative, stylistic realism, and the threshold between fine and decorative art. He was a master of anatomical form, whether human or animal. His work became a benchmark for animal sculpture in monumental and table-top format. The latter often conveyed a powerful sense of grand scale, just as his monumental work successfully blended rich materialism, naturalistic detail, and broad rhythms. Barye's advocacy of good design and craftsmanship in serial work that was affordable to the middle class broadened options available to artists, artisans, and patrons alike. His example and success enhanced the modest reputation of animal and small-scale sculpture as "fine art" during the nineteenth century. [This is the artist's biography published in the NGA Systematic Catalogue]
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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They're all really skinny, but there is a farm on the other side of this bamboo thicket, so it's possible that the farmers are using tiny dinosaurs for pest control.
From left to right:
Hugo de Zela, Chief of Staff of the OAS Secretary General
José Miguel Insulza, OAS Secretary General
Stephen Charles Vasciannie, Chair of the OAS Permanent Council and Permanent Representative of Jamaica to the OAS
Albert R. Ramdin, OAS Assistant Secretary General
Carmen Lucía de la Pava, Chief of Staff to the OAS Assistant Secretary General
Date: September 6, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Maybe this is not perspective. Maybe Havoc is just much tinier than Matilda. Maybe I talk the silly talk.
Freundel Stuart, Prime Minister of Barbados
Date: April 25, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Jorge Skinner-Klee, Ambassador, Permanent Representative of Guatemala to the OAS
Date: June 29, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
To be able to lodge a valid application for this visa you need to first submit an Expression of Interest through Skill Select. You can do this in or outside Australia. To know more details about Permanent Residency In Australia, kindly visit WDIC.
The Queen Mary from the other side of the bay harbor. I was almost done walking around and stopped to snap this one.
Camera: .................................Canon EOS 30D
Len:...........................................Tamron 17-50 f/2.8 zoom
Exposure: ................................2.5 seconds
Aperture: ..................................f/11.0
Focal Length: .........................50 mm
ISO Speed: ............................1600
Exposure Bias: .....................0 EV
Hundreds of refugees from across the country converged on Parliament House to demand that Albanese keeps his pre-election promise to provide permanent protection to end the long nightmare of 30,000 refugees on TPV's and other temporary visas without rights to family reunion.
Permanent pool beside Great Northern Highway between old Cadjebut Airstrip and Minesite turnoff and the Ngumban Cliff.
here's another shot of the memorial. this location is about a 2 minute walk from our front door in st. vincent.
Ambassador Dr. Ton Thi Ngoc Huong presented her Letter of Credence as the Permanent Representative of the Socialist Republic of Viet Nam to ASEAN to the Secretary-General of ASEAN, Dr. Kao Kim Hourn, at the ASEAN Headquarters/ASEAN Secretariat today.
Following the presentation, a courtesy call took place during which Secretary-General Dr. Kao extended his congratulations to Ambassador Dr. Ton Huong on her new role and expressed confidence in her ability to significantly contribute to ASEAN’s Community building and integration efforts. He recognised that her extensive experience in ASEAN would be valuable to the work and mandate of the Committee of Permanent Representatives to ASEAN (CPR).
Image Credit: ASEAN Secretariat / Kusuma Pandu Wijaya
Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts.
Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative candelabra and a clock surmounted by Barye's Roger and Angelica (1840-1846, location unknown; later serial variants) as a mantelpiece garniture.
Barye submitted works to the Salon only rarely after the jury rejected his surtout elements in 1837. Unable to capitalize on that outlet and on royal patronage, which declined after the death of the duc d'Orléans in 1842, he embarked on a new venture that lasted his entire career. He began to market his figurative and ornamental works as small-scale serial bronzes, first through the foundry Maison Besse in 1844, then directly to the public. He then worked in partnership with entrepreneur Emile Martin from 1845 to 1857, after which he proceeded independently. This serial production provided Barye's most widespread and enduring reputation, with casts distributed throughout the United States and Europe during the artist's lifetime. In the process he closely aligned himself with high-quality industrial craftsmanship. He won the coveted Grand Gold Medal for technical excellence for a selection of his serial proofs in the industrial arts section of the Paris Universal Exposition of 1855, while simultaneously garnering accolades in the fine arts section for his bronze Jaguar Devouring a Hare (Musée du Louvre, Paris). In 1863 he became a founder and president of the consultative Commission of the Central Union of the Arts Applied to Industry.
Other professional skills were put to work during the Second Republic and the Second Empire. Beginning in 1848, Barye served as director of plaster casting at the Louvre and curator of the gallery of plaster casts. In 1850 he taught drawing at the agricultural school at Versailles and, from 1854 until his death, he was master of zoological drawing at the Muséum d'Histoire Naturelle, where the young Rodin briefly studied with him in 1863. Simultaneously, his career as a monumental sculptor revived. He received several government commissions during this period: ornamental eagle reliefs for the Pont d'Iéna (1849); a series of decorative masks for the Pont Neuf (c. 1851); four allegorical seated groups (Strength, Order, Peace, and War) for the facade of the Louvre (1854); an allegorical pedimental relief, Napoleon I Crowned by History and the Fine Arts (1857); and a bronze relief with the equestrian portrait of Napoleon III as emperor, à l'antique (1861, destroyed; presentation drawing, Musée du Louvre, Paris, office of the architect-in-chief). Barye received two important government commissions for provincial dynastic equestrian monuments: the imperial Napoleon I surmounting the Bonaparte family monument at Ajaccio, inaugurated in 1865; and a second Napoleon I for Grenoble, a commission of 1862, which he abandoned in 1866. In 1869 Barye executed pairs of monumental lions and tigers in stone for the gates of the Palais de Longchamps at Marseilles.
During the Second Empire Barye was showered with distinctions. He received the Légion d'Honneur in 1833 and was promoted to chevalier in 1855. In 1868 he was elected to the Institut de France. He died in Paris in 1875, and after an elaborate funeral to signal his high artistic stature, Barye was buried at Père-Lachaise Cemetery.
Though also a painter and printmaker, Barye triggered important debate, through his sculpture, about animal subjects, complex narrative, stylistic realism, and the threshold between fine and decorative art. He was a master of anatomical form, whether human or animal. His work became a benchmark for animal sculpture in monumental and table-top format. The latter often conveyed a powerful sense of grand scale, just as his monumental work successfully blended rich materialism, naturalistic detail, and broad rhythms. Barye's advocacy of good design and craftsmanship in serial work that was affordable to the middle class broadened options available to artists, artisans, and patrons alike. His example and success enhanced the modest reputation of animal and small-scale sculpture as "fine art" during the nineteenth century. [This is the artist's biography published in the NGA Systematic Catalogue]
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
According to the development plans and recently published maps, this, which was once the access road to Westlecott Farm, is a temporary footpath. The public footpath across East Wichel (out of shot about 50 yards to the left) remains, officially closed. In reality both are now in use, but the official route is a muddy track whereas the temporary path is beginning to look decidely permanent.
www.beautyiplmall.com/vacuum-cavitation-and-rf-c-8.html
Low Price Permanent Hair Removal At Home | Online Shopping For Cellulite Reduction
For more info on this layout, please see my blog post:
irmaperedne.blogspot.com/2009/12/gutter-girlz-prompt-32.html
Permanent Makeup rock their record release at New World Brewery, Ybor City, Tampa, FL - February 23, 2013.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
You'll see a number of tongue-in-cheek "fence-art" sculptures along the roads leading to and from Baker. Termed "Post-Impression Art" by local residents (because the art is mounted on fence posts). The movement began in the mid-1990's when "Doc" Sherman created the "Permanent Wave Society." This sculpture consisted of rubber gloves filled with cement (get it? permanent wave?) and mounted on the tops of fence posts. Since then Doc and others have added spontaneous contributions of whimsical art on fence posts along roads around Baker. Doc's artistic endeavors have been amazing therapy for him as he was partially paralyzed by a crippling stroke. He continues to create new pieces on occasion and his sense of humor and creativity have brought many smiles and laughter to residents and travelers alike.
Maker: Thomas Annan (1829-1887)
Born: Scotland
Active: Scotland
Medium: albumen print
Size: 4 1/2 in x 6 1/4 in
Location: Scotland
Object No. 2024.999k
Shelf: M-14
Publication: Annan, Thomas, John Oswald Mitchell & John Guthrie Smith, "X. Bellahouston", The Old Country Houses of the Old Glasgow Gentry, Illustrated by Permanent Photographs by Annan (Second Edition), Glasgow: James Maclehose & Sons–Publishers to the University, 1878
Other Collection: The Getty, Philadelphia Museum of Art, Glasgow Library, National Galleries of Scotland
Provenance:
Notes: One of 220 copies, 100 mounted carbon-print photographs and 3 plates, original red quarter morocco over green cloth gilt. Includes: Aikenhead House, Annfield, Auchinraith, Auchintoshan house, Auldhouse, Ballancleroch, Bardowie, Barlanark, Bedlay House, Bellahouston, Belvidere House, Blythswood House, Bredisholme, Cadder House, Calder Park, Campbellfield, Capelrig, Carbeth Guthrie, Carntyne House, Castlemilk, Cathkin, Cessnock, Clober House, Cochna, Cowlairs, Craigend Castle, Carighead, Craigmaddie, Criagpark House, Craigton, Crossbasket, Dalbeth, Daldowie, Dalmarnock House, Dalmuir House, Drumpellier, Easterhill House, Edinbarnet, Eldinbarnet, Elderslie House, Farme, Gairbraid, Gallowflat, Garnkirk House, Garscadden, Garscube, Gartferry House, Gartsherrie, Germiston, Gilmorehill, Glenarbuck, Golfhill House, Greenbank, Greenfield House, Haggs Castle, Hallside, Househill, Ibroxhill, Jordanhill, Kelvinbank House, Kelvingrove House, Kelvinside, Kenmure, Killermont, Kilmardinny, Landside, Long Calderwood, Lynn, Mains, Milheugh, Meadow Park House, Milliken House, Moore Park, Mountblow, Mount Vernon, Newton, Northwoodside House, Orbiston House, Plantation, Petershill, Pollock House, Possil, Ralston, Ralston, Rosebank, Ruchill, Scotstoun, Shield Hall, Shawfield, Slatefield, Springbank, Stobcross House, Thronbank House, Tollcross, Wellshot, Westburn, Wetthorn House, Whitehill House, Wolfe's House, York Hill; map of Glasgow 1776; map of Glasgow 1807.
The Old Country Houses of the Old Glasgow Gentry was published in 1870, and the Second and greatly enlarged Edition was published in 1878. The Volume was Illustrated with 100 plates by Thomas Annan, containing views of the old houses; the letterpress described the houses and gave an account of those who successively possessed them - their origin, history, and connections. (gdl.cdlr.strath.ac.uk/smihou/smihou0001.htm)
Thomas Annan (1829-1887), who lived most of his life in Glasgow, trained and worked as a copperplate engraver until 1853, when he started a calotype printing business, probably with the encouragement of his friend David Octavius Hill. In 1857 he established a photographic studio, T. & R. Annan located in Sauchiehall Street from which he produced portraits, photographic reproductions of works of art and architectural photographs. Annan acquired the Scottish rights to the carbon print process shortly after its invention by Joseph Wilson Swan in 1866. He first used this process commercially to reproduce D. O. Hill's painting the Signing of the Deed of Demission. An astute businessman, Annan also acquired the British patent rights in the 'heliogravure' or photogravure process invented by William Henry Fox Talbot and developed by Karel Klic.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
O Papel da Inteligência Artificial na Transformação da Auditoria:
Oportunidades e Desafios (Tiago Chaves Oliveira/CGU)
Foto: G. Dettmar/Ag. CNJ