DOCSLIB.ORG

Photograms of the Year

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Photograms of the Year 45 113 ' — 1' — COPYRIGHT.] London. [all rights reserved. "Best" Plate. The | We liclievc ii was i • -^ H r Holmr* who laid that he i ^ : lue for the man that didn i cuu^ilci Uis wife, hn family, and his home the t«*( in the whole world. Very often, however, thk tmme opti- mi^m nppeart in connectioa with the i: of photographic good»—cvcr>- the " best." Now this word i)^t IS largely a mtanomer enM applied to the " Dc«t nukn " at a w«ddiag. Ask any bride who is the btsi man ther* t " Be*t." in Uct. is a word that has loat mnst of ii^ mi'.^nint( Word* ahcmld " " carry a me-isagf : but wonls like beat " lart^f." •• finest " no Umgrr mean vwy reader. Hn mind alipa ease. He tee* the word. It I* fail* to cooiure np • ' l>i t the writer mean*. \S:u-i. ^:_ic A-Lild yoa prefer to nae: a " bMt " piaU or on* made better than the best' ! II yon want a plate that i* 4 c iiiiM arcor at 'r oar ah impmrniAL platm. the beat, evea m wireleaa is I the old Nona teUnraph. and me v»i[>ie writing machine better than the old- taihioiied typewriter which conwlad SUCCESS. SPECIALISATION. I ita^prodocts. then yoa ikoald we RAPID. IMPERIAL Plates. Imperia] Flatea an beini; made better every year ! POPULARITY. Never has i!re.alrr care liera expeadcd RELIABLE. on of material : nor have the selection Imperial Plates, the Plates that we ever spent more money on makinK ' Imperial I" than the bc*t." Lead To-day, as Ever. It B al< ' '-rvice to photo- RESULTFUL. (rraphers ...., ..i:n consistently Til' m.tkrs It* plates " better pnd liettcr." 1. , itn are Wc liave spent immense time, energy the larK' . I'Uivs in .in<l mori'V iroviiling [ihofrmraphefs Iha United Km);ilum, The Great Professional Plate:— with p^ ifi'if itr.-. whirh .\rc reliable 2. For nearly a quarter of aw^iry the in <i in .ill details Imperial Dry Plate Compailyilfffl^fpecial- i.f v' vl Plates to-day iaed in the manufacture of Dry Plates. .-ir.- I were—they are 3. Imperial dales are proved by every in ingredients, test to be the finest quality plates on the imperial llrtti.l. mir'...t •!,«. ......11 in use a* it i-* .... (>r<rtnU* foT iphic dry plat> Ireedom I* 1 ease in l! H firm's effort working r.iir •i^ Special Sensitive and better." Why are more Imperial rialcs to;d than •• have and any others' Why is it that the sate of toKrapber* Imperial l'lai<^ extends year l>y year > The pu- «o. • <n Imperial Plates are made in \ I-. i!i' I'lDj,; arm il Hlale» foremost fourteen other kinds suitable for ler. Merit is the II in >li>ul>|, &iiii)>ly um: In.peii.ii forca which tends lm|ierial Hate* into I'Lites every class of photography : r<xuUrly and consiatently for every civilised country of the world ONKMONTHI Then stndy yoor tesnlts ! lo-dav. Yon will crMitinoe to am Imperial FlaUi Readers should consider the nomberad then. 10 Non-Ortlios, 3 Orthos, and slatemenis above, and remember that TMK imPKRIAL DRY PLATE CO.. LTD.. Imperial riates— roost popular and most CKICKLMWOOD. LOMDOH, K.W. widely used—cost no more than others. 1 Panchromatic. AM The Camera thai became famous in a month. ITS SUPREME POINTS :— #]" British Made from selected materials " by expert workmen. ^ The smallest, lightest, simplest and ^^ best finished reflex camera. Shutter gives speeds I/I5 to 1/1000 C sec, and can be set and the speeds altered with plate in position. works smoothly ^ Self-setting mirror ; ^^ and free from vibration. £T Camera can be used reversed or held rr ALDIS-BUTCHER F/4.5 Anas- ^^ tigmat—a perfect lens. - £9 15 . - 12 15 Jllso supplied with Cooke and Ross lenses at slightly increased prices. Dealers all over the world stock the Popular Pressrran. Full particu- lars and a special booklet de luxe byF. J. Mortimer, F.R.P.S., sent post free to all apphcants. W. Butcher & Sons, Ltd., •lamera House, Farringdon Avenue, LONDON, E.C. — ALOIS ^ 4*5 ^ The Lens f>ar excellence for reflex cameras and all classes of work requiring rapid exposures and good definition. ! K ^ The Lens that we guarantee to be equal, as regards optical performance, to any other F/4.5 lens obtainable. M The Lens that gives beautifully crisp and brilliant definition right into the corners of the plate. ^1 The Lens that has popularised high-speed work—that places the amateur on a level with the press photographer. ^ The Lens that is British manufacture throughout, giving results equal to the most expensive foreign made anastigmats. ^ The Lens that became famous all the world over in the first year of its introduction. M The Lens that you should buy if yov-are desirous of obtaining the best possible value for money. Wrila (or fall partKalan o( til Akin tniWigBiH. which will be miiI potl frw. If yoa can lo okIom • Maiap wilh jroor •ppfacalion we wiU lead fon an acloal contact priol Iron poMcard negative, takn wilh oac of oar i-pUle F/4.$ lema at fall apenare. Thii prim ihcwt the marvelloui deining powar of the Icat, and we gnaraalec ererjr F/4.5 Icim raaoufaclared by ai lo be opable of giving rtaah iaal •• ^ood. Oar experience it at yoar lervice. and we are al all timet pleated to give Mtvie* aa to dioic* of apparala* and lo antwer any lent query. FMeate addrru all apjilicationi lo : Sparkhill, i^ROS. Birmingham. "^^w^^y^ SINCLAIR EFFICIENCY " "WHERE CAN I GET THE BEST ? is a question constantly asked, and the answer almost always is "SINCLAIRS." SINCLAIR stands for EFFICIENCY, and nowadays this is the characteristic which tells in every department of life. THINGS THAT MAKE FOR GOOD WORK. WHAT IS THIS SHUTTER?" "WHAT IS THIS CAMERA?" .It is the N.S. Patent "Accurate" Shutter—the efficient British Shutter. It is the I NEWMAN- SINCLAIR PATENT REFLEX CAMERA IT HAS NO RUBBER BLINDS. HAS THE SPEEDS MOST USEFUL FOR PRACTICAL WORKERS: ^i 4) s, T^, 7T2) n'it 3-nd -rio sec, as well as " Time." HAS REVOLVING BACK. HAS REVERSIBLE HOOD. The N.S. Reflex has "ARE NOT ALL SHUTTERS ACCURATE?" considerable rising front, and can be used with "No! As a rule they unblushingly lie, and the speeds engraved them are upon only plate-holders, changing pleasant fictions." box or film-pack adapter. "HOW DO I KNOW THE N.S. ACCURATE SHUTTER IS REALLY ACCURATE." With F/4.5 Ross-Zeiss " Because the speeds are engraved upon it by Tessar lens 3 plate- the National Physical Laboratory after actual and scientific tests." holders : Speeds from \ to ^ or xjo second, and time exposure can be given. i-pl. £23 10 Tube Diameter Price including Iris Aperture. for Leases. Kew Certificate. 5x4 The N.S. Reflex with hood ^$§j No. ... i inch It's incli £2 5 30 arranged to take objects to left of worker. No. 1 ... 1 inch l| inch 2 5 the th? *^" ^^y^"-^^ JAMES A. SINCLAIR LTD., LONDON, S.W. Digitized by the Internet Archive in 2007 with funding from ^ IVIicrosoft Corporation http://www.archive.org/details/1914photogramsof00lond' THE ELEMENTS AT WAR B,, F.RP.S. F. J. MORTIMER PHOTOGRAMS^'"' OF THE YEAR 1914 THE ANNUAL REVIEW OF THE WORLD'S PICTORIAL PHOTOGRAPHIC WORK hDITED BY F. J. MORTIMER, F.R.P.S. BMmr ^'^Tht Amutar Thmptphtr a»d rktmgrtfUt Nrmm " ?r>v London: HAZELL. WATSON & VINEY. Ld., Long ACRE, w.C. NEW v^. L ^PVNANT * WARD. CANADA: THE Ml'SSON BOOK CO. LD., Tonoirro. AUSTRALASIA: MtLSounNR— «ODA- <!«) LD : HARRINGTONS LTD. Stdhit-HARRINGTONS LTD. ; KODAK (Ao»t«aiji»ia) LD. Adilaide— KODAK .«») LD . HARRCNGTONS LTD B»i»m»«—HARRINGTONS LTD : KODAK (AurrmAUisiAi LD. Auc»laiip. NZ—KubAK Uuvtwalaua) LD. : HARJtINGTONS LTD. Wblumoto*. N.Z.—HARRINGTONS LTD.; KODAK (AvnaALAmiA) LD SOUTH AFRICA: CORDON A GOTCH : LENNON LD. INDIA: Calcutta. BoHur. Maoia* and Tiavarcoiii— THACKBR • CO. BowuT—BABAJBB SAKHARAM « CO. SINGAPORE: ROBINSON * CO. JAPAN: Toito-MARU/BN: CO LTD . V OKURA. rmamtA, Ktoio. Omu-MARUZBN CO. LTD. Voioiiama. Kobb-Z. P. MARUYA * CO. CALIFORNIA. KtUBALL UPSON * CO.. SACBAMnTO. Pa production of a book of pictures of the character of THE"Photograms of the Year" during such a war-obsessed period as the autumn of 1914 may be considered by many a venturesome proceeding. But, to paraphrase the motto of the British Navy (which the Service has so adequately put into practice), Si vis pacem para bellum, we may say, "In time of war prepare for peace"; and in the publication of "Photograms of the Year " for 1914 we are guided by the fact that the two pre- ceding volumes have created an ever-increasing demand for the book in all parts of the world where pictorial photography is practised, and also that the failure to put on record the best work of the year, as produced up to the time of the commencement of European hostilities, would, by breaking the continuity of the series, react adversely in the future when the arts of peace again have an opportunity of uninterrupted development. It is, there- fore, with every confidence that the collection of pictures contained in the following pages is presented to that large public which has already shown so marked an appreciation of " Photograms of the Year " in the past. This year we have again to offer sincere thanks to those who have contributed. There has been no falling off in the number of pictures submitted ; in fact, in the months immediately preceding publication far more pictorial photographs have been sent in for selection than in any previous year.
Load more

Recommended publications
  • Press Release
    PRESS RELEASE PHILLIPS de PURY & COMPANY IS PROUD TO ANNOUNCE A BROAD ARRAY OF IMPORTANT EARLY AND CONTEMPORARY PHOTOGRAPHS TO BE SOLD ON OCTOBER 17, 2007 AT 10 AM & 2 PM IN NEW YORK. FOR IMMEDIATE RELEASE New York – September 12 – Phillips de Pury & Company is pleased to offer a superb selection of early and contemporary photographs from various collections. The auction will take place at the com - pany's Chelsea headquarters on October 17, 2007 with the pre-sale viewing opening on Wednesday, October 10th and extending through October 16th. The sale includes remarkable photographs from the most highly regarded photographers of the past one hundred years. Among the many highlights is a rare, platinum print by F. Holland Day titled Pilate , 1906 (estimate $250,000- $350,000), a premier example of his most sought after and iconic works. Day played a significant role in the history of photography with his role in London in 1900 as one of the contributors to the American Pictorial photography exhibition entitled The New School of American Photography. Alongside photographers such as Edward Steichen and Clarence H. White, Day's work represented the finest photography the United States had to offer. Day's early work is exceptionally rare and especially when signed and dated as is the case with this print. Another remarkable image is French photographer and modernist Pierre Dubreuil's Chantecler from 1929 (estimate $80,000-$120,000), using his famed oil print process, Dubreuil demonstrates the influence of cubism and futurism on his pictorialist aesthetic. This unique work demonstrates his signature practice of exploring fragmented images from unexpected perspectives.
    [Show full text]
  • Max Klinger (1857 Leipzig – 1920 Großjena, Sachsen-Anhalt) Venus Im Muschelwagen, Um 1912 Öl Auf Leinwand 56 X 233 Cm Rechts Unten Monogrammiert: “MK”
    Max Klinger (1857 Leipzig – 1920 Großjena, Sachsen-Anhalt) Venus im Muschelwagen, um 1912 Öl auf Leinwand 56 x 233 cm Rechts unten monogrammiert: “MK” Provenienz: − Paul von Bleichert, Leipzig − Auktionshaus Hugo Helbing, München, 23. April 1929, Los 41 (betitelt „Meeresgötter“) − Wilhelm Hartmann, Berlin − Galerie Franz Brutscher, München − Kurt Liebermeister, München − Privatsammlung Ausstellungen: − Grosse Kunstausstellung Dresden 1912 − Secession. Europäische Kunst um die Jahrhundertwende, Haus der Kunst, München 1964, Kat. Nr. 269 Superstar des Symbolismus Bahnbrechende Erkenntnisse auf sämtlichen Gebieten der Wissenschaft prägen die letzten Jahrzehnte des 19. Jahrhun- derts und verändern die Lebensrealität der Menschen radikal. In der Folge kommt es zu einer noch nie dagewesenen Vielfalt an künstlerischen Strömungen, wobei sich der Symbolismus als eine der wichtigsten herauskristallisiert. In Max Klinger findet er einen seiner prominentesten Protagonisten. Wie kaum ein anderer Künstler des Fin de Siècle versteht es der aus Leipzig stammende Grafiker, Zeichner, Maler und Bildhauer das Be- dürfnis seiner Zeitgenossen zu befriedigen, dem profanen Alltag durch das Eintauchen in geheimnisvolle Bildwelten zu entfliehen. Dies trägt ihm kultische Verehrung ein und macht ihn zu einem wesentlichen Impulsgeber der frühen Moderne. Max Klinger Foto von Nicola Perscheid, um 1900 Auf zu neuen Ufern Zu den Schlüsselwerken der Epoche zählt das von Max Klinger zu Beginn der 1880er Jahre gestaltete Bildprogramm für das Vestibül der Villa Albers in Berlin. Das als erstes Gesamtkunstwerk auf deut- schem Boden geltende Ensemble wurde bereits wenige Jahre nach seiner Entstehung von den Erben des Auftraggebers an die Berliner Nationalgalerie, die Hamburger Kunsthalle sowie das Museum der Bildenden Künste in Leipzig verkauft. Eines der zentralen Gemälde des Zyklus ist die Venus im Muschelwagen.
    [Show full text]
  • CATALOGUE of the Fourteenth Annual Exhibition of the PHOTOGRAPHIC SALON Go6
    CATALOGUE of the Fourteenth Annual Exhibition of the PHOTOGRAPHIC SALON go6 Gallery of the Royal Society of Painters in Water Colours, , 5A, Pall Mall East, S.W. s TWOPENCE. EVERY TUESDAY --- gaper. Jiluftrated on .?1rt THE ONLY JOURNAL WHICH DEVOTES SPECIAL ATTENTION TO PICTORIAL PHOTOGRAPHY AND ALSO CONTAINS PRACTICAL & ELEMENTARY ARTICLES BY ALL THE BEST KNOWN WRITERS OF THE DAY. SOLD BY ALL PHOTOGRAPHIC DEALERS, NEWSAGENTS AND RAILWAY BOOKSTALL$ n"jr 0 SEND POST CIRD FOR FREE SPECIMEN COPY To 52, LONG ACRE, LONDON, W. C. E3 AZ)VER7/. SEnf/: N7S. I ,/A Al,I ( u ýw eý ývv, ýý ss ILFORD, Limited, ILFORD, LONDON, E. AI HINTON 8c CYC>-, 3 New"SWITCH" Dark-Room lamps PATENT. i For ELECTRIC, GAS, OIL, or CANDLE LIGHT. INSTANTANEOUS CHANGE FROM RUBY TO ORANGE or DARKER RUBY or YELLOW. GAS, OIL, or CANDLE Switched to Different Colour as easily as Electric Light. Made in Four Patterns. No. 1, for Electric Light 35/- (including three 8 c. p. Glow ...Lamps for... either.... 100, 200 or 250 volts. ). No. 2, for Gas 27/6 ... ... ... No. 3, for Oil ... 18/6 ... ... ... ... No. 4, for Candle ... 14/- ... ... ... ... No. I. Electric. The great feature of this entirely New Lamp is the ease of changing the coloured light, by a slight movement of small lever, without sliding out glasses or opening hot or jambing doors. The great convenience will be appreciated by Photographers using a variety of speeds of plates and papers, or when a larger amount of light is required for a short time to examine progress of development.
    [Show full text]
  • 1. Carbon Copy: 6/25 – 6/29 1973
    The online Adobe Acrobat version of this file does not show sample pages from Coleman’s primary publishing relationships. The complete print version of A. D. Coleman: A Bibliography of His Writings on Photography, Art, and Related Subjects from 1968 to 1995 can be ordered from: Marketing, Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103, or phone 520-621-7968. Books presented in chronological order 1. Carbon Copy: 6/25 – 6/29 1973. New York: ADCO interviews” with those five notable figures, serves also as Enterprises, 1973. [Paperback: edition of 50, out of print, “a modest model of critical inquiry.”This booklet, printed unpaginated, 50 pages. 17 monochrome (brown). Coleman’s on the occasion of that opening lecture, was made available first artist’s book. A body-scan suite of Haloid Xerox self- by the PRC to the audiences for the subsequent lectures in portrait images, interspersed with journal/collage pages. the series.] Produced at Visual Studies Workshop Press under an 5. Light Readings: A Photography Critic’s Writings, artist’s residency/bookworks grant from the New York l968–1978. New York: Oxford University Press, 1979. State Council on the Arts.] [Hardback and paperback: Galaxy Books paperback, 2. Confirmation. Staten Island: ADCO Enterprises, 1975. 1982; second edition (Albuquerque: University of New [Paperback: first edition of 300, out of print; second edition Mexico Press, 1998); xviii + 284 pages; index. 34 b&w. of 1000, 1982; unpaginated, 48 pages. 12 b&w. Coleman’s The first book-length collection of Coleman’s essays, this second artist’s book.
    [Show full text]
  • Rheinland-Pfälzer in Berlin Frauen Und Männer Aus Unserem Land Und Ihre Wirkungsstätten in Berlin
    Rheinland-PfÄLZER IN BERLIN Frauen und Männer aus unserem Land und ihre Wirkungsstätten in Berlin In den Ministergärten 6 10117 Berlin Telefon 030 726 291 000 Telefax 030 726 291 289 www.landesvertretung.rlp.de Herausgegeben von der Landesvertretung Rheinland-Pfalz Gruß Staatssekretärin Heike Raab Bevollmächtigte des Landes Rheinland-Pfalz beim Bund und für Europa, für Medien und Digitales Das Gebot unserer Zeit heißt, sparsam mit Steuergeldern umzugehen. Deshalb geben wir die im Frühjahr 2014 gedruckten Exemplare unserer Bestseller-Bro- schüre »Rheinland-Pfälzer in Berlin« nicht in den Reißwolf, weil die Leitung der Landesvertretung wechselte. Das Grußwort meiner Vorgängerin kann ich Wort für Wort unterschreiben. Und die Inhalte der Broschüre sprechen eh´ für sich. Eine kleine Aktualisierung möchte ich auf diesem Wege noch mitteilen: Leider ist am 6. Dezember 2014 Ralph H. Baer, der Erfinder des Video-Spiels, im hohen Alter von 92 Jahren gestorben. Es war uns eine Ehre, den kleinen Ar- tikel über seine Lebensleistung noch mit ihm persönlich abstimmen zu können. Mit unserer Broschüren werden wir weiter an ihn erinnern. Ich wünsche Ihnen Freude beim Lesen! Das erwirtschaftete Vermögen aus diesen Betrieben investierte er 1905 in den LORENZ ADLON Bau des Adlon. Dazu kaufte er ein Grundstück in begehrtester Lage, ließ mit Billigung des Kaisers das denkmalgeschützte Palais Redern abreißen und in Zu- HOTELIER sammenarbeit mit berühmten Architekten, Künstlern und Kunsthandwerkern * 29.05.1849 in Mainz | † 07.04.1921 in Berlin ein für die damalige Zeit außerordentlich modernes, als architektonischer Kon- trapunkt zum Stadtschloss konzipiertes Luxushotel bauen. Europas Könige, der Zar, Politiker und Diplomaten, Einstein, Furtwängler und Karajan waren ebenso Gäste wie Charlie Chaplin und Marlene Dietrich, die hier entdeckt wurde.
    [Show full text]
  • ROLAND BELGRAVE Vintage Photographyi
    ROLAND BELGRAVE vintage photographyi Autumn 2012 ROLAND BELGRAVE vintage photographyi Autumn 2012 Terms and Conditions. The condition of all photographs has been described; all items in this catalogue are guaranteed to be complete and in good condition unless otherwise stated. Invoices will be rendered in £ sterling. The title of goods does not pass to the purchaser until the invoice has been paid in full. Please note images reproduced in this catalogue are not to scale. To enquire after any item in this catalogue please contact [email protected] VAT number GB 105346052 Cover | 1. D’ORA, MADAME (DORA KALLMUS). Marion Benda. c.1920. £950 49 HOVA VILLAS, BRIGHi TON BN3 3DJ EMAIL:[email protected] WWW.ROLANDBELGRAVEVINTAGEPHOTOGRAPHY. C OM PHONE: +44 (0)7810 718791 1. 1. D’ORA, MADAME (DORA KALLMUS). Marion Benda. c.1920. Silver gelatin print, gold toned, instamp on verso ‘Hans Frank, Photo Museum’, photographer’s credit. 235 by 180mm (9¼ by 7 inches). The Ziegeld Girls of which Benda (1904 - 1951) was one, were former waitresses, farmers’ daughters and office workers who had dreamt of becoming part of Ziegfeld’s own grand dream of “glorifying the American girl” (preferably with exact measurements of 36-26- 38) Some went on to further careers on the stage and screen...some disappeared into obscurity. ... Some say there was a Ziegfeld Curse, Being a Ziegfeld Girl was both a Blessing and a Curse. These women burned brightly and for a very short time, in those fabulous years they were glamorous, rich and sought after by millionaires as wives.They had many husbands and many lovers.
    [Show full text]
  • Seizing the Light
    Dedication V Rural Practice 42 Preface vii The Daguerreotype and the Landscape 42 The Daguerreotype and Science 43 CHAPTER ONE o John Whipple Advancing toward Photography: The Birth CHAPTER THREE z of Modernity 3 Calotype Rising: H A Desire for Visual Representation 3 The Arrival of Photography 49 W Perspective 4 The Calotype^ 49 z Thinking of Photography 4 William Henry Fox Talbot Camera Vision. 5 Early Calotype Activity 52 H The Demand for Picturemaking Systems 6 David Octavius Hill; Robert Adamson; C/5 Proto-Photographers: Chemical Action of Sir William Newton; Thomas Keith Light 7 Calotypists Establish a Practice 59 Modernity: New Visual Realities 9 Louis-Desire Blanquart-Evrard; Thomas Sutton; Louis Jacques Mande Daguerre Gustave Le Gray; Charles Negre Calotype and Architecture: Mission Optical Devices 10 Heliographique 63 Images through Light: A Struggle for Permanence 11 Henri Le Secq; Edouard Baldus; Charles Marville Joseph Nicephore Niepce; Sir John Fredrick William The End of the Calotype and the Future of Photography 67 Herschel; William Henry Fox Talbot; Anna Atkins Other Distinct Originators 18 CHAPTER FOUR Hippolyte Bayard; Mungo Ponton; Hercules Florence Pictures on Glass: CHAPTER TWO The Wet-Plate Process 71 The Daguerreotype: The Albumen Process 71 Image and Object 25 Frederick Scott Archer The New Transparent Look 72 What Is a Daguerreotype? 27 The Ambrotype 74 Samuel F. B. Morse Pictures on Tin 77 The Daguerreotype Comes to America 28 The Carte-de-Visite and the Photo Album 78 The Early Practitioners 29 Andre Disderi;John Jabez Edwin Mayall Early Daguerreian Portrait Making 29 The Cabinet Photograph: Post-Mortem Portraits 33 The Picture Gets Bigger 82 Technical Improvements 33 The Studio Tradition 84 Expanding U.S.
    [Show full text]
  • View, Had Not Been Radical Enough; Music Awaited a Combination of Serialism with the Rhythmic Irregularity Opened up by Stravinsky and Messiaen
    J & J LUBRANO MUSIC ANTIQUARIANS Item 63 Borodin Catalogue 76 Rare Printed Music & Musical Literature Musical Autographs & Manuscripts Part I: A-B 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 e-mail [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Checks in U.S. dollars drawn on a U.S. bank - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Electronic Funds Transfer (EFT), inclusive of all bank charges - Automated Clearing House (ACH), inclusive of all bank charges - International money order All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. ! Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
    [Show full text]
  • The Soft-Focus Lens and Anglo-American Pictorialism
    THE SOFT-FOCUS LENS AND ANGLO-AMERICAN PICTORIALISM William Russell Young, III A Thesis Submitted for the Degree of PhD at the University of St. Andrews 2008 Full metadata for this item is available in the St Andrews Digital Research Repository at: https://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/505 This item is protected by original copyright This item is licensed under a Creative Commons License The Soft-Focus Lens and Anglo-American Pictorialism William Russell Young, III B.S.B.A., M.B.A., M.A. Submitted in fulfillment of the requirements for Doctor of Philosophy April 30, 2007 Declarations (i) I, William Russell Young, III, hereby certify that this thesis, which is approximately 90,000 words in length, has been written by me, that it is the record of work carried out by me and that it has been written by me and that it has not been submitted in any previous application for a higher degree. April 30, 2007 ______________________________ William Russell Young, III (ii) I was admitted as a research student in January, 2001, and as a candidate for the degree of Doctor of Philosophy in Art History; the higher study for which this is a record was carried out in the University of St. Andrews between 2001 and 2007. April 30, 2007 _______________________________ William Russell Young, III (iii) I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St.
    [Show full text]
  • Advancing Toward Photography: the Birth of Modernity The
    Dedication v Expanding U.S. Portrait Studios 27 C/3 Preface vii John Plumbe, Jr.; Southworth & Hawes; H—' Mathew B. Brady chapter one The Art of the Daguerrean Portrait 28 c Advancing Toward Carl Stelzner Photography: The Birth Daguerrean Portrait Galleries and Picture Factories 30 c of Modernity African-American Operators 32 o A Desire for Visual Representation 1 J. P. Ball Perspective 2 Rural Practice 33 O Thinking of Photography 3 Post-Mortem Portraits 34 Camera Vision 3 The Daguerreotype and the The Demand for Picturemaking Landscape 35 Systems 4 Hugh Lee Pattinson; Plan D. Babbit Proto-Photographers: Chemical Action The Daguerreotype and Science 36 of Light 4 John A. Whippie Modernity: New Visual Realities 5 chapter three Louis J. M. Daguerre Optical Devices 7 Calotype Rising: The Arrival Images Through Light: A Struggle of Photography for Permanence 8 The Calotype 40 Nicephore Niepce; John Herschel; Romantic Aesthetic 42 Henry Fox Talbot; Anna Atkins Early Calotype Activity 42 Other Distinct Originators 15 Henry Fox Talbot; Hill and Adamson; Hippolyte Bayard; Mungo Ponton; Sir William Newton; Thomas Keith Hercules Florence Calotypists Establish a Practice 47 chapter two Louis-Desire Blanquart-Evrard; Thomas The Daguerreotype: Sutton; Gustave Le Gray; Charles Negre Calotype and Architecture: Missions Image and Object heliographiques 50 What Is a Daguerreotype? 20 Henri Le Secq; Edouard Baldus; Samuel F. B. Morse Charles Marville The Daguerreotype Comes The End of the Calotype to America 22 and the Future of Photography 54 The Early Practitioners 23 chapter four D. W. Seager; John W. Draper Pictures on Glass: Early Daguerrean Portrait Making 25 Wolcott & Johnson The Wet-Plate Process Technical Improvements 27 The Albumen Process 57 John Frederick Goddard; Antoine Claudet; Frederick Scott Archer A.
    [Show full text]
  • Press Release
    Press Release Resonance of Exile 14 July―28 October 2018 Mönchsberg [3] After the successful launch in 2017, the Museum der Moderne Salzburg’s exhibition series exploring the history of artists who Press experienced life in exile now continues with Resonance of Exile. Mönchsberg 32 Salzburg, 3 July 2018. Last year, the first presentation in the series shed 5020 Salzburg Austria light on the sharp discontinuities in the biographies and oeuvres of four women artists who were forced to leave their native countries. The new T +43 662 842220-601 exhibition places the focus on how emigrants rebuilt their lives and careers F +43 662 842220-700 after escaping Central Europe and how their experiences echo in their art, [email protected] showcasing the oeuvres of six outstanding artists: Valeska Gert, Lisette www.museumdermoderne.at Model, Madame d’Ora, Wolfgang Paalen, Lili Réthi, and Amos Vogel. The “resonance” in the title sums up the diverse ways in which the works they created in their places of refuge as well as after their return reflect what they went through. Model, Paalen, Réthi, and Vogel were pioneering artists who influenced the evolution of their respective métiers in their adopted countries; Gert and d’Ora, meanwhile, returned, haunted by recollections of life in exile that found expression in somber pictures and grim theatrical performances. In the past several years, the Museum der Moderne Salzburg has taken the lead in reconstructing the life stories of émigrés and rediscovering artists who have languished in obscurity. “As part of my efforts to enhance the museum’s profile, one of my goals was to create a programming focus on chapters in art history—and especially the history of art in Salzburg and Austria—that have been forgotten or simply neglected.
    [Show full text]
  • Fachinformationsdienste in Der Praxis Orientierung Über Die Vielfalt
    Jacob-und-Wilhelm-Grimm-Zentrum, Leseterrassen während der Öffnungszeiten, by Huuba (CC BY-SA 3.0) Fachinformationsdienste in der Praxis Orientierung über die Vielfalt Matthias Harbeck, FID Sozial- und Kulturanthropologie Gliederung 1. Geschichte des SSG-Systems 2. Services der SSGs 3. Paradigmenwechs el: Fachinformationsd ienste 4. Bilanz des FID- Systems 5. Fazit Foto von Matthias Harbeck, 2018 2 1. Ursprung: Ideen toter alter (weißer) Männer Adolf von Harnack (1851-1930) Project Gutenberg eText 13635 - http://www.gutenberg.n et/dirs/1/3/6/3/13635/1 3635-h/13635-h.ht Robert von Mohll (1799-1875, Librarian in Tübingen) by Christoph Friedrich Dörr (1782–1841) - Bibliographisches Institut & F. A. Friedrich Brockhaus, Mannheim Schmidt-Ott (1860- Friedrich Althoff (1839-1908) http://www.ib.hu-berlin.de/~wumsta/Milkau/392- Nicola1956) Perscheid - 2.jpg http://www.gettyimages.co.uk Robert von Mohl: „die Bibliotheken sollten bestimmte Sammelgebiete in /detail/news-photo/schmidt- besonderer Weise pflegen; die Universitätsbibliotheken sollten ott-friedrich-jurist-politician- germany-04-06-1860-news- ‚Literaturkreise‘ bilden und innerhalb derselben im Wege des photo/548868899 Leihverkehrs zusammenarbeiten.“ 3 Sondersammelgebiete in Preußen • Wissenschaftsorganisator Friedrich Althoff (1839- 1908) • Kooperativer Bestandsaufbau in Bibliotheken (mit Themen) u.a.: - Göttingen (engl. Kultur, exakte Naturwissenschaften) - Kiel (nordische Kultur) - Heidelberg (Archäologie und Kunstgeschichte) - Tübingen (Theologie) - Münster (Niederlandistik) http://www.ib.hu-berlin.de/~wumsta/Milkau/392-2.jpg 4 1. Geschichte des SSG-Systems • 1920 Gründung der Notgemeinschaft der Deutschen Wissenschaft • (Neu)Gründung der NDW 1949 • 1951 Umbenennung in DFG • Evaluationen des SSG-Systems (z.B. 1959-1965, 2010-2012) • Zwischen 1959 und 1969 Gründung von Fachbibliotheken: • TIB Hannover • Zentralbibliothek für Landbauwissenschaft Bonn • Zentralbibliothek der Wirtschaftswissenschaften Kiel • ZB MED Köln • 1998 Neuordnung nach Wiedervereinigung, Vifas 5 2.
    [Show full text]