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Mergers: Commission Approves Proposed Acquisition of Various Hagemeyer Subsidiaries by Rexel Subject to Conditions
IP/08/292 Brussels, 22 February 2008 Mergers: Commission approves proposed acquisition of various Hagemeyer subsidiaries by Rexel subject to conditions The European Commission has cleared under the EU Merger Regulation the proposed acquisition of the Dutch company Hagemeyer's subsidiaries in several EEA countries and in Russia by Rexel of France. Both companies are active in the wholesale distribution of electrical products. The Commission's decision is conditional upon the divestment of Hagemeyer's electrical wholesale distribution business in Ireland. In light of this commitment, the Commission has concluded that the proposed transaction would not significantly impede effective competition in the European Economic Area (EEA) or any substantial part of it. Hagemeyer and Rexel are mainly active in the wholesale distribution of electrical products and installation material, the wholesale of heating, ventilation and air- conditioning products and - in some Member States - household products and consumer electronics. Rexel intends to acquire Hagemeyer's business in Belgium, the Czech Republic, Germany (except for six branches), Estonia, Finland, Ireland, Latvia, Lithuania, The Netherlands, Norway, Poland, Spain, the UK and Russia. The Commission's investigation revealed that the proposed transaction would not significantly weaken competition in most of the national EEA markets where the parties' activities overlap, because a number of credible alternative competitors would continue to exercise a competitive constraint on the merged entity. However, the Commission found that the proposed transaction would have given rise to competition concerns in Ireland as it would have strengthened the current leading position of Rexel in a very fragmented market where competitors would not have had the size and the geographic coverage to exercise a competitive constraint on the merged entity. -
Romania Proposes an All Cash Offer for All Outstanding
THIS ANNOUNCEMENT IS NOT FOR RELEASE, DISTRIBUTION OR PUBLICATION, DIRECTLY OR INDIRECTLY, IN OR INTO AUSTRALIA, CANADA, JAPAN, ITALY OR THE UNITED STATES OF AMERICA Paris, 1 February 2008 This is a press release of Kelium S.A.S. pursuant to the provisions of Section 9b(1), of the Dutch Securities Trade Supervision Decree 1995 (Besluit toezicht effectenverkeer 1995) (the Bte 1995). This announcement does not constitute an offer for any shares or bonds in Hagemeyer N.V. TWO MEMBERS TO JOIN THE FUTURE MANAGEMENT BOARD OF HAGEMEYER UPON SUCCESSFUL COMPLETION OF REXEL’S OFFER Reference is made to the recommended public offer made by Kelium S.A.S. (the Offeror), an indirect subsidiary of Rexel S.A. (Rexel), for all the issued and outstanding ordinary shares in the share capital of Hagemeyer N.V. (Hagemeyer) and (ii) all issued and outstanding 3.50 percent subordinated convertible bonds due 2012 (the Offer). In connection with the Offer, Kelium announces that Maarten Henderson and Henk Scheffers shall be nominated to be appointed by Hagemeyer’s general meeting of shareholders as Hold Separate Manager and Trustee, respectively, (the “B Directors”) of the management board of Hagemeyer, subject to the Offeror having declared its Offer unconditional (gestanddoening) (which is, amongst others, subject to the relevant antitrust clearances as set out in the offer memorandum, dated 21 December 2007). This general meeting of shareholders of Hagemeyer shall take place as soon as possible after settlement of the Offer on a date yet to be determined. As disclosed in the offer memorandum, dated 21 December 2007 (the Offer Memorandum), Rexel and Sonepar agreed on a specific governance framework that will remain in place until completion of the transfer of the Sonepar Entities to Sonepar. -
Transforming Practices
Transforming Practices: Imogen Cunningham’s Botanical Studies of the 1920s Caroline Marsh Spring Semester 2014 Dr. Juliet Bellow, Art History University Honors in Art History Imogen Cunningham worked for decades as a professional photographer, creating predominantly portraits and botanical studies. In 1932, she joined the influential Group f.64, a group of West Coast photographers who worked to pioneer the concept of “Straight Photography,” a movement that emphasized the use of sharp focus and high contrast. Members of Group f.64 included Ansel Adams and Edward Weston, whose works have since overshadowed other photographers in the group. Cunningham has been marginalized in histories of Group f.64, and in the history of photography in general, despite evidence of her development of many important photographic practices during her lifetime. This paper builds on scholarship about Group f.64, using biographical information and analysis of her photographs, to argue that Cunningham influenced more of the ideas in the group than has been recognized, especially in her focus on the simplification of form and the creation of compelling compositions. Focusing on her botanical studies, I show that many of the ideas of f.64 existed in her oeuvre before the formal creation of the group. Analysis of her participation in the group reveals her contribution to developments in art photography in that period, and shows that her gender played a key role in historical accounts that downplay her significant contributions to f.64. Marsh 2 Imogen Cunningham became well known in her lifetime as an independent and energetic photographer from the West Coast, whose personality defined her more than the photographs she created or her contribution to the developing straight photography movement in California. -
Information to Users
Alfred Stieglitz and the opponents of Photo-Secessionism Item Type text; Thesis-Reproduction (electronic) Authors Zimlich, Leon Edwin, Jr., 1955- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:07:09 Link to Item http://hdl.handle.net/10150/291519 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Representations of the Female Nude by American
© COPYRIGHT by Amanda Summerlin 2017 ALL RIGHTS RESERVED BARING THEMSELVES: REPRESENTATIONS OF THE FEMALE NUDE BY AMERICAN WOMEN ARTISTS, 1880-1930 BY Amanda Summerlin ABSTRACT In the late nineteenth century, increasing numbers of women artists began pursuing careers in the fine arts in the United States. However, restricted access to institutions and existing tracks of professional development often left them unable to acquire the skills and experience necessary to be fully competitive in the art world. Gendered expectations of social behavior further restricted the subjects they could portray. Existing scholarship has not adequately addressed how women artists navigated the growing importance of the female nude as subject matter throughout the late nineteenth and early twentieth centuries. I will show how some women artists, working before 1900, used traditional representations of the figure to demonstrate their skill and assert their professional statuses. I will then highlight how artists Anne Brigman’s and Marguerite Zorach’s used modernist portrayals the female nude in nature to affirm their professional identities and express their individual conceptions of the modern woman. ii ACKNOWLEDGMENTS I could not have completed this body of work without the guidance, support and expertise of many individuals and organizations. First, I would like to thank the art historians whose enlightening scholarship sparked my interest in this topic and provided an indispensable foundation of knowledge upon which to begin my investigation. I am indebted to Kirsten Swinth's research on the professionalization of American women artists around the turn of the century and to Roberta K. Tarbell and Cynthia Fowler for sharing important biographical information and ideas about the art of Marguerite Zorach. -
Anne Brigman Visionary in Modern Photography
ANNE BRIGMAN VISIONARY IN MODERN PHOTOGRAPHY Photographer, poet, critic, and mountaineer, Anne Brigman (1869-1950) is best known for her figurative landscape images made in the Sierra Nevada in the early 1900s. During her lifetime, Brigman’s significance spanned both coasts of the United States. In Northern California, where she lived and worked, she was a leading Pictorialist photographer, a proponent of the Arts & Crafts movement, and a participant in the burgeoning Berkeley/Oakland Bohemian community. On the East Coast her work was promoted by Alfred Stieglitz, who elected her to the prestigious Photo-Secession and championed her as a Modern photographer. Her final years were spent in southern California, where she wrote poetry and published a book of photographs and poems, Songs of a Pagan, the year before she died. This retrospective exhibition, with loans drawn from prestigious private and public collections around the world, is the largest presentation of Brigman’s work to date. ***** The exhibition is curated by Ann M. Wolfe, Andrea and John C. Deane Family Senior Curator and Deputy Director at the Nevada Museum of Art. We thank the following individuals for their scholarly contributions and curatorial guidance: Susan Ehrens, art historian and independent curator; Alexander Nemerov, Department Chair and Carl & Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University; Kathleen Pyne, Professor Emerita of Art History at University of Notre Dame; and Heather Waldroup, Associate Director of the Honors College and Professor of Art History at Appalachian State University. ENTRANCE QUOTE Close as the indrawn and outgoing breath are these songs Woven of faraway mountains … and the planes of the sea … Gleaned from the heights and the depths that a human must know As the glories of rainbows are spun from the tears of the storm. -
Edward Weston Retrospective
The Museum of Modern Art FOR RELEASE: U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart SEPTEMBER 21, 1973 EDWARD WESTON RETROSPECTIVE The first major retrospective of Edward Weston since his death in 1958 will be presented by The Museum of Modern Art in the winter of 1975, John Szarkowski, Direc tor of the Museum's Department of Photography, announced today. Mr.Szarkowski has invited Willard Van Dyke, well-known photographer, filmmaker and critic and close colleague of Weston for more than 30 years, to direct the ex hibition. Mr. Van Dyke is Director of the Museum's Department of Film. Weston, a master of 20th-century photography, was born in 1886 and became a professional photographer when he was in his early 20s. He opened his first studio in California in 1911. The retrospective will explore the evolution of his vision and study his contribution to the visual art of this century over five decades of a distinguished career. Weston moved to Mexico in 1923 where he opened a portrait studio with Tina Modotti. He returned to California in 1929 and three years later, with Willard Van Dyke, formed the influential "Group f64." This alliance of west coast photographers, including Ansel Adams and Imogen Cunningham, was dedicated to the deep focus, un varnished technique exemplified in Weston's photographs. In 1948 Van Dyke, who had already photographed or directed a score of important documentary films, made The Photographer, now considered the classic film study of Weston's life and work. Weston was given a one-man show at The Museum of Modern Art in 1946 and shortly afterwards was sticken with Parkinson's disease. -
Research.Pdf (1.328Mb)
VISUAL HUMOR: FEMALE PHOTOGRAPHERS AND MODERN AMERICAN WOMANHOOD, 1860- 1915 A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Meghan McClellan Dr. Kristin Schwain, Dissertation Advisor DECEMBER 2017 © Copyright by Meghan McClellan 2017 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled Visual Humor: Female Photographers and the Making of Modern American Womanhood, 1860-1915 presented by Meghan McClellan, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Kristin Schwain Dr. James Van Dyke Dr. Michael Yonan Dr. Alex Barker To Marsha Thompson and Maddox Thornton ACKNOWLEDGMENTS The difficulty of writing a dissertation was never far from anyone’s lips in graduate school. We all talked about the blood, sweat, and tears that went into each of our projects. What we also knew was the unrelenting support our loved ones showed us day in and day out. These acknowledgments are for those who made this work possible. This dissertation is a testament to perseverance and dedication. Yet, neither of those were possible without a few truly remarkable individuals. First, thank you to all my committee members: Dr. Alex Barker, Dr. Michael Yonan, and Dr. James Van Dyke. Your input and overall conversations about my project excited and pushed me to the end. Thank you Mary Bixby for giving me the “tough love” I needed to make sure I met my deadlines. -
PRESS RELEASE Paris, 25 October 2007
PRESS RELEASE Paris, 25 October 2007 REXEL PROPOSES AN ALL CASH OFFER FOR ALL OUTSTANDING SHARES OF HAGEMEYER Agreement with Sonepar to dispose of certain assets Rexel announces that it proposes to make an offer to acquire all of the outstanding ordinary shares of Hagemeyer, including any shares issued under the outstanding convertible bonds and existing employee share plans. Rexel has informed Hagemeyer of its intention and has invited Hagemeyer to meet in order to discuss its proposal in order to obtain a recommendation from Hagemeyer’s Management Board and Supervisory Board. In order to ensure an orderly market in respect of the securities issued by Rexel and Hagemeyer, Rexel announces that its proposal concerns an all cash offer at a price of €4.60 per share, valuing Hagemeyer’s equity (on a fully-diluted basis) at €3.0 billion. Rexel’s Supervisory Board has unanimously approved the proposed offer. The proposed offer represents a 47% premium over the average share price of Hagemeyer for the one month period prior to 9 October 2007 when Sonepar announced its intended offer of €4.25 per Hagemeyer share. Rexel has entered into a separate agreement with Sonepar for the sale to Sonepar, following successful completion of the proposed offer, of the American, Asian-Pacific and selected European activities of Hagemeyer. Rexel would acquire and retain essentially all of Hagemeyer’s Professional Products & Services (PPS) activities in the Baltic countries, Belgium, the Czech Republic, Finland, Germany, Ireland, the Netherlands, Norway, Poland, Russia, Slovakia, Spain, and the United Kingdom, as well as Hagemeyer’s ACE activities. -
Donnartista Donnartista
donnArtista donnArtista femminilità ed erotismo per le autrici del novecento Martina Agostini donnArtista A cura di Martina Agostini © 2012 ISIA di Urbino, Urbino (PU) Progettazione per l’Editoria 1 Istituto Superiore per le Industrie Artistiche di Urbino Biennio in Fotografia dei Beni Culturali A.A. 2012-2013 Docente Roberto Gobesso Testi a cura di Martina Agostini Caratteri tipografici Avenir, Palatino Progetto grafico e impaginazione: Martina Agostini Proprietà letteraria riservata: nessuna fotografia, nessun testo, nessuna parte di questo libro può essere riprodotta o utilizzata senza il permesso scritto dell’autore o degli aventi diritto. …non è detto che ogni essere umano di genere femminile sia una donna; bisogna che partecipi di quell’essenza velata dal mistero e dal dubbio che è la femminilità. La femminilità è una secrezione delle ovaie o sta congelata sulla sfondo di un cielo platonico? Simone de Beauvoir “Il secondo sesso prefazione Cosa significa vivere per una donna nel XX secolo? Data la sua condizione, in che modo potrà realizzarsi come essere umano, posto che la sorte dell’individuo non va valutata in termini di felicità ma di libertà? “Le donne di oggi stanno distruggendo il mito della femminilità; e cominciano ad affermare concretamente l’indipendenza che spetta loro; ma tale volontà di vivere integralmente la condizione dell’esser umano non va disgiunta nella donna da un travaglio molto penoso. Educate da donne, in un mondo femminile, sono comunemente destinate al matrimonio che in pratica le assoggetta ancora all’uomo; il prestigio della virilità è tutt’altro che al tramonto: ha sempre solide basi economiche e sociali. -
The Museum of Modern Art 14 West 49Th Street, New York Telephone: Circle 7-7470 for Release Monday, April 3, 1939
39330 - 8 THE MUSEUM OF MODERN ART 14 WEST 49TH STREET, NEW YORK TELEPHONE: CIRCLE 7-7470 FOR RELEASE MONDAY, APRIL 3, 1939 The Museum of Modern Art a.nnounces that it has acquired for its Permanent Collection a group of 53 photographs by leading photographers on the West Coast. These photographs are the gift of Albert M. Bender of San Francisco. Included in the gift are 17 prints by Ansel Adams; 1 by Imogen Cunningham; 3 by Henry Swift; 2 by Sidney Snaer; 14 by Brett V/eston; 11 by Edward Weston; and 6 by Gedric Wright. Many of these recently acquired photographs will be shown in the exhibition Art in Our Time with which the Museum will open its new building at 11 West 53 Street. The exhibition, which also celebrates the Museum's tenth anniversary, will open to the public Thursday, May 11. In addition to painting, sculpture, architecture, graphic art, popular or folk art, industrial design, commercial art and the motion picture, there will be a section on photography. Material for this section has been assembled by Beaumont Newhall, Librarian of the Museum. The photography section of the exhibition will be composed of the work of living American post-war photographers only and will Include eight photographs each by Ansel Adams, Brett Weston, Walker Evans, Berenice Abbott, Ralph Steiner and Man Ray, with six photographs by Dr. Harold E. Edgerton, the engineer who developed ultra-high-speed photography as a scientific tool for the critical observation of rapidly moving machine parts. In the photography section of the catalog which will be pub lished simultaneously with .the opening of Art in Our Time, Mr. -
Sonepar Is the World's Number
2013 SONEPAR IS THE WORLD’S NUMBER ONE B-TO-B DISTRIBUTOR OF ELECTRICAL PRODUCTS AND RELATED SOLUTIONS 38 COUNTRIES MARIE-CHRISTINE COISNE-ROQUETTE, EXECUTIVE CHAIRMAN 2 45 YEARS OF EXPERTISE A DYNAMIC GROUP 4 FRANCK BRUEL, CHIEF EXECUTIVE OFFICER 6 SONEPAR EXECUTIVE COMMITTEE 8 190 FINANCIAL COMMENTARY 10 ENTITIES NEWS FROM THE REGIONS 12 2,300 PASSION FOR YOUR BUSINESS 14 BRANCHES CLOSE TO OUR CUSTOMERS 16 SUPPLIERS OF CHOICE 18 WOMEN AND MEN WITH COMMITMENT 20 36,000 NETWORK DYNAMICS 22 ASSOCIATES A DECENTRALIZED GLOBAL ORGANIZATION 24 SOUTHERN EUROPE 26 207,000 NORTHERN EUROPE 30 NORTH AMERICA 34 ORDERS PER DAY ASIA-PACIFIC 38 SOUND CORPORATE GOVERNANCE 42 16.3 INTERNATIONAL PRESENCE OF SONEPAR 44 BILLION EUROS OF SALES MAJOR PROJECTS AROUND THE WORLD 46 inc. inc. inc. inc. MARKETS NORTH AMERICA 680 branches 36% OF SALES 10% OTHERS 9% SERVICES & UTILITIES CUSTOMERS 27% INDUSTRY SOUTHERN EUROPE 815 branches 24% OF SALES 17% PRODUCTS CABLE % & WIRES 33 INFRASTRUCTURE % & INDUSTRIAL 9 AUTOMATION % 15 % % SAFETY LIGHTING 6 13 & TOOLS HVAC & BUILDING RENEWABLE AUTOMATION & ENERGY CONSTRUCTION inc. 1969 CREATION BY HENRI COISNE " WHAT COUNTS IS WHAT LASTS, TO LAST WE NEED TO ADAPT. " NORTHERN EUROPE 480 branches 32% OF SALES MARIE-CHRISTINE COISNE-ROQUETTE EXECUTIVE CHAIRMAN " I WOULD LIKE TO THANK ALL OF OUR ASSOCIATES FOR THEIR HARD WORK AND DAILY DEDICATION. " 54% INSTALLERS FRANCK BRUEL CHIEF EXECUTIVE OFFICER “ WE OPTIMIZE OUR STRUCTURE AND PROCESSES EVERY DAY TO OFFER THE BEST SERVICE TO OUR CUSTOMERS, THE BEST DISTRIBUTION NETWORK TO OUR SUPPLIERS, AND THE BEST OPPORTUNITIES TO ASIA-PACIFIC OUR ASSOCIATES.