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Contact Sheet
CONTACT SHEET The personal passions and public causes of Prince Albert, husband of Queen Victoria, are revealed, as photographs, prints and letters are published online today to mark the 200th anniversary of his birth After Roger Fenton, Prince Albert, May 1854, 1889 copy of the original Queen Victoria commissioned a set of private family photographs to be taken by Roger Fenton at Buckingham Palace in May 1854, including a portrait of Albert gazing purposefully at the camera, his legs crossed, in front of a temporary backdrop that had been created. Queen Victoria and Prince Albert In a letter beginning ‘My dearest cousin’, written in June 1837, Albert congratulates Victoria on becoming Queen of England, wishing her reign to be long, happy and glorious. Royal Archives / © Her Majesty Queen Elizabeth II 2019 Queen Victoria kept volumes of reminiscences between 1840 and 1861. In these pages she describes how Prince Albert played with his young children, putting a napkin around their waist and swinging them backwards and forwards between his legs. The Queen also sketched the scenario (left) Royal Archives / © Her Majesty Queen Elizabeth II 2019 Press Office, Royal Collection Trust, York House, St James’s Palace, London SW1A 1BQ T. +44 (0)20 7839 1377, [email protected], www.rct.uk After Franz Xaver Winterhalter, Bracelet with photographs of Queen Victoria and Prince Albert’s nine children, 1854–7 This bracelet was given to Queen Victoria by Prince Albert for her birthday on 24 May 1854. John Jabez Edwin Mayall, Frame with a photograph of Queen Victoria and Prince Albert, 1860 In John Jabez Edwin Mayall’s portrait of 1860, the Queen stands dutifully at her seated husband’s side, her head bowed. -
PROCEEDINGS of the 120TH NATIONAL CONVENTION of the VETERANS of FOREIGN WARS of the UNITED STATES
116th Congress, 2d Session House Document 116–165 PROCEEDINGS of the 120TH NATIONAL CONVENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES (SUMMARY OF MINUTES) Orlando, Florida ::: July 20 – 24, 2019 116th Congress, 2d Session – – – – – – – – – – – – – House Document 116–165 THE PROCEEDINGS OF THE 120TH NATIONAL CON- VENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES COMMUNICATION FROM THE ADJUTANT GENERAL, THE VETERANS OF FOREIGN WARS OF THE UNITED STATES TRANSMITTING THE PROCEEDINGS OF THE 120TH NATIONAL CONVENTION OF THE VETERANS OF FOREIGN WARS OF THE UNITED STATES, HELD IN ORLANDO, FLORIDA: JULY 20–24, 2019, PURSUANT TO 44 U.S.C. 1332; (PUBLIC LAW 90–620 (AS AMENDED BY PUBLIC LAW 105–225, SEC. 3); (112 STAT. 1498) NOVEMBER 12, 2020.—Referred to the Committee on Veterans’ Affairs and ordered to be printed U.S. GOVERNMENT PUBLISHING OFFICE 40–535 WASHINGTON : 2020 U.S. CODE, TITLE 44, SECTION 1332 NATIONAL ENCAMPMENTS OF VETERANS’ ORGANIZATIONS; PROCEEDINGS PRINTED ANNUALLY FOR CONGRESS The proceedings of the national encampments of the United Spanish War Veterans, the Veterans of Foreign Wars of the United States, the American Legion, the Military Order of the Purple Heart, the Veterans of World War I of the United States, Incorporated, the Disabled American Veterans, and the AMVETS (American Veterans of World War II), respectively, shall be printed annually, with accompanying illustrations, as separate House documents of the session of the Congress to which they may be submitted. [Approved October 2, 1968.] ii LETTER OF TRANSMITTAL VETERANS OF FOREIGN WARS OF THE UNITED STATES KANSAS CITY, MISSOURI September, 2020 Honorable Nancy Pelosi The Speaker U. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Landscaping India: from Colony to Postcolony
Syracuse University SURFACE English - Dissertations College of Arts and Sciences 8-2013 Landscaping India: From Colony to Postcolony Sandeep Banerjee Follow this and additional works at: https://surface.syr.edu/eng_etd Part of the English Language and Literature Commons, Geography Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Banerjee, Sandeep, "Landscaping India: From Colony to Postcolony" (2013). English - Dissertations. 65. https://surface.syr.edu/eng_etd/65 This Dissertation is brought to you for free and open access by the College of Arts and Sciences at SURFACE. It has been accepted for inclusion in English - Dissertations by an authorized administrator of SURFACE. For more information, please contact [email protected]. ABSTRACT Landscaping India investigates the use of landscapes in colonial and anti-colonial representations of India from the mid-nineteenth to the early-twentieth centuries. It examines literary and cultural texts in addition to, and along with, “non-literary” documents such as departmental and census reports published by the British Indian government, popular geography texts and text-books, travel guides, private journals, and newspaper reportage to develop a wider interpretative context for literary and cultural analysis of colonialism in South Asia. Drawing of materialist theorizations of “landscape” developed in the disciplines of geography, literary and cultural studies, and art history, Landscaping India examines the colonial landscape as a product of colonial hegemony, as well as a process of constructing, maintaining and challenging it. In so doing, it illuminates the conditions of possibility for, and the historico-geographical processes that structure, the production of the Indian nation. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
Catalogue 143 ~ Holiday 2008 Contents
Between the Covers - Rare Books, Inc. 112 Nicholson Rd (856) 456-8008 will be billed to meet their requirements. We accept Visa, MasterCard, American Express, Discover, and Gloucester City NJ 08030 Fax (856) 456-7675 PayPal. www.betweenthecovers.com [email protected] Domestic orders please include $5.00 postage for the first item, $2.00 for each item thereafter. Images are not to scale. All books are returnable within ten days if returned in Overseas orders will be sent airmail at cost (unless other arrange- the same condition as sent. Books may be reserved by telephone, fax, or email. ments are requested). All items insured. NJ residents please add 7% sales tax. All items subject to prior sale. Payment should accompany order if you are Members ABAA, ILAB. unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions Cover verse and design by Tom Bloom © 2008 Between the Covers Rare Books, Inc. Catalogue 143 ~ Holiday 2008 Contents: ................................................................Page Literature (General Fiction & Non-Fiction) ...........................1 Baseball ................................................................................72 African-Americana ...............................................................55 Photography & Illustration ..................................................75 Children’s Books ..................................................................59 Music ...................................................................................80 -
Hsian.G Lectqres on Chinese.Poet
Hsian.g LectQres on Chinese.Poet: Centre for East Asian Research . McGill University Hsiang Lectures on Chinese Poetry Volume 7, 2015 Grace S. Fong Editor Chris Byrne Editorial Assistant Centre for East Asian Research McGill University Copyright © 2015 by Centre for East Asian Research, McGill University 688 Sherbrooke Street West McGill University Montreal, Quebec, Canada H3A 3R1 Calligraphy by: Han Zhenhu For additional copies please send request to: Hsiang Lectures on Chinese Poetry Centre for East Asian Research McGill University 688 Sherbrooke Street West Montreal, Quebec Canada H3A 3R1 A contribution of $5 towards postage and handling will be appreciated. This volume is printed on acid-free paper. Endowed by Professor Paul Stanislaus Hsiang (1915-2000) Contents Editor’s Note vii Nostalgia and Resistance: Gender and the Poetry of 1 Chen Yinke Wai-yee Li History as Leisure Reading for Ming-Qing Women Poets 27 Clara Wing-chung Ho Gold Mountain Dreams: Classical-Style Poetry from 65 San Francisco Chinatown Lap Lam Classical Poetry, Photography, and the Social Life of 107 Emotions in 1910s China Shengqing Wu Editor’s Note For many reasons, Volume 7 has taken much longer than anticipated to appear. One was the decision to wait in order to have four Hsiang Lectures in this volume rather than the customary three. The delay and small increase in the number of lectures bring new horizons in research on Chinese poetry to our readers. Indeed, in terms of the time frame covered, this volume focuses mostly, but not exclusively, on the twentieth century. Three of the four lectures are fascinating studies of the manifold significations of classical verse and their continued vitality in the discursive space of Chinese politics and culture in a century of modernization. -
A Tour Through Scotland
M2 . f • • &¥ be &J L~a- nA-cr_ g hgRiw'd &E&m*= it? $- .8 1#-5 -- ./ ~7~ • M33 ;)() LO A Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph C \ By Danielle McAllister Honours Bachelors of Arts, Studio Art, University of Guelph, 2007" A Thesis Project Presented to Ryerson University. the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film In partial fulfillment for the degree of Masters of Arts . In the program of . Photographic Preservation and Collections Management Toronto, Ontario, Canada 2010 © Danielle McAllister PRDPERTYOF RYERSON UNIVERSITY UBRARl ±brSS Author's Declaration I hereby declare that I am the sole author of this thesis. I authorize Ryerson University and George Eastman House International Museum of Photography and Film, to lend this thesis project to other institutions or individuals for the purpose of scholarly research. ,. - I --I I Danielle McAllister , I further authorize Ryerson University and George Eastman House International Museum of Photography and Film to reproduce this thesis project by photocopying or by other means, in total or in part, at the request of other institutions or ~ individuals for the purpose of scholarly research. ii §k 1 I Abstract I i Among the various collections housed in the Archival & Special Collections CASC) at the University of Guelph is a group of photographic material that exhibits the integral role photography played in Scotland's tourism industry from the I nineteenth and early twentieth centuries. Photographic publishing firms such as I G.W. Wilson & Co. -
Travel Photography of the Nineteenth Century
The Wandering Lens Travel Photography of the 19ᵗ� Century Algeria, Egypt, France, Guernsey, India, Italy, Japan, Jerusalem, Morocco, Palestine, Scotland, Sri Lanka, Syria, Wales Bernard Quaritch Ltd Bernard Quaritch Ltd 36 B������ R��, L�����, WC1R 4JH Tel.: +44 (0)20 7297 4888 Fax: +44 (0)20 7297 4866 Email: [email protected] / [email protected] Web: www.quaritch.com Some of our recent lists & catalogues Bankers: Barclays Bank PLC, 1 Churchill Place, London E14 5HP Sort code: 20-65-90 Boston Virtual Book Fair 2020 Account number: 10511722 The Library of Sir Geoffrey Bindman Part II Swift code: BUKBGB22 Paris Salon du Livre Rare 2020 Sterling account: IBAN GB71 BUKB 2065 9010 5117 22 Natural History Euro account: IBAN GB03 BUKB 2065 9045 4470 11 Summer Miscellany U.S. Dollar account: IBAN GB19 BUKB 2065 9063 9924 44 The Library of Brian Aldiss VAT number: GB 322 4543 31 Firsts 2020 Art & Design © Bernard Quaritch Ltd 2021 Banking, Business & Finance The English & Anglo-French novel 1740-1840 List 2021/1 NB all items are subject to VAT in the UK except those marked with an asterisk *. Index of photographers ALINARI 34 KELHAM, Augustus 52 ALTOBELLI, Gioacchino 29 LOMBARDI, Paolo 34 ANDERSON, Domenico 35 LYON, Edmund David 22, 23 ANDERSON, James 30, 31, 32 MOLINS, Pompeo 29 BEATO, Antonio 2 RIVE, Roberto 35 BEATO, Felice 36, 40, 41, 42 ROBERTSON, James 40, 41, 42 BÉCHARD, Émile 3, 4, 5, 6, 7 SACHÉ, John Edward 24 BEDFORD, Francis 37 SEBAH, Pascal 10 BISSON FRÈRES 14, 15 SCOWEN, Charles 47 BONFILS 38, 39, 40, 44, 49, 50, 51 SKEEN & CO. -
George Washington Wilson (1823-1893)
George Washington Wilson (1823-1893) Photographically innovative and entrepreneurial in business, Wilson was the most notable, successful and prolific stereo-photographer in Scotland and perhaps the entire UK. Having trained in Edinburgh as an artist, he worked as a miniature portrait painter and art teacher in Aberdeen from 1848. He started experimenting with photography in 1852, probably realising that it could potentially supplant his previous profession. In a short-lived partnership with Hay, he first exhibited stereoviews in 1853 at the Aberdeen Mechanics' Institution. A commission to photograph the construction of Balmoral Castle in 1854-55 led to a long royal association. His photos were used in the form of engravings for Queen Victoria's popular book “My Highland Journal”. His best-selling carte-de-visite of her on a pony held by Brown (judiciously cropped to remove other superfluous retainers) fuelled the gossip surrounding this relationship. His portrait studio in Aberdeen provided steady cashflow and in 1857, to promote his studio, he produced a print grouping together famous Aberdonians, one of the earliest ever examples of a photo-collage. He soon recognised that stereoviews were the key to prosperity and by 1863 had a catalogue of over 400 views from all across the UK, selling them in a wide variety of outlets including railway kiosks and inside cathedrals. His artistic training helped him compose picturesque and beautiful images, but he was also an innovative technician, experimenting on improving photographic techniques, chemistry and apparatus, working closely with camera and lens manufacturers. He was among the very first to publish “instantaneous” views, ranging from a bustling Princes Street, Edinburgh to a charming view of children paddling in the sea, both dating from 1859. -
Australian and International Photography
Australian and International Photography Collectors’ List No. 151, 2011 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th to Early 20th Century Established 1977 103a Anzac Parade, Kensington (Sydney), NSW Postal: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 151, 2011 Australian & International Photography Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky On exhibition from Wednesday, 29 June to Saturday, 13 August and on our website from 2 July. All items have been illustrated in this catalogue. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $1.05¢; UK £0.65p 1. The 35th Royal Sussex Regiment (Album Compiled by J.J. Twining), c1861-1865. Leather-bound album containing 59 albumen paper photographs and an ink © Licence by VISCOPY AUSTRALIA 2011 LRN 5523 drawing of the Regiment’s coat of arms, most images captioned in ink or pencil on album page, album inscribed and dated in ink on opening pages by owner, J.J. Twining, 7.6 x 7.5cm to 16.7 x 20.7cm (images), 23.5 x 20cm (album). -
TPG Exhibition List
Exhibition History 1971 - present The following list is a record of exhibitions held at The Photographers' Gallery, London since its opening in January 1971. Exhibitions and a selection of other activities and events organised by the Print Sales, the Education Department and the Digital Programme (including the Media Wall) are listed. Please note: The archive collection is continually being catalogued and new material is discovered. This list will be updated intermittently to reflect this. It is for this reason that some exhibitions have more detail than others. Exhibitions listed as archival may contain uncredited worKs and artists. With this in mind, please be aware of the following when using the list for research purposes: – Foyer exhibitions were usually mounted last minute, and therefore there are no complete records of these brief exhibitions, where records exist they have been included in this list – The Bookstall Gallery was a small space in the bookshop, it went on to become the Print Room, and is also listed as Print Room Sales – VideoSpin was a brief series of worKs by video artists exhibited in the bookshop beginning in December 1999 – Gaps in exhibitions coincide with building and development worKs – Where beginning and end dates are the same, the exact dates have yet to be confirmed as the information is not currently available For complete accuracy, information should be verified against primary source documents in the Archive at the Photographers' Gallery. For more information, please contact the Archive at [email protected]