General Type Studio Throughout the 20Th Century, Western Artists Found
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Historic Camera Newsletter © HistoricCamera.com Volume 14 No. 03 Street, Liverpool. The introduction of the Miral and Flexet reflector cameras became a success. By 1904 the firm employed about 18 young workmen. The new building was called the "Miral Works". The firm of Talbot & Eamer dates In 1906, the business was purchased by Mr. back to 1884, F. Strettell. He continued manufacture of the where Mr. Henry same equipment, but with improved and up- Percy Tattersall to-date lines. founded the establishment at The business was became Talbot & Eamer 11 Exchange- Ltd. in 1909 but quickly declined over the street in Blackburn, following few years. Operations completely England. The closed in 1923. relation or derivation of the See our website for completed detail on business's name Talbot & Eamer cameras. Talbot & Eamer to Tattersall is unknown. He was sometimes listed as a scientific instrument maker. Mr. Tattersal was one of the first manufacturers to make box cameras with a bag changing arrangement. During the 1890s, the business prospered with the introduction of the Talmer, Economic, Diamond and Tattersall Patent hand cameras. In 1897 the firm was located at on 58 Ainsworth Street, Blackburn in the county of Lancaster. The exact date of the move from exchange-street is unknown. Due to financial problems Tattersall sold the business to Mr. G. Jones, a native of Ref: Blackburn in 1901. Mr. Jones bought the 1890 July The Photographic news, p. 581 1897 The London Gazette - Page 159 business for his sons and the business was 1904 May, Photographic Dealer, p. 118 1906 British Journal of Photography vol. -
Daxer & Marschall 2015 XXII
Daxer & Marschall 2015 & Daxer Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com XXII _Daxer_2015_softcover.indd 1-5 11/02/15 09:08 Paintings and Oil Sketches _Daxer_2015_bw.indd 1 10/02/15 14:04 2 _Daxer_2015_bw.indd 2 10/02/15 14:04 Paintings and Oil Sketches, 1600 - 1920 Recent Acquisitions Catalogue XXII, 2015 Barer Strasse 44 I 80799 Munich I Germany Tel. +49 89 28 06 40 I Fax +49 89 28 17 57 I Mob. +49 172 890 86 40 [email protected] I www.daxermarschall.com _Daxer_2015_bw.indd 3 10/02/15 14:04 _Daxer_2015_bw.indd 4 10/02/15 14:04 This catalogue, Paintings and Oil Sketches, Unser diesjähriger Katalog Paintings and Oil Sketches erreicht Sie appears in good time for TEFAF, ‘The pünktlich zur TEFAF, The European Fine Art Fair in Maastricht, European Fine Art Fair’ in Maastricht. TEFAF 12. - 22. März 2015, dem Kunstmarktereignis des Jahres. is the international art-market high point of the year. It runs from 12-22 March 2015. Das diesjährige Angebot ist breit gefächert, mit Werken aus dem 17. bis in das frühe 20. Jahrhundert. Der Katalog führt Ihnen The selection of artworks described in this einen Teil unserer Aktivitäten, quasi in einem repräsentativen catalogue is wide-ranging. It showcases many Querschnitt, vor Augen. Wir freuen uns deshalb auf alle Kunst- different schools and periods, and spans a freunde, die neugierig auf mehr sind, und uns im Internet oder lengthy period from the seventeenth century noch besser in der Galerie besuchen – bequem gelegen zwischen to the early years of the twentieth century. -
Photography and Painting Along the Normandy Coast, 1850–1874
Simon Kelly exhibition review of The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850–1874 Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) Citation: Simon Kelly, exhibition review of “The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850–1874,” Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010), http://www.19thc-artworldwide.org/spring10/the-lens-of-impressionism. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Kelly: The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850–1874 Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850–1874 University of Michigan Museum of Art 10 October 2009 – 3 January 2010 Dallas Museum of Art 21 February 2010 – 23 May 2010 Catalogue: The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850–1874 Carole McNamara, with essays by Sylvie Aubenas, Stephen Bann, Dominique de Font-Réaulx, and Dean MacCannell. University of Michigan Museum of Art, Ann Arbor, in association with Hudson Hills Press, Manchester and New York, 2010. 208 pages; color and b/w illus; checklist of exhibition; bibliography; index $50.00 ISBN: 978-1-55595-325-6 The seminal importance of Impressionism within the modernist narrative is, of course, an idée recue in approaches to the history of nineteenth-century painting. Recent years, however, have seen increasing debate regarding the origins of the radical formal and iconographical strategies associated with the movement. -
48 Pages FLANDRIN.Indd
GALERIE FABIENNE FIACRE – TEFAF 2020 FIACRE – TEFAF GALERIE FABIENNE ACKNOWLEDGEMENTS Front cover illustration: GALERIE FABIENNE FIACRE FRENCH SCHOOL c. 1850 I am particularly indebted to my colleagues Portrait of Orlando di Subiaco (detail), p. 29 Guy Sainty, Richard Knight, Andreas Pampoulides, Xavier Eeckhout and Mathieu Néouze, all of whom Back cover illustration: supported me to participate at TEFAF Maastricht. LÉON BONNAT I owe a special thank you to Jean Chouraqui for Young Woman with a Blue Earring, p. 15 his advices; to René Bouchara, scenographer of the stand, for his bright ideas and encouragements; PORTRAITS to Jacques Sargos, for his trust and friendship; to Mark Brady and Thomas Le Claire for having 1820-1875 provided me with the photograph of their own version of Orlando di Subiaco. In Paris, I am grateful to the restorers Isabelle Leegenhoek, France de Viguerie, Anna Gabrielli, the framers Antoine Béchet, Christophe and Caroline Nobile (Samson) and the photographer, Michel Bury. I extend my warm thanks to my assistant, Alexandra Westendorp who has researched entries of the paintings, sharing her taste and her enthusiasm for this project, to scholars and friends who have generously given assistance with the preparation of the catalogue, specifically to Joséphine Le Foll for writing the essays on Hippolyte Flandrin’s and Léon Bonnat’s portraits. To Mary Jo Brisson 1820-1875 PORTRAITS for her rigourous translations. To Stipa for their efficiency. Without this feminine team, this catalogue would not have been possible. Je souhaiterais remercier mes collègues Guy Sainty, Richard Knight, Andreas Pampoulides, Xavier Eeckhout et Mathieu Néouze qui tous m’ont encouragée à participer à la TEFAF de Maastricht. -
06 Major Works and Artists Engl
Museum Folkwang Major works (selected paintings) Pierre Auguste Renoir, Ball at the Moulin de la Galette, 1876 Musée d’Orsay, Paris Gustave Caillebotte, Paris Street; Rainy Day, 1877 The Art Institute of Chicago Edouard Manet, The Railway, 1873 National Gallery of Art, Washington Gustave Caillebotte, The Pont de l'Europe, 1876 Association des Amis du Petit Palais, Genève Vincent van Gogh, The Bridges at Asnières, 1887 Stiftung Sammlung E.G. Bührle, Zurich Paul Signac, Pont de Grenelle, 1899 Amos Anderson Art Museum, Helsinki Camille Pissarro, Avenue de l'Opéra, Sun on a Winter Morning, 1898 Musée des Beaux-Arts de la Ville de Reims Artists Paintings Jules Adler, Louis Anquetin, Emile Bernard, Louis Béroud, Frank Myers Boggs, Pierre Bonnard, Auguste- Jean-Baptiste-Antoine Cadolle, Gustave Caillebotte, Ramón Casas, Paul Cézanne, Jean-Baptiste Camille Corot, Henri Edmond Cross, Edgar Degas, André Devambez, Albert Edelfelt, Henri-Jacques Evenepoel, Jean- Louis Forain, Paul Gauguin, Norbert Goeneutte, Vincent van Gogh, Armand Guillaumin, Louis Welden Hawkins, Louis Hayet, Maximilien Luce, Edouard Manet, Henri Matisse, Maxime Maufra, Adolph Menzel, Claude Monet, Edvard Munch, Camille Pissarro, Pierre Auguste Renoir, Ilja Repin, Santiago Rusiñol, John Singer Sargent, Georges Seurat, Paul Signac, Alfred Sisley, Théophile-Alexandre Steinlen, Frits Thaulow, James Jacques Joseph Tissot, Félix Vallotton, Federico Zandomeneghi Photographs Eugène Atget, Edouard Denis Baldus, Bisson Frères, Bruno Braquehais, Auguste-Hippolyte Collard, Hyacinthe-César Delmaet et Louis-Emile Durandelle, André Adolphe-Eugène Disdéri, Albert Fernique, Paul Géniaux, Gustave Le Gray, Henri Le Secq, Alphonse Liébert, Gabriel Loppé, Charles Marville, Séraphin Médéric Mieusement, Charles Nègre, Neurdein Frères oder ND Phot, Charles-Henri Plaut, Henri Rivière, Louis Vert Stereoscopic pictures Camille Bernabé, Ferrier père, fils et Soulier, Auguste-Lange Houssin, Hippolyte Jouvin . -
Real Ideal Photography in France, 1847–1860
REAL IDEAL PHOTOGRAPHY IN FRANCE, 1847–1860 1. Henri Le Secq 2. Édouard Baldus French, 1818–1882 French, born Germany, 1813–1889 Small Dwelling in Mushroom Cave, 1851 Tour Saint-Jacques, Paris, 1852–1853 Salted paper print from a paper negative Salted paper print from a paper negative Image: 35.1 x 22.7 cm (13 13/16 x 8 15/16 in.) Image: 42.9 x 34 cm (16 7/8 x 13 3/8 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 84.XP.370.24 84.XM.348.4 3. Henri Le Secq 4. Charles Nègre French, 1818–1882 French, 1820–1880 South Porch, Central Portal, Chartres Cathedral, 1852 Notre–Dame, Paris, about 1853 Waxed paper negative Waxed paper negative Image: 34 x 24 cm (13 3/8 x 9 7/16 in.) Image: 33.6 x 24 cm (13 1/4 x 9 7/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 2015.39.1 2015.43.1 TRUST/horizontal.ai 6/8 point The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 [email protected] Communications Department Los Angeles, CA 90049-1681 www.getty.edu 7/9 point The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 [email protected] Communications Department Los Angeles, CA 90049-1681 www.getty.edu 8/10 point The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 [email protected] Communications Department Los Angeles, CA 90049-1681 www.getty.edu 9/11 point The J. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
2-FRA-GLG Portraits of Gustave Le Gray
WEEKLY TRANSMISSION N°26 THURSDAY 30 JUNE 2016 SUMMER QUIZ : PORTRAITS OF GUSTAVE LE GRAY ON PAPER l i a t e d , V PWT 26-2016 CONTENTS : Examination of a Le Gray Picture from Sirot collection III Method, disproving/supporting evidence V Timeline of Gustave Le Gray’s home and studio addresses VIII Five early portraits of Gustave Le Gray by Henri Le Secq, 1848 1-5 Five portraits at Barrière de Clichy, 1849-1855 6-10 Three portraits at 35, Boulevard des Capucines and Ville d’Avray, 1856-1858 11-13 Two Silhouettes of Gustave Le Gray, 1851 14-15 Students of Gustave Le Gray or the First School for Creative Photography 20 V, detail The e-bulletin presents articles as well as selections of books, albums, photographs and ancient documents as they have been handed down to the actual owners by their creators and by amateurs from past generations. The physical descriptions, attributions, origins, and printing dates of the books and photographs have been carefully ascertained by collations and through close analysis of comparable works. This essay presents a timeline of portraits of Gustave Le Gray. Only one, «V» will be offered in an auction on 10 November 2016 (Paris, Drouot, Binoche & Giquello). N°26 : Portraits of Le Gray on paper Weekly Transmission 26 III 30 June 2016 . Examination of a Le Gray Picture from Sirot collection The salt paper print represents the portrait of a young man in a dark coat, his feet have been cropped, some foxing, wet stamp: «Gustave Le Gray». The verso shows a few pencil inscriptions «Portrait de Gustave Le Gray par Lui-même», «Catalogue Un Siècle de vision nouvelle n°2», «premier cachet de Gustave Le Gray», «Ancienne collection Sirot, A.J.». -
Nineteenth-Century French Photographs from the National Gallery of Canada
Randy Innes exhibition review of Nineteenth-Century French Photographs from the National Gallery of Canada Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Randy Innes, exhibition review of “Nineteenth-Century French Photographs from the National Gallery of Canada,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc-artworldwide.org/autumn10/nineteenth-century-french-photographs-from- the-national-gallery-of-canada. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Innes: Nineteenth-Century French Photographs from the National Gallery of Canada Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Nineteenth-Century French Photographs from the National Gallery of Canada National Gallery of Canada, Ottawa 5 February – 16 May 2010 Art Gallery of Alberta, Edmonton 24 June – 10 October 2011 Catalogue James Borcoman, Nineteenth-Century French Photographs from the National Gallery of Canada. Ottawa: National Gallery of Canada, 2010. Issued in French as Photographies françaises du XIX siècle du Musée des beaux-arts du Canada. 168 pp., essay, catalogue and notes 250 illustrations, 100 in color $49.00 Can. / $55.00 U.S. ISBN: 9780888848734 Reflecting on his encounter with one of Auguste Salzmann's photographs of Jerusalem taken in 1854, Roland Barthes recalls an experience with time that differed from his experience with the temporality of lived experience. Salzmann's photograph of a road in Jerusalem is only a picture of a dusty place, Barthes says, "nothing but stony ground, olive trees." And yet this picture is the basis for a highly affective experience that leads Barthes to question how the photograph influences our understanding of lived and historical time. -
Paper and Light: the Calotype in France and Great Britain, 1839-1870
Paper and Light r-.~heCalotype in Franceand GreatBritain, 183 9-18 7 0 The Museum of FineArts, Houston September24-November 21, 1982 Organized by the Museum of fine Arts , Houston, and the Art Institute of Chicago in cooperation with the Univer sity of Texas at Austin. The exhibition and its catalogue were made possible in part through a grant from the National Endowment for the Arts, Washington, D .C., a federal agency . The exhibition will be shown at the Art Institute of Chicago from December 15, 1982, to February 13, 1983. Designed by Michael Glass Design, Inc ., Chicago, Illinois The information in this brochure was drawn from Paper and Light: The Calotype in France and Great Britain , 18 39-1870 (at press). All rights reserved . No portion of this brochure may be used without permission of the Pub lications Department , the Art Institute of Chicago. A 1'6'~ [982- '1 I L-. 7- A Symposium on 17thCentury FrenchPainting Nicolas Poussin, Landscape with Saint John on Patmos, c . 1640, oil on canvas,T he Art Institute of The Art Institute of Chicago Chicago, A. A. Munger. H :E ;>;"' :E ::r P> !:!..::ro Friday, October 29, 1982 Friday, October 29 <n O Pl S 0 "' ~ .... ' < Pl and Saturday, October 30, 1982 (JQ. s ;ii :::, 6:00 Inspiration of the Poet: Reflections on Two Paintings by Nicolas 5· fE S ~ Poussin, Marc Fumaroli, Professor, The Sorbonne, Pari s. Pl :::, (1) Pl s· p.:, ~ - -<= OQ :::i < A symposium of American and European scholars to be held n ,O"'~ Saturday, October 30 8. r::r''-< ::;' in conjunction with the exhibition France in the Golden Age: 10:00 Opening Remarks (t):::, (1)p.:, I") ~ (J'J-· 17th Century French Painting in Ameri can Collections at the Art 0-::rp_. -
FY2009 Annual Listing
2008 2009 Annual Listing Exhibitions PUBLICATIONS Acquisitions GIFTS TO THE ANNUAL FUND Membership SPECIAL PROJECTS Donors to the Collection 2008 2009 Exhibitions at MoMA Installation view of Pipilotti Rist’s Pour Your Body Out (7354 Cubic Meters) at The Museum of Modern Art, 2008. Courtesy the artist, Luhring Augustine, New York, and Hauser & Wirth Zürich London. Photo © Frederick Charles, fcharles.com Exhibitions at MoMA Book/Shelf Bernd and Hilla Becher: Home Delivery: Fabricating the Through July 7, 2008 Landscape/Typology Modern Dwelling Organized by Christophe Cherix, Through August 25, 2008 July 20–October 20, 2008 Curator, Department of Prints Organized by Peter Galassi, Chief Organized by Barry Bergdoll, The and Illustrated Books. Curator of Photography. Philip Johnson Chief Curator of Architecture and Design, and Peter Glossolalia: Languages of Drawing Dalí: Painting and Film Christensen, Curatorial Assistant, Through July 7, 2008 Through September 15, 2008 Department of Architecture and Organized by Connie Butler, Organized by Jodi Hauptman, Design. The Robert Lehman Foundation Curator, Department of Drawings. Chief Curator of Drawings. Young Architects Program 2008 Jazz Score July 20–October 20, 2008 Multiplex: Directions in Art, Through September 17, 2008 Organized by Andres Lepik, Curator, 1970 to Now Organized by Ron Magliozzi, Department of Architecture and Through July 28, 2008 Assistant Curator, and Joshua Design. Organized by Deborah Wye, Siegel, Associate Curator, The Abby Aldrich Rockefeller Department of Film. Dreamland: Architectural Chief Curator of Prints and Experiments since the 1970s Illustrated Books. George Lois: The Esquire Covers July 23, 2008–March 16, 2009 Through March 31, 2009 Organized by Andres Lepik, Curator, Projects 87: Sigalit Landau Organized by Christian Larsen, Department of Architecture and Through July 28, 2008 Curatorial Assistant, Research Design. -
Critique D'art, 20
Critique d’art Actualité internationale de la littérature critique sur l’art contemporain 20 | Automne 2002 CRITIQUE D'ART 20 The History of Photography: (Re)Search Into Method Paul-Louis Roubert Translator: Simon Pleasance Electronic version URL: http://journals.openedition.org/critiquedart/2079 DOI: 10.4000/critiquedart.2079 ISBN: 2265-9404 ISSN: 2265-9404 Publisher Groupement d'intérêt scientifique (GIS) Archives de la critique d’art Printed version Date of publication: 1 September 2002 ISBN: 1246-8258 ISSN: 1246-8258 Electronic reference Paul-Louis Roubert, « The History of Photography: (Re)Search Into Method », Critique d’art [Online], 20 | Automne 2002, Online since 29 February 2012, connection on 10 December 2020. URL : http:// journals.openedition.org/critiquedart/2079 ; DOI : https://doi.org/10.4000/critiquedart.2079 This text was automatically generated on 10 December 2020. Archives de la critique d’art The History of Photography: (Re)Search Into Method 1 The History of Photography: (Re)Search Into Method Paul-Louis Roubert Translation : Simon Pleasance REFERENCES Aubenas, Sylvie. Le Gray : l’œil d’or de la photographie, Paris : Gallimard : Bibliothèque Nationale de France, (Découvertes Gallimard/Hors série) Mondenard, Anne de. La Mission héliographique : cinq photographes parcourent la France en 1851, Paris : Monum, Ed. du Patrimoine, 2002 Ortel, Philippe. La Littérature à l’ère de la photographie : enquête sur une révolution invisible, Nîmes : Jacqueline Chambon, 2002, (Rayon photo) Gustave Le Gray : photographe (1820-1884), Paris : Gallimard : BNF, 2002, (Hors-série) 1 Like a sign of vitality, the history of photography investigates its classics. In La Mission héliographique, Anne de Mondenard takes us through the slim history of the very first collective public commission in the history of photography: in 1851, the Historic Monuments Commission sent five photographers–Edouard Baldus, Hippolyte Bayard, Gustave Le Gray, Henri Le Secq and Mestral–to take photographs of France’s historic buildings.