mulnier (6 Ergebnisse)

Albuminabzug. Carte-de-visite. Im Unterrand eingedruckte Bezeichnung und Nummer, rückseitig Aufkleber der (jüdischen) Berliner "Photographie-Album & Lederwaaren-Fabrik (und) Kunsthandlung Max Grünbaum". Eine (fast) identische Aufnahme, wie auf vorliegendem Bild mit ovalem Bildausschnitt auf weißem Grund sowie gleicher Haltung und Kleidung, auch wie hier ohne Atelierhintergrund, kann als Carte-de-visite des Photographen Ferdinand Mulnier (1817-1891) nachgewiesen werden. Die beiden Aufnahmen sehen so frappierend gleich aus, daß man sie im ersten Moment für identisch hält, nur auf der Einen ist die Fliege, die der Dargestellte trägt weiß gepunktet und auf der Anderen einfarbig schwarz, außerdem sind auch ein paar winzigste Details im Faltenwurf der Kleidung verschieden. Vorliegendes Bild wurde aber fast sicher ebenfalls von Mulnier aufgenommen und möglicherweise sogar bei derselben Aufnahmesitzung. Grévy war der 3. Präsident der 3. französischen Republik, Gegner von Louis Napoléon Bonaparte und von 1879-87 der erste entschieden republikanische Präsident Frankreichs.

19 Bände,. Mit Abbildungen auf Tafeln, ca. 200 Seiten, Einbände größtenteils lose, insgesamt aber ordentliches Exemplar Sprache: Französisch 38x28, graue illustrierter OU, helle OBrosch.

Folio (288 x 351 mm). 192 pp., profusely illustrated throughout, with 48 full-page Woodburytype plates mounted within printed borders on sturdy cardboard, 24 mounted Woodburytype plates in the text, and 2 plates printed in red. Bound in sumptuous red morocco for Ismail Pasha, Khedive of Egypt, elaborately giltstamped on spine and both covers. Leading edges gilt, inner dentelle gilt, marbled endpapers. All edges gilt. A striking collection of 72 woodburytype portraits of great artists and reproductions of their art, with accompanying biographical sketches, issued in undated instalments, then bound for and dedicated to Ismail Pasha, Khedive of Egypt and Sudan from 1863 to 1879. The portraits include famous authors and officers such as Victor Hugo, Thiers, Georges Sand, Sarah Bernhardt, Alexander Dumas fils, Gounod, Daudet, Erckmann-Chatrian, Mac-Mahon, Coppée, Jules Janin, Velpeau etc - but also Ferdinand de Lesseps, the French engineer whose Suez Canal was constructed and opened under Ismail's khedivate. The photographs are by Mulnier, Nadar, Carjat, Petit, and others, and printed by Goupil. The woodburytype is a photomechanical process capable of reproducing the continuous tones of photography with pigmented gelatin molded to a varying thickness. The speed and economy of woodburytypes, as well as their permanence (unlike traditional photographic processes that were subject to fading), made them a highly practical substitute for albumen silver prints in book publication or other situations where mass production was desirable. - Occasional slight foxing, but very well preserved altogether. The upper cover of the luxuriant red morocco binding bears the dedication: "A Son Altesse Ismaïl Pacha Khédive d'Égypte". Sharing the ambitious outlook of his grandfather, Muhammad Ali Pasha, Ismail greatly modernized Egypt and Sudan during his reign, investing heavily in industrial and economic development, urbanisation, and the expansion of the country's boundaries in Africa. - OCLC 17984963. Cf. Lucien Goldschmidt and Weston J. Naef, The Truthful Lens (1980).

Pas de couverture. Zustand: Très bon exemplaire. Edition originale. Beau portrait du compositeur Charles Gounod paru dans la Galerie contemporaine. Photoglyptie contre-collée sur carton fort légendé.

Kein Einband. Zustand: Gut. 1. Auflage. Zwei CdV-Fotos aus Paris. --- Entstanden um 1860. --- Zu sehen ist ein älteres Ehepaar, und zwar Edmund Freiherr von Beaulieu-Marconnay (* 13. November 1817 in Oldenburg; 12. Oktober 1900 in Dresden), großherzoglich-oldenburgischer Kammerherr, Stabsoffizier bei der Oldenburgischen Infanterie und Sohn des Oldenburgischen Geheimen Rats und Vorsitzenden im Oldenburgischen Staatsministerium Wilhelm Ernst von Beaulieu-Marconnay (1786-1859), und dessen Ehefrau Adelheid Christiane Charlotte Friederike von Berg (* 24. Juni 1816), die er am 8. Mai 1856 geheiratet hatte. Sie war eine Tochter des Politikers Günther von Berg (1765-1843). --- Sehr seltene Motive! --- Fotograf: F.d Mulnier, 25 Boulevard des Italiens, d.i. Ferdinand Mulnier (1817-1891). --- Format: 9,5 x 6,5 cm. --- Aus einem desolaten Familienalbum der Familie von Berg; die handschriftliche Zuordnung (hier in der Schreibweise "Bolieu") befand sich auf den Albumblättern; ich habe sie mit Bleistift übertragen. -- Ein Teil des Albumsblatts mit der falschen Schreibweise des Namens lege ich bei. --- Zustand: Fotos etwas fleckíg, die Ecken sind beschnitten.

Albumen print photograph, carte de visite format, 104 x 62 mm; verso with the imprint of the photographic studio of Ferdinand Mulnier, 25 Boulevard des Italiens, which also mentions the gold medal awarded to him at the Exposition Universelle of 1878, and with contemporary captions in ink and pencil identifying the sitter as Lefebvre; in fine condition. The creator of a Melbourne icon. Jules Joseph Lefebvre (1836-1911) trained as a painter at theÉcole nationale supérieure des Beaux-Artsin the early 1850s.Between 1855 and 1898, he exhibited no fewer than 72 works in theParis Salon, the majority of them oil portraits of exotic women.In the Salon of 1875 he exhibited Chloé,an evocation of a pastoral idyll from classical antiquity, inspired by André Chenier's poem Mnazile et Chloé. The painting - a full-length nude portrait - wonLefebvre theprestigious Gold Medal of Honour.The beautiful young model who posed for Lefebvre was a 19-year-old Parisienne identified only as Marie, who is reputed to have committed suicide out of unrequited love at the age of 21. The painting's association with Australia goes all the way back to 1879, when it was brought out for exhibition in the French gallery at the Sydney International Exhibition of that year. The following year it was part of the Melbourne International Exhibition. The painting won a gold medal at both events. Chloé was then purchased by Dr. Thomas Fitzgerald of Melbourne, for 850 guineas - an astronomical sum for the time, particularly in the Australian colonies. In 1883 Fitzgerald loaned the painting to the National Gallery, on the understanding it would be returned to him after his proposed three-year visit to Ireland. However, its full-frontal nudity proved scandalous in the puritanical atmosphere of Melbourne society, and after only three weeks the Gallery was forced to bow to pressure from the Presbyterian Assembly:Chloé was essentially banned from public display in Melbourne, and Fitzgerald was obliged to send the painting to Adelaide for safe-keeping during his absence from Australia.From the late 1880s until his death in 1908, Chloé hung in Fitzgerald's magnificent Lonsdale Street residence, "Rostella" - even though he was forced to move her from the front room to the back of the 24-room mansion after complaints from prurient passers-by. In 1908 the painting was acquired from Fitzgerald's estate at auction for £800 - less than Fitzgerald had paid for it nearly three decades earlier - by Melbourne publican Henry Figsby Young. Since 1909 the painting has been on permanent display in the bar of Young & Jackson's Hotel on the corner of Flinders and Swanston Streets.Chloéhas long been synonymous with this famous Melbourne landmark, and the painting itself - in turn condemned, romanticised and fetishised -has played a significant part in the cultural and social history of the city. Trove locates no portraits of Jules Joseph Lefebvre in any Melbourne (or indeed Australian) institutional collections.