sábado, 30 de octubre de 2010

(en) Vintage photography Paris. Architectural photography France XIX century


This photograph is part of an album with 40 albumins on card titled: "Facade of maisons, ville et Hôtels à Paris" c. 1880


The photographer' s name is Lampue Pierre who was the official photographer of the School of Fine Arts, Architecture in Paris.
The photograph of buildings, both indoor and outdoor boom hit in France where many photographers.
The photographers by own instance, or by official commissions are going to collect the history of France and especially Paris with their cameras.
Lampue was at his time one of the most famous French photographers.
This album is released E. Ducher one of the most reputable publishers of books on art and architecture and photography of its time.( 1870/80's)
Fevrier The architect was the designer of this house but have not found any information on his biography

La fotografía deLampué figura en una de las colecciones más importantes de fotografía del siglo XX, colección actualmente en el Museo Getty y cuyas obras principales fueron objeto de exposición en 2016

The Thrill of the Chase: The Wagstaff Collection of Photographs at the J. Paul Getty Museum
September 10 – December 11, 2016

From 1973 to 1984, Samuel J. Wagstaff, Jr. (American, 1921-1987) assembled one of the most important private collections of photographs in the world. Wagstaff promoted photography as an art form by organizing exhibitions, delivering lectures, and publishing material on his collection. In 1984, a few years before his death from AIDS-related complications, Wagstaff sold his collection to the J. Paul Getty Museum. Numbering several thousand, the collection now forms a cornerstone of the Getty Museum’s holdings of photographs.
Wagstaff served as a curator of paintings and sculpture at the Wadsworth Atheneum Museum of Art (1961-1968) and curator of contemporary art at the Detroit Institute of Art (1969-1971)
.........Images (left to right): Jean Pierre Philippe Lampué (French, 1836 – 1924), Still life of sculpture and architectural fragments, 1868, Albumen silver print, Image: 34.3 x 22.2 cm (13 1/2 x 8 3/4 in.), The J. Paul Getty Museum, Los Angeles, 84.XP.458.28; Gustave Le Gray (French, 1820 – 1884), The Beech Tree, about 1855 – 1857,
  • Pierre Lampué Life and works

    From  La Bibliothèque nationale de France (BnF) I got the following confirmation on Lampué live and work:
    • Jean Pierre Philippe Lampué was born in Montréjeau in 1836. Died in Paris in 1924.
    • He studied at the Seminary of Polignan and in the School of Beautiful Arts in Toulouse. He could have travelled to Spain in 1864.
    • In 1865 he stablished in Paris, rue Saint Jacques 237.
    • Lampué become official photographer of the École of Beaux Arts of Paris.
    • In 1888 he became councillor of the 5th District of Paris.
    • In 1890 he became radical socialist and gets elected as municipal councillor of Paris for the Val de Grace neighbourhood. In the council he belonged to the comission of "teaching and beautiful arts".
    • In 1892 he became part of the Honour Comitee for the First International Exposition of Photography and Industry as councillor of Paris.
    • Lampué was re-elected as councillor in 1893 and 1896 but lost in 1900 elections.
    • He was member of the French society of Photography from 1873 to 1885.
    • He was member of the Chamber of Labour Union of Photography.
    • Lampué participated in expositions by the French Society of Photography in 1876 and 1882.
    • He had his own photographic studio in rue Saint Jacques 237, in Paris until 1879. It was called "French-Spanish photography".
    • This studio was later moved to the Boulevard Port Royal 72 in Paris.
    • He finishes his photographic activities in 1890.

    In the George Eastman House database, we can find the following information:
  • Name: Jean Pierre Philippe Lampué
  • Active in France c.1870
  • Member of the French Society of Photography
  • Museums with artwork of Lampué
    • J. Paul Getty Museum
    • Rikjsmuseum Ámsterdam
    • Snite Museum of Art
  • Expositions
    • Onzienme Exposition de la Société Nacional de Photographie en 1876. Palais de la Industrie
    • Exposition Universelle 1878


 Lampúe se hizo famoso por una fuerte controversia que mantuvo a través de la prensa con los pintores cubistas.

.. The subject of an interpellation in the Chambre des Députés. Following the lead of a municipal councillor and amateur photographer named Lampué, who had written an open letter to Monsieur Bérard, Under-Secretary in the Ministry of Fine Arts, in the Mercure de France:
 ....That access to all public building should be denied " to a gang of criminals who behave  in the art world like yobs and delinquents.

a Socialist deputy, Monsieur Jean Louis Breton, demanded that measures be taken to prevent the Cubists from exhibiting at the Salon d'Automne
....'Il est absolument inadmissible que nos palais nationaux puissent servir à des manifestations d'un caractère aussi nettement antiartistique et antinational.' .
The attack was answered by Marcel Sembat
 'Quand un tableau vous semble mauvais,' he declared, 'Vous avez un incontestable droit: celui de ne pas le regarder et d'aller en voir d'autres. Mais on n'appelle pas les gendarmes.'
Excelente contestación.
  • Haciendo la búsqueda correspondiente en la web de Culture France se nos muestran varias fotos de este fotógrafo.

    Jean-Pierre Lampué (1836 – 1924)
    Président du Conseil Général de la Seine en 1904 et 1905
    Vice-président du Conseil municipal de Paris
    Rapporteur général du budget du département de la Seine
    Dessinateur et photographe d’art spécialisé dans la photographie d’architectur
    Photographies de Lampúe

    .............Cat’zArts, qui tire son nom du bal des Quat’z-arts organisé par les élèves des quatre sections de l’Ecole, est un catalogue informatique qui présente les œuvres des collections de l’Ecole nationale supérieure des beaux-arts. Ces collections, héritées des Académies royales, augmentées par de prestigieuses donations et par les travaux scolaires jusqu’en 1968, sont extrêmement variées et comportent aussi bien peintures, sculptures, objets d’art, dessins de maîtres et d’architecture, que photographies, estampes ou Livres et manuscrits. Sur un total de plus de 450 000 œuvres, près de 80 000 figurent déjà dans la base................

     Photographies de Lampúe. Sturgis collection

    ..........American architect Russell Sturgis (1836 –1909) was a leading figure in the development of architectural criticism at the turn of the 20th-century. During his formative years in New York, Sturgis gained an appreciation for architectural history and modern design. An advocate of the American Pre-Raphaelites, Sturgis sought much inspiration in the written works of English architect and critic John Ruskin. Upon his return to New York after extensive travel abroad, Sturgis opened his own architectural practice in 1863. In addition to his success as an architect, Sturgis authored countless articles and books on various architectural subjects.
    After 1858, Sturgis earnestly began to collect choice photographs and drawings of various architectural gems. Sturgis' collection of photographs is particularly rich in both its collective thoroughness and diversity of images represented.................

    Jean-Pierre Lampué (1836 – 1924)

    Président du Conseil Général de la Seine en 1904 et 1905
    Vice-président du Conseil municipal de Paris
    Rapporteur général du budget du département de la Seine
    Dessinateur et photographe d’art spécialisé dans la photographie d’architecture.

miércoles, 27 de octubre de 2010

(en) Giacomo Rossetti Photographer. Certosa di Pavia. Vintage photography cartusian monks Italy

In this photo, taken from a slightly elevated viewpoint, we can see two monks posing at the entrance to one of the doors of the Certosa di Pavia.
The monks are quiet, not to get " blurred" in the picture due to the high exposure time needed by the primitive cameras.


This photo belongs to an album, has cut corners, typical of the early days of the pictures on paper, and also is pasted in blue carboard typical of the early 1860's.
Alinari Museum completed consultation I did indicated that the date of the photo is 1860 but they couldn't give me the name of the photographer.


 After a long research I have found the photographer's name: Giacomo Rossetti

  • Giacomo Rossetti was member of the Ateneo di Brescia. I was In contact with the Ateneo   and  they send to me this biographical data (see the adjoint file)

ROSSETTI Giacomo, artista pittore/decoratore e fotografo. Studia all’Accademia “Carrara” di Bergamo; pittore e appassionato fotografo, è a Brescia, con Giuseppe Allegri (anch’egli pittore, che introdusse in Brescia l’arte della fotografia), nel suo studio di corso Magenta (1851); per primo, in Palazzo Bargnani (allora sede del I.R. Liceo-Ginnasio), espone ammirati ritratti in grandezza naturale; sotto la sua direzione viene aperta una “officina fotografica” in Corso Magenta al n. 638 (1862) ove, avvalendosi anche della collaborazione dell’ing. Luigi Valery, realizza fotografie di architetture; noti sono i suoi album fotografici su Santa Maria dei Miracoli e sul Palazzo della Loggia(*); posti in mostra, all’Esposizione Universale di Vienna (1873), ammirati dall’ Imperatore Francesco Giuseppe, vengono premiati con medaglia; partecipa con successo all’ Esposizione di Philadelphia (1876) e all’ Esposizione di Parigi (1878); insignito di medaglia d’oro all’ Esposizione di Melbourne (1880); espone con successo alla Rassegna di Arte Fotografica a Milano (1881); tra i numerosi encomi si ricorda la concessione del “brevetto di Fotografo di Casa Reale”;
- Nasce nel 1807(**) (00-Mmm) a Iseo(***) (Bs),risiede a Brescia; muore nel 1882 (17-Nov).
- Socio onorario dal 1878 (03-Feb).
- Necrol. e/o Commemor.: [G. GALLIA] G. DA
COMO («Comm. Ateneo di Brescia» 1882:
Note: cfr. Elenco generale dei Soci, in append.
a: G. FENAROLI, Primo secolo dell'Ateneo di
Brescia, 1802-1902 (Brescia, 1902). Voce in
A. FAPPANI, Enciclop. Bresc. (Vol.XV, Brescia
(*) Due album di sue fotografie vengono offerti
all'Ateneo: il primo relativo al Palazzo del Municipio,
il secondo alla Chiesa dei Miracoli
(cfr. «Comm. Ateneo di Brescia» 1878: 55).
Riguardo ai citati album fotografici, solo quello
che illustra il Palazzo Municipale «detto la
Loggia» è presente nella biblioteca accademica
fin dal 1895 (cfr. Ateneo di Brescia. Catalogo
della Biblioteca (Apollonio, Brescia 1896);
mentre quello illustrante la Chiesa di S. Maria
dei Miracoli pare non sia mai pervenuto (potrebbe
esser stato dato ai Musei Civici di Brescia
(**) In A. Fappani (1999) viene indicata l’anno
1800, ma nel cenno necrologico («Comm.
dell’Ateneo» 1882: 210) si legge che, al momento
della morte: Contava 74 anni di età; per
cui, non conoscendo il mese della nascita
l’anno potrebbe essere il 1808, ma se fosse nato
in dicembre varrebbe 1807.
(***) Secondo alcune biografie “on line” sarebbe
nato a Marone [sul Lago d’Iseo]; nel cenno necrologico
(«Comm. dell’Ateneo» 1882: 112),
però, lo si dice: Nativo d’ Iseo, ..., indicazione
questa che viene riportata anche in A. FAPPANI
- Sue opere: Illustrazione del Palazzo Municipale di Brescia
detto la Loggia, in 48 tavole fotografiche in folio (Brescia
- Vedi inoltre: Dono all'Ateneo di due grandi albums fotografici,
illustranti il Palazzo Municipale e S. Maria dei Miracoli
(in: «Comm. Ateneo di Brescia» 1878: 55).

  • This mention about Giacomo Rossetti  is included in the book  “Verso la Modernita. I bresciani e le esposizioni industriali” Sergio Onger

Il fotografo e pintore Giacomo Rossetti nel novero dei partecipanti ad almeno quattro esposicioni testimonia l’interesse che in un contesto espositivo assumevano le tecniche di reproduzione visiva. La sua prima comparsa pubblica era statta all’esposizione di arte e mestieri dell’ Ateneo del 1862,seguita da una rapida fama per le sue belle riproduzione all’albumina virate in bruno sepia di alcuni monumenti cittadini.Il fotografo bresciano con amore e cura grandissima superando spese e fatiche veramente gravose .seppe con esattezza ammirabile riprodure col magistero della fotografia ilmeglio di questi ornati.
Con l’intento di offrire modelli per le scuole de disegno in sostituzione del tradicionali calchi in gesso . Rossetti realizo anche una serie in veinticinque  tavole dell palazzo della Loggia e del monte Vecchio di pieta. Questi lavori venivano proposti in due distinte serie , di diverse dimensioni nela quali le stampe fotografiche erano incollate su appositi cartoni.
All l’esposizione di Vienna  del 1873 Rossetti presento la sua serie fotografiche e inoltre invio una gigantografia della facciata della Chiesa dei Miracoli di dimensione sorprendenti per quegli anni ( 3 per 2,5 metri circa) aggiudicandosi  la medaglia al merito. Forte del successo  che le sue riproduzioni incontrarono tra il pubblico colto e di come egli potesse coi negativi del suo lavoro disporre quante piu volte  delle tavole che gli venissero chieste anche separatamente . Rossetti espose anche a Filadelfia nel 1876 , a Parigi nel 1878, e Milano nel 1881

  • Included the obituary in the book

Commentari dell’Ateneo di Brescia 1882 p. 210

  • Mentioned Rossetti's photograph  “Riproduzione fotografica della Facciata della Chies dei Miracoli" in
“ L'età veneta:  l'immagine della città, la scultura  monumentale”

  • Included Giacomo Rossetti's  biography in

Fotografi e fotografia in Italia, 1839-1880 de Piero Bechetti

GIACOMO ROSSETTI. Fotografo anche vedutista, attivo in corso Magenta, 638. Partecipò all'Esposizione di Vienna del 1873 con una raccolta di vedute dei principali monumenti di Brescia.........

  1. Main façade of Santa Maria dei Miracoli, Brescia
  2. Detail view of the main façade of Santa Maria dei Miracoli, Brescia / Détail de la façade principale de Santa Maria dei Miracoli, Brescia
  3. Main façade of Santa Maria dei Miracoli, Brescia
  • Exhibition :Pavillon des Arts Paris 2005 Vu d'Italie, 1841-1941: la photographie italienne dans les collections du Musée Alinari: Reproduced Rossetti's  photograph " La façade di Monte Vecchio" vers 1860 in page 101  
  •    Photographs in the collection of the BNf: Trois photographies de Rossetti, représentant le Palais municipal et l'église Santa Maria dei Miracoli à Brescia, sont conservées dans notre département, sous la cote AD-34 (A, 187)-FOL.

martes, 26 de octubre de 2010

(en) Vintage photography Albert Levy. Architectural photography

This time Albert Levy leaves New York in search of new architectures to photograph.
His steps led him to Boston where he made this picture of the house of Mr. Washburn.I could not get information about the owner. About " Allen & Kenway" architects I have located several buildings designed by them but yet I failed to get a biographical data of them.

This picture is included in the files of the Collection Halic the Art Institute of Chicago as seen in the following link Halic.
Albert Levy conducted an extensive series of photographs of architecture in the U.S. between 1875-1885. These photos were gathered in so-called "Albert Levy's Photographic Series of Modern American Architecture".
Several albums of these series are in the best American museums such as the Metropolitan, Getty, Library of Congress, Avery Library.
The photographic catalog of the photographs made by Albert Levy can be found in the Avery Library and the BNF ( Bibliotheque National de France)
Albert Levy's Photographic Series of Modern American Architecture. Due to these series, Albert Levy is referenced as counterpart for Alinari in the United States (13).

  • Albert Levy's Photographic Series of Modern American Architecture: Second Series, Country Dwellings. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Ninth Series, Street Fronts. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: First Series, Private City Dwellings. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Fifth Series, Messrs. Vanderbilt's Mansions. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Tenth Series, Sea Shore Cottages and Country Houses. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Twelfth Series, Modern Street Architecture of Berlin, Street Fronts and Apartment Houses. (16)
  • Albert Levy's Photographic Series, the Fourteenth Series: Romanesque and Gothic Churches in the South of France (24)
  • Albert Levy's Photographic Series of Modern American Architecture: Sixteenth Series, American Private City Dwellings. (16)
  • Albert Levy's Architectural Photographic Series : Lévy, Albert. 1895 (16)
  • Albert Levy's Architectural Photographic Series:  Twenty-fourth series.(Berne, Lucerne, Zurich and other Swiss cities and towns) (21)
  • Albert Levy's Architectural Photographic Series : Thirty-Fifth Series, Sea Shore Cottages And Country Houses, Bar Harbor, Mount Desert, Maine : Lévy, Albert. 1895 (16)
  • Albert Levy's Architectural Photographic Series: Thirty-First Series, Street Fronts, Stores, Office , Etc : Lévy, Albert. c1884 (15)
  • Albert Levy's Architectural Photographic Series : Thirty-Sixth Series, Sea-Shore Cottages, Etc., Newport, R.I., And Long Branch, N.J : Lévy, Albert. 1895 (15)
  • Albert Levy's Photographic Series Of Modern American Architecture. : Lévy, Albert. 1883
  • Albert Levy's Architectural Photographic Series: 3rd series, French Gothic and Renaissance, Civil and Domestic Architecture, New York: Albert Levy, 1884. (14)
  • Albert Levy's Architectural Photographic Series: 33rd series, American City and Country Residences, etc, New York: Albert Levy, 1884. (14)
  • Architectural Photographic Series, city houses/Levy: 1 album, 38 leaves of plates: photographs 36x46 cm. New York, Albert Levy (between 1880-1895?). (20).
    • Signature by Albert Levy in "Albert Levy's Architectural photographic series"

      In some cases, in the Photographic series the  Photographs are titled, numbered and mounted on blue card stock. The card stock is embossed
      "Architectural & Decorative Books, Albert Levy, NY, 77, University".


  • Photographs by Levy in the Halic Collection: Art Institute Chicago 
  • Culture France
    L’assimilation du régionalisme dans l’architecture balnéaire

    L’apparition du style néo-normand est sans doute la plus précoce mais aussi la plus
      ambiguë du régionalisme. D’après Claude Mignot, le créateur du type de la villa néo-normande
    semble être l’architecte caennais Jacques Baumier père. Dès 1860, celui-ci bâtit les dépendances de la villa Suzanne de Louis-Léon Paris à Houlgate et, deux ans plus tard, sur la plage de Trouville la Maison normande pour Adolphe Cordier. Elles seront suivies de trois autres réalisations sur les  hauteurs de la même station. Il faut attendre une vingtaine d’années pour voir se répandre la seconde génération de villas sur toute la côte normande, signées par de nombreux architectes comme
    Jacques Baumier fils, Edouard Papinot, Adrien Jory père et fils, E. Mauclerc, G. Pichereau

    Estudio sobre la arquitectura Balnearia. Tipos de Viviendas

    Jacques Baumier Wikipedia
  • Albert Levy Catalogue in Gallica. Is a new service of this Library

domingo, 24 de octubre de 2010

(en) Vintage photography Oregon, Highway. Photographer Arthur Prentiss


This picture depicts one of the highways of Oregon's the "John Day River Highway"

The title of this photographs is "John Day River and Rim Rocks. John Day Highway in Wheeler County".
Prentiss collected here another view of this Oregon Trail near the Columbia River Highway and intersects with U.S. Route 395.
The desolation of the landscape, not devoid of beauty by the proximity of the river, shows the difficulty of the work of opening new roads in the western U.S. state of Oregon.
Prentiss, a photographer based in Oregon had its main studio in Portland. Previously shared a studio with George Benjamin Gifford and Weisten.


viernes, 22 de octubre de 2010

(en) Vintage photography Tour in Scotland. Georges Washington Wilson

The photographer George Washington Wilson was one of the most important photographers in the world in the XIX century. His study did thousands of photographs of Scotland, England and Europe. He is owned to be the creator of the "Cabinet Card"
The quality of his photographs is really good but the abundance of its production has made today, even when his photos are in the best museums, not sufficiently recognized.
Wilson's photographic collections are preserved in the University of Aberdeen.
This photo is part of an album entitled "Tours in Scotland" and brings together over 100 photographs of places in Scotland, common theme in Wilson.
Anecdotally, we must remember that his studio photographers visited Spain, especially Andalusia.The picture depicts a view of Melrose Abbey


Excelente artículo en inglés que  repasa la historia profesional de estos dos grandes estudios fotográficos con especial hincapié a los procedimientos de "marketing fotográfico de la época"

..................With a similar entrepreneurial spirit, in a bid to extend his initial portraits into the realm of greater production, Wilson had a stroke of marketing genius. In 1857 he created a montage of one-hundred and one of Aberdeen’s established middle class, identifying the who’s who of Aberdeen society, and simultaneously drawing attention to himself, to his clients and their elevated status. It sold extremely well, and in a single stroke this new promotion publicly cemented his relationship with existing clients while using their patronage and image as advertising, thus compelling other members of society, wishing for similar recognition, to visit his studio in the hopes of being included in the next year’s edition...........

The George Washington Wilson and Co. Photographic Collection
The George Washington Wilson and Co. photographic collection consists of over 37,000 glass plate negatives, produced by the Aberdeen firm between the second half of the nineteenth century and the early twentieth century
His patronage by the Royal Family during their visits to the Balmoral Estates began in 1854 when he was invited to take photographs of the Royal family in the grounds of Balmoral
He received the official appointment of Photographer Royal for Scotland in 1860 and his relationship with the Royal family continued throughout his career
George Washington Wilson exhibited his photos in these early exhibitions:
-  1855:  British Association, Glasgow
-  1856:  Edinburgh Photographic Society
-  1857:  Art Treasures, Manchester
-  1858:  Edinburgh Photographic Society
-  1859:  British Association, Glasgow
-  1859:  Glasgow Photographic Society
-  1861:  London Photographic Society
-  1862:  London International Exhibition
Wilson went on to build up a substantial business as a publisher of topographic views, principally of Scotland, where he travelled to Braemar, the Trossachs, the Falls of Clyde and many of the wilder parts of Scotland. His English output is small compared with his Scottish views, but Wilson made several journeys into England.
Born 7 February 1823; died 9 March 1893.
By 1880 he had established the largest publishing company of topographical views in Britain called "G.W. Wilson & Co.".

[Recueil.] Scottish Scenery / G. W. Wilson
[Recueil.] Scottish Scenery / G. W. Wilson
Source: gallica.bnf.fr

miércoles, 20 de octubre de 2010

(en) Vintage photography of the shipbuilding of the S.S. Faith , concrete ship. Oackand 1918

The photo shows us the construction of the deck in a reinforced concrete vessel. The tubes hold the frame that is to receive the concrete forming structure of the boat.
The air fleet in this picture a few special effects that provide great beauty.Curiously, this album of photos of the boat S.S. Faith, formed by more than 100 pictures was bought in USA.
The photos were taken by the agency Photo Service Studio 123 Market St.The ship was built by the San Francisco Shipbuilding Company of Oakland California.

  • S. S. Faith Wikipedia
  • Concrete ship
  • Full album shipbuilding of SS Faith (1918)
  • Está formado por más de 100 fotografías en blanco y negro sobre cartulina blanda. Las fotografías de gran calidad recogen, con fechas, todo el proceso de construcción del barco.
    En el interior del álbum había un sobre con la siguiente frase "Nicolson/launching of the Faith March 14, 1918", Nicolson fue un ingeniero de  la San Francisco Shipbuilding Company y su imagen figura en alguna de las fotografías
    • William Leslie Comyn - Shipbuilding Company - S.S. Faith

    William L. Comyn fue un distinguido hombre de negocios, armador de los primeros barcos de ferro-hormigón.
    Durante la Primera Guerra Mundial, convencido de la necesidad de este tipo de barcos, intentó que diferentes astilleros construyeran barcos en ferro-hormigón.
    Al no conseguir que ningún astillero se lo hiciera creo la San Francisco Shipbuilding Company -1917- en Oakland California.
    En Enero de 1918 comenzó la construcción  del primer buque denominado Faith diseñado por Alan Macdonald y Victor Poss. Se terminó de construir el 18 de marzo de 1918.
    El Faith desplazaba 8000 toneladas y, en el momento de su botadura, era el barco de este tipo de mayor tamaño del mundo.
    Los primeros viajes del S.S. Faith tuvieron como destino Honolulu, Balboa, Callao, Valparaíso y Nueva York.
    En 1919 Comyn vendió su compañía a French American SS Lines.
    Al acabar la Primera Guerra Mundial solo había 12 buques de este tipo en construcción, que fueron dedicados, por la terminación de la guerra al comercio.
    En 1921 el SS Faith acabó sus días como rompeolas en la isla de Cuba habiéndose vendido a A. Marx and Sons Co.
    Francisco Chronicle
    Good Ship “Faith”
    Home to start on new adventures
    Concrete craft wins high praise from owners and master
    Unmindful of war or peace, strikes or storms, the reinforced concrete ship Faith continues on her even way, plying the waves or every ocean. No see too rough, no gale too high for this sturdy twentieth century marvel.
    For her maiden voyage the Faith took a taste of the Pacific, going from San Francisco, the city of her birth, to Vancouver, thence back to the Panama Canal. Forty and sixty miles Pacific gales failed to ruffle her temper, much less to strain her in seams. Having thus convinced all doubters or her sea worthiness, the Faith slid up to New York, where she received the homage of innumerable admirers.
    Getting back into her element she betook  herself to South American waters and upon her return set sail for England. While there she was minutely examined for lines of care or distress, bur none was found. Her captain said that in his thirty years experience of life on the ocean waves he had not met with any boat to equal to this one. And her owners said:  It is needless for us to say that the boat took not an inch of water, as she is one of the stanchest sea boats afloat.
    Now the Faith has returned home in quest of new glories. It is said she will soon be on her way to a new and distant continent.
    Wherever she goes the Faith “delivers the goods”

lunes, 18 de octubre de 2010

Exposiciones para fotografiar. Exposición Museo Reina Sofia Madrid

El Museo Reina Sofía permite la fotografia, sin flash, en todas sus salas excepto en la sala del Guernica.
Esta es una buena noticia pues es un ambiente adecuado a las fotografía. No estamos hablando,obvviamente, de las series de Tomas Struth sobre este objeto sino mas bien, sencillamente, fotos de ambiente, de gente aislada dentro de un ambiente de mucha gente.

Ademas conviene recordar que en la terraza, en la tercera planta del edificio se puede subir y hacer fotos de Madrid desde un punto elevado.
Es uno de los sitios habituales para pasear con la camara. Mismamente,la propia plaza de acceso al Museo,actualmente en obras es otro sitio ideal como objetivo de la camara.


Fotos. alonso robisco

domingo, 17 de octubre de 2010

(en) Vintage photography Spain. Photographer Marques de Santa Maria del Villar

This photo shows some old houses in the small town of Bande in Orense.
In this village we can see from the following web Esgalicia:

The Marquis of Santa Maria del Villar was in its first period of work, a great pictorialist
photographer, afterwards he took a documentary character with a human standpoint,which is the most important characteristic of his photographs

He was one of the promoters of the "National Tourism Board" which later became the Governement Department of Tourism.

The Photographic Archives of the Directorate General of Tourism (Direccion General de Turismo" in spanish) is one of the most extensive archive of Spain with of the period 1928-1970. It includes photographs of almost every town in Spain and also the most important monuments many of them today dissapeared.

The selection of the photographers involved followed two paths, first direct acquisition of images to existing photo-archives as they were the arhives of the spanish photographers LLadó, Ruiz Vernacci, Otto Wunderlich, Adolf Mas and many other. On the other hand direct assignment photographers of each location to photography their towns and/or monuments

Great photographers, like Ortiz Echagüe or Catalá Roca Ortiz, also sent his work to increase the photographic funds of the archive of "Direccion General de Turismo".
You can see about 3.ooo photographs of this archive with Google earth in the Spanish link
Catalogo Monumental de España
Spanish links
  • Fotos Marqués de Santa María del Villar
  • Fotos antiguas de Avila. Archivo Pedro Anta
  • Fototeca Navarra. Archivo Marqués de Santa María del Villar 
  • Fotos de Navarra. Marqués de Santa María del Villar.
  • Sobre su actividad documental véase el documento sobre las fotografías realizadas-pertenecientes a los fondos del CDIS centro de documentacion  de la imagen del Ayuntamiento de Santander durante la reconstrucción de la Catedral de Santander: ..............El Fondo Regiones Devastadas del CDIS está datado entre 1944 y 19463 y consta de 279 fotografías, positivos originales en blanco y negro y soporte papel de gelatina de revelado químico, cuyas dimensiones oscilan entre 12x16 y 18x18 cm., aunque hay 4 unidades de mayores dimensiones (22x29 cm.).
Estas fotografías recogen parte de los trabajos de Reconstrucción
llevados a cabo en la Catedral de Santander tras el Incendio
que asoló la ciudad, y destruyó prácticamente el templo, en 1941. ..............Este fondo fotográfico fue producido por dos fotógrafos relevantes aunque de características distintas: Joaquín Araúna Ajenjo y Diego Quiroga y Losada, Marqués de Santa María del Villar

The Fund for Devastated Regions of DCIS is dated between 1944 and 19463 and consists of 279 photographs, original positive and black and white gelatin paper chemical development, ranging in size from 12x16 and 18x18 cm., Although there are 4 units of larger (22x29 cm.).

These photographs collected from the work of Reconstruction
held in the Cathedral of Santander after the Fire that devastated the city, and virtually destroyed the temple in 1941. Photographic .............. This was produced by two photographers with different characteristics may be relevant: Joaquin Araujo and Diego Quiroga and Losada, Marquis of Santa Maria del Villar
  • Sobre su cualidad humana vease el documento que narra los fondos de fotografia antigua de Avila incluidos en el archivo Anta. Es de destacar su generosidad y conocimiento profundo de España y de sus propias fotos, de la historia de cuando las hizo, de como las hizo, muchos años antes de narrarlo a D. Pedro Anta

Su vasto conocimiento de la riqueza naturalística y monumental de España llevó a que fuera propuesto en 1927 para ocupar la presidencia del recién creado Patronato Nacional de Turismo, cargo que no aceptó por desinterés hacia los aspectos administrativos, aunque, personalmente, permaneció fiel a la encomienda real de ocuparse del entonces incipiente turismo; a su consejo se debe la construcción del primer parador nacional en Gredos.

    En 1936, su laboratorio fotográfico de la calle Segovia 3 de Madrid fue destruido, junto con una parte de sus archivos, estimados en unas 75.000 fotografías. Después de la guerra se trasladó a San Sebastián y, como fotógrafo, trabajó durante veinte años como jefe del Departamento Fotográfico de Regiones Devastadas, lo que dio ocasión a que hiciera de nuevo una interesante colección de gran valor documental y artístico.

    La formación inicial de Diego de Quiroga como fotógrafo fue en la corriente pictorialista, en boga a principios del siglo XX y cuyo representante más conspicuo es Ortiz-Echagüe, del que la Universidad de Navarra guarda una importante colección

 His vast knowledge of naturalistic and monumental wealth of Spain conducted him in 1927  to be  proposed to chair the newly established National Tourism Board, a position he did not accept for lack of interest in administrative matters, although, personally, he remained faithful to the parcel the real deal then fledgling tourism to their advice should be building the first national parador in Gredos.

     In 1936, his photo lab Segovia Street 3 in Madrid was destroyed, along with part of your records, estimated at about 75,000 photographs. After the war he moved to San Sebastian and, as a photographer, worked for twenty years as head of the Devastated Regions Photographic Department, which gave occasion to make again a very interesting collection of documentary and artistic value.

     The initial training as a photographer Diego de Quiroga was pictorial in the current, in vogue in the early twentieth century and whose most conspicuous is Ortiz-Echagüe, of the University of Navarra has an important collection

Fue colaborador de revistas como Montes (1949), Reconstrucción (1942-54) y Vida Vasca (1949-51), y su obra fue publicada en numerosas revistas, como Blanco y Negro, Sombras o Vértice. Tras la Guerra Civil española se instaló en San Sebastián, donde continuó trabajando para el Departamento Fotográfico de Regiones Devastadas hasta 1960.
Su estilo inicial fue pictorialista, pero su obra viró pronto hacia el naturalismo, de carácter inmediato, con un marcado valor documental y etnográfico e implicaciones impresionistas. Se adelantó así a la fotografía de reportaje que se generalizaría en los años 50 y 60.