 |
Register Subscribe Login |
| 1. |  | Digital sources 2010, 4 November The Forest of Fontainebleu Google Earth © 2010 DigitalGlobe, © 2010 The GeoInformation Group | InterAtlas, © 2010 IGN-Grance |
| 2. |  | Claude-Marie Ferrier 1855-1856 The train station at Fontainebleau Stereoview, glass, hand-tinted Private collection of Jan Schimmelman |
| 3. |  | Claude-Marie Ferrier 1855-1856 The train station at Fontainebleau Stereoview, glass, hand-tinted, detail Private collection of Jan Schimmelman |
| 4. |  | Gustave Le Gray 1852 (ca) The Road to Chailly, Forest of Fontainebleau (Pavé de Chailly) Victoria and Albert Museum Part of the Townsend Bequest Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 5. |  | Gustave Le Gray 1856 The Road to Chailly, Fontainebleau Albumen print 10 1/16 x 13 15/16 in J. Paul Getty Museum The J. Paul Getty Trust (84.XM.347.3) |
| 6. |  | Gustave Le Gray 1849-1852 [Oak Tree and Rocks, Forest of Fontainebleau] Salted paper print from paper negative 25.2 x 35.7 cm (9 15/16 x 14 1/16 in) Metropolitan Museum of Art Purchase, Jennifer and Joseph Duke and Lila Acheson Wallace Gifts, 2000 (2000.13) |
| 7. |  | Gustave Le Gray 1852 Bas-Breau, Forest of Fontainebleau Albumen print, from waxed paper negative Victoria and Albert Museum Museum Number: 68:007, Chauncy Hare Townshend Bequest 1868 |
| 8. |  | Gustave Le Gray 1851 Forest of Fontainebleau Salted paper print National Gallery of Canada / Musée des beaux-arts du Canada Purchased 1967, no. 31457 This photograph is available through CyberMuse - cybermuse.gallery.ca (Accessed: August 2010). |
| 9. |  | Gustave Le Gray 1849-1852 [Forest of Fontainebleau] Salted paper print from waxed-paper negative 25.4 x 36.2 cm (10 x 14 1/4 ins) (image) 31.8 x 46.2 cm (12 1/2 x 18 3/16 ins) (mount) Metropolitan Museum of Art Gilman Collection, Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 2005, Accession Number: 2005.100.46 |
| 10. |  | Gustave Le Gray 1856 (ca) Tree Study, Forest of Fontainebleau Albumen silver print, from glass negative 31.8 x 41.4 cm (12 1/2 x 16 5/16 ins) Metropolitan Museum of Art Purchase, Joyce and Robert Menschel, The Howard Gilman Foundation, Harrison D. Horblit, Harriette and Noel Levine and Paul F. Walter Gifts and David Hunter McAlpin Fund; and Gift of Mr. and Mrs. Harry H. Lunn Jr., 1987, Accession Number: 1987.1011 |
| 11. |  | Gustave Le Gray 1856 (ca) Tree, Forest of Fontainebleau Albumen print, from wet collodion negative 31.8 x 41.6 cm Art Institute of Chicago Edward E. Ayer Endowment in memory of Charles L. Hutchinson; Samuel P. Avery, Wentworth G. Field Memorial, Maurice D. Galleher, General Acquisitions, and Laura T. Magnuson endowments, 1987.54 |
| 12. |  | John Beasly Greene 1853 (ca) Fontainebleau Salted paper print 23.3 x 30.2 cm National Gallery of Canada / Musée des beaux-arts du Canada Gift of Ward C. Pitfield, Toronto, 1981, no. 19034 |
| 13. |  | Alphonse Jeanrenaud 1860s (ca) Fontainebleau National Gallery of Art The Amy Rose Silverman Fund and Funds from an Anonymous Donor, 1999 Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 14. |  | Constant Alexandre Famin 1865 (ca) Forest Scene National Gallery of Art The Horace W. Goldsmith Foundation through Robert and Joyce Menschel Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 15. |  | Constant Alexandre Famin 1865-1870 Théophile Chauvel near the Mare aux Fées Dietmar Siegert Collection / Sammlung Dietmar Siegert Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 16. |  | Constant Alexandre Famin 1860s-1870s Study of a Birch Tree, Barbizon Albumen print, from wet collodion negative 25.90 x 18.00 cm (10 3/16 x 7 1/16 ins) (image) Cleveland Museum of Art John L. Severance Fund, Accession No.: 1994.93 |
| 17. |  | Constant Alexandre Famin 1874 (ca) En forêt de Fontainebleau Photographic print Source requested Uncertain source for this photograph - further details and provenance requested. |
| 18. |  | Eugène Cuvelier 1860s (early) Beech Tree near the Bodmer Oak Private collection Orginal collection, iInventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 19. |  | Eugène Cuvelier 1863 (ca) Mare à Piat National Gallery of Art Gift of Dan and Mary Solomon and Patrons' Permanent Fund, 2006 Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 20. |  | Eugène Cuvelier 1863 Quarry at the Sands of Macherin Metropolitan Museum of Art Purchase, Harriette and Noel Levine Gift and Rogers Fund, 1996 Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 21. |  | Eugène Cuvelier 1860s (early) Farm, Barbizon Tel Aviv Museum of Art Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 22. |  | Eugène Cuvelier 1860-1864 (ca) Road in Forest Albumen print, from paper negative 10 1/8 x 8 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 23. |  | Eugène Cuvelier 1860s (early) Untitled (Trees in Forest, France) Albumen print, from paper negative 7 3/4 x 10 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 24. |  | Eugène Cuvelier 1860s (early) Archicourt Albumen print, from paper negative 10 1/4 x 8 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 25. |  | Eugène Cuvelier 1860s (early) Untitled, Road thru Stone Wall (Neg. 300) Albumen print, from paper negative 9 x 14 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 26. |  | Eugène Cuvelier 1860s (early) Le Clos de Barbizon (Neg. 270) Albumen print, from paper negative 13 1/2 x 10 in Lee Gallery Image courtesy of the Lee Gallery (www.leegallery.com) |
| 27. |  | Eugène Cuvelier 1850s-1860s Bornage de Barbizon Salt print, paper negative 9 7/8 x 13 3/16 Lee Gallery Neg. 303, Vintage, i386 |
| 28. |  | Eugène Cuvelier 1860 (ca) Storm (Fontainebleau forest) Albumen print, from paper negative 20 x 25.2 cm Musée d'Orsay Gift of Jacques Foucart, 1980, © ADAGP, Paris - RMN (Musée d'Orsay) / René-Gabriel Ojéda, inventory no: PHO 1980 268 |
| 29. |  | Eugène Cuvelier 1858 (ca) Près le Bodmer (Close to the Bodmer Oak), Albumen print, from paper negative 10 1/4 x 8 ins (26.04 x 20.32 cm) LACMA: Los Angeles County Museum of Art The Marjorie and Leonard Vernon Collection, gift of The Annenberg Foundation, acquired from Carol Vernon and Robert Turbin (M.2008.40.602) |
| 30. |  | Eugène Cuvelier 1860 (ca) Arbres dans la forêt de Fontainebleau Salt print, from paper negative 22 x 30.8 cm Piasa Photographs, 25 May 2012, Lot: 40 |
| 31. |  | Eugène Cuvelier 1863 Chailly, Route de Fontainebleau Albumen print 20,3 x 26 cm ( 8 x 10 1/4 ins) Sotheby's - Paris Photographies , 29 May 2013, Auction: PF1310, Lot: 34 |
| 32. |  | Giraudon's Artist 1870s (ca) Peasant National Gallery of Art The Horace W. Goldsmith Foundation through Robert and Joyce Menschel, 2002 Inventory number, photography type and size requested. This photograph was included in In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, National Gallery of Art, Washington, USA (March 2 through June 8, 2008). |
| 33. |  | Paul Delondre 1861 (ca) Parc Fontainebleau Albumen print 26 x 37 cm Bassenge Photography Auctions Auction (17 June 2009, Sale 93, Lot 4223) |
| 34. |  | Achille Quinet 1865-1870 Étude d'après nature (chemin) Albumen print 19 x 24.7 cm Piasa Photographs, 25 May 2012, Lot: 29 |
| 35. |  | J. Rand 1841, 6 September (British patent enrolled) Rand's Patent for Improvements in Preserving Paint and other Fluids Patent illustration Google Books Published in The Repertory of Patent Inventions and other Discoveries and Improvements in Arts, Manufactures, and Agriculture, New Series, Vol.XVI, July - December, 1841 (London: J.S. Hobson, 1841), as a part of Plate XVII entitled "Rand's Patent for Improvements in Preserving Paint and other Fluids." Specification of the Patent granted to John Rand, of Howland Street, in the County of Middlesex, Gentleman, for Improvements in Preserving Paints and other Fluids. Sealed March 6, 1841. WITH AN ENGRAVING. To all to whom these presents shall come, &c. &c. Now know ye, that in compliance with the said proviso, I, the said John Rand, do hereby declare the nature of my said invention to consist, first, in inclosing the said paints and other fluids in thin drawn tubes or cases of the metal tin, or of such other metal as shall be of such tenacity and pliability and little elasticity that the said tubes or cases made thereof may be closed at both ends, air-tight, by merely folding over the said metal, and nipping the seam so made, as hereinafter described : and also that their contents may be easily squeezed out by collapsing the said tubes or cases with external pressure, thereby causing the sides of the tubes to come and remain together behind their contents in such a manner as to exclude the atmospheric air from the end from which the contents are expressed ; by which means portions of their contents may be withdrawn from time to time, as occasion may require, at the same time preserving the remainder from the injurious effects of the atmosphere. Secondly, in the application, in certain cases, of an end nozzle or spout and an air-tight cap, to the above described tubes or cases, for the purpose of emitting portions of their contents conveniently, and preserving the remainder by screwing on the said cap, which is provided with a cork for that purpose, as hereinafter explained. Thirdly, in the manner hereinbefore alluded to of closing the said tubes or cases at the ends, so as to render them air-tight without the use of solder or cement, by bringing their opposite sides together parallel, then folding them over once or more times, as occasion may require, after the manner of what is usually called a hem in needlework, and pressing or nipping them with an instrument., as illustrated by the annexed drawing. Fourthly, in filling the said tubes through a spout or funnel, of such form and dimensions as to nearly fill the capacity of the pressure-tube or case, thereby beginning to fill it at the bottom, or the part the farthest from where the filling-tube is inserted, and thus securing that the air be entirely excluded, the material being pressed through the filling-spout or funnel and deposited in the preserving-tube or case, while the spout or funnel is gradually drawn out, thereby leaving the preserving-tube or case full, when it is withdrawn, and so preserving the inclosed material from the injurious effects of bubbles of air, which might otherwise be inclosed with it. Fifthly, in the application (for preserving paints and other fluids) of the metal tin generally for vessels, tubes, or cases of any shape, the seams of which are closed in manner aforesaid or not, and out of which the paint or fluid inclosed may be expressed as required, by causing the said preserving vessel, tube, or case, to collapse and remain collapsed at any point, in order to preserve, by excluding the air from what remains therein, until the whole is taken out, such metal tin being far preferable to any other for this purpose, on account of its great ductility and little elasticity, its tenacity, its small comparative specific gravity, its cleanliness, its durability, its cheapness, and its power of resisting the action of painting materials generally, better than any other metal and equally cheap. And in further compliance with the said proviso, 1, the said John Rand, do hereby describe the manner in which my said invention is to be performed by the following statement thereof, reference being had to the drawing annexed, and to the figures and letters marked thereon (that is to say) : Description of the Drawings. Fig. 1, is a perspective view of one of my said drawn tubes or cases, supposed to be made of the metal tin, commonly called block-tin. Fig. 2, is a perspective view of the same tube, after one end has been folded over like a hem, and nipped with a pair of nippers made for the purpose, and shewn at fig. 3, until the seam or joint so made is air-tight. Fig, 4, is a perspective view of the same tube, after it has been filled with (say for example) white lead ground in oil, and the other end folded over and nipped as before, in which state it is fit for exportation, or to be preserved or kept for any length of time in the artist's colour-box. Fig. 5, is a perspective view of one of my said drawn tin tubes or cases fitted with one of my said nozzles or spouts and cap. Fig. 6, is a longitudinal section of the same, A, being a screw on to which the cap, B, screws, and c, a piece of cork, to keep the air from entering. Fig. 7 is a perspective view of one of my said drawn tubes half empty, shewing the sides behind the paint, which has been squeezed out, in a collapsed state, thereby preventing the ingress of air when the squeezing ceases, and before the cap can be screwed on again. Fig. 8, is a sectional view of one of my said drawn tubes or cases, and the spout or funnel, which I call the filler, in the act of filling the said tube or case. In practice the force with which the paint enters the tube drives the tube off the end of the filler, so that when .the tube is filled the position of the tube and filler are as shewn at fig. 9, and it will be seen that the tube must not be quite filled, but an allowance must be made for the hem or seam, which is to be folded over after it comes off the filler. Now whereas I claim as my invention, first, preserving paints and other fluids by inclosing them in drawn tubes or cases of tin or other metal having the properties aforesaid, and capable of being collapsed in manner and for the purposes aforesaid. Second, closing the said tubes or cases without the aid of cement or solder, by folding and nipping, as hereinbefore described. Third, adding, in certain cases, a nozzle or spout and screw, or other air-tight cap, to the said tubes or cases, or to any vessels, tubes, or cases, for the purposes aforesaid, and having the collapsing and other properties aforesaid. Fourth, filling such tubes or cases, or any vessels, tubes, or cases, in manner hereinbefore described, by means of spouts or funnels, which I call fillers, reaching to the bottom of the said vessel, tube, or case, for the purpose of excluding the air during the process of filling, as aforesaid. And fifth, and lastly, the application of the metal tin, commonly called block-tin, generally for the manufacture of collapsable drawn tubes or cases, or of collapsable vessels of any form or any how made, for the purpose of preserving in them paints and other fluids in manner aforesaid. And such my invention being, to the best of my knowledge and belief entirely new and never before used within that part of Her said Majesty's United Kingdom of Great Britain and Ireland called England, her dominion of Wales, and town of Berwick-upon-Tweed; I do hereby declare this to be my specification of the same ; and that I do verily believe this my said specification doth comply in all respects fully and without reserve or disguise with the proviso in the said hereinbefore in part recited letters patent contained, wherefore I hereby claim to maintain exclusive right and privilege to my said invention. In witness whereof, &c. Enrolled September 6, 1841. |
| 36. |  | J. Rand 1841, 11 September (US patent) John Goffe Rand patent, "Improvement in the Construction of Vessels or Apparatus for Preserving Paint, & c.", 1841 Sept. 11, "Metal Rolls for Paint" Patent illustration Smithsonian - Archives of American Art John Goffe Rand papers, 1832-1960 bulk 1832-1873. Archives of American Art. Published in The Repertory of Patent Inventions and other Discoveries and Improvements in Arts, Manufactures, and Agriculture, New Series, Vol.XVI, July - December, 1841 (London: J.S. Hobson, 1841), as a part of Plate XVII entitled "Rand's Patent for Improvements in Preserving Paint and other Fluids." |
| 37. |  | Claude Monet (1840-1926) 1865 Le Pavé de Chailly Oil painting 42 x 59 cm Musée d'Orsay |
| 38. |  | Claude Monet (1840-1926) 1865 The Bodmer Oak, Fontainebleau Forest Oil painting 37 7/8 x 50 7/8 ins (98.2 x 129.2 cm) Metropolitan Museum of Art Gift of Sam Salz and Bequest of Julia W. Emmons, by exchange, 1964 (64.210) Source: Claude Monet: The Bodmer Oak, Fontainebleau Forest (64.210) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art |
| 39. |  | Charles Desavary 1871-1872 (ca) Camille Corot painting in the open air at Saint-Nicolas-les-Arras (Camille Corot peignant en plein air à Saint-Nicolas-les-Arras) Albumen print 14 x 10 cm Artcurial courtesy of Artcurial (Sale 1170, Lot 176) |