Category: Adolf de Meyer, Adolph de Meyer, Baron Adolf de Meyer, Adolphe de Meyer

Castle by de Meyer · 1919

Adolf de Meyer :: Irene Foote Castle, 1919. Photogravure. | src National Portrait Gallery [Detail]
Adolf de Meyer :: Irene Foote Castle, 1919. Photogravure. | src National Portrait Gallery, Smithsonian Institution

Karsavina, ca. 1908. Autochromes

Adolf de Meyer :: Tamara Karsavina, ca. 1908. Autochrome. From the exhibition "Quicksilver Brilliance: Adolf de Meyer Photographs" at the Met, direct link
Adolf de Meyer :: Tamara Karsavina, ca. 1908. Autochrome. From the exhibition “Quicksilver Brilliance: Adolf de Meyer Photographs” at the Met, direct link
Adolf de Meyer :: Tamara Karsavina, ca. 1908. Autochrome. From the exhibition "Quicksilver Brilliance: Adolf de Meyer Photographs" at the Met, direct link
Adolf de Meyer :: Tamara Karsavina, ca. 1908. Autochrome. From the exhibition “Quicksilver Brilliance: Adolf de Meyer Photographs” at the Met, direct link
Baron Adolph de Meyer :: Tamara Karsavina, ca. 1908. Autochrome. | src l’œil de la photographie
Ballet Dancer Tamara Karsavina (1885-1978), photograph by Baron Adolph de Meyer of Kassavana, 1908. Museum nº PH.1234-1980. © Estate of Baron de Meyer | V&A museum

Flower studies by De Meyer

Baron Adolph de Meyer :: Flower Study, 1908. Autochrome. (Royal Photographic Society Collection) | src The Dawn of Colour at Science and Media Museum
Baron Adolf de Meyer :: Still Life # 3, 1908. Halftone printed from an Autochrome. | src eBay
Baron Adolf de Meyer :: Still Life # 3, 1908. Halftone printed from an Autochrome. | src eBay
Still Life, ca. 1908. From an Autochrome by Baron A. de Meyer. From: “Colour Photography and other Recent Developments of the Art of the Camera”. Charles Holme ed., 1908. | src internet archive
Baron Adolf de Meyer :: Still Life, 1908. Halftone printed from an Autochrome. | src eBay
Baron Adolf de Meyer :: Still Life, 1908. Halftone printed from an Autochrome. | src eBay

These studies, titled Still-life (Nature morte; Stillleben), are halftones printed from the original Autochrome dating from 1908; both were published in “Colour Photography and other Recent Developments of the Art of the Camera” a British companion along with “Art in Photography”, to Camera Work, the important American photo secessionist magazine published by Alfred Stieglitz. | src eBay & eBay

Still-lifes by de Meyer 1908

Baron Adolf de Meyer (1868 – 1946) :: Nature morte # 2, 1908. Halftone from an Autochrome dating from 1908. This study titled "Still Life" was published in "Colour Photography and other Recent Developments of the Art of the Camera" a British companion along with "Art in Photography", to Camera Work, the important American photo secessionist magazine published by Alfred Stieglitz. | src eBay
Baron Adolf de Meyer (1868 – 1946) :: Nature morte # 2, 1908. Halftone from an Autochrome dating from 1908. | src eBay
Baron Adolf de Meyer (1868 – 1946) :: Nature morte # 2, 1908. Halftone from an Autochrome dating from 1908. This study titled "Still Life" was published in "Colour Photography and other Recent Developments of the Art of the Camera" a British companion along with "Art in Photography", to Camera Work, the important American photo secessionist magazine published by Alfred Stieglitz. | src eBay
Baron Adolf de Meyer (1868 – 1946) :: Nature morte # 2, 1908. Halftone from an Autochrome dating from 1908. (full page) | src eBay
Baron Adolf de Meyer :: Still Life, 1908. Halftone printed from an Autochrome. | src eBay
Baron Adolf de Meyer :: Still Life, 1908. Halftone printed from an Autochrome. | src eBay
Baron Adolf de Meyer :: Still Life, 1908. Halftone printed from an Autochrome. | src eBay
Baron Adolf de Meyer :: Still Life, 1908. Halftone printed from an Autochrome. | src eBay

These studies, titled Still-life (Nature morte; Stillleben), are halftones printed from the original Autochrome dating from 1908; both were published in “Colour Photography and other Recent Developments of the Art of the Camera” a British companion along with “Art in Photography”, to Camera Work, the important American photo secessionist magazine published by Alfred Stieglitz. | src eBay & eBay

Nijinsky and Nijinska, 1912

detail
Adolf de Meyer :: Njinski et sa sœeur Bronislava Nijinska dans une scène du ballet. “L’Après-Midi d’un Faune”. 7me Saison de Ballets Russes. Collection des plus beaux numéros de “Comœdia illustré” et des programmes consacrés aux ballets et galas russes depuis le début à Paris, 1909-1921. Published 1912. | src BnF
Adolf de Meyer :: Njinski et sa sœeur Bronislava Nijinska dans une scène du ballet. “L’Après-Midi d’un Faune”. 7me Saison de Ballets Russes. Collection des plus beaux numéros de “Comœdia illustré” et des programmes consacrés aux ballets et galas russes depuis le début à Paris, 1909-1921. Published 1912. | src BnF
“L’Après-Midi d’un Faune”. 7me Saison de Ballets Russes. Collection des plus beaux numéros de “Comœdia illustré” et des programmes consacrés aux ballets et galas russes depuis le début à Paris, 1909-1921. Published 1912. | src BnF
“L’Après-Midi d’un Faune”. 7me Saison de Ballets Russes. Collection des plus beaux numéros de “Comœdia illustré” et des programmes consacrés aux ballets et galas russes depuis le début à Paris, 1909-1921. Published 1912. | src BnF

Composition w. flowers, 1920

Adolf (Adolphe) de Meyer :: Composition avec fleurs, 1920. Épreuve argentique d’époque sur papier velour. | src La Gazette Drouot

Water Lilies, ca. 1906

Baron Adolf de Meyer :: Water Lilies, ca. 1906. Platinum print, printed 1912.
«The critic Charles H. Caffin described this photograph by de Meyer as “a veritable dream of loveliness.” It is one of several floral still lifes de Meyer made in London around 1906–9, when he was in close contact with Alvin Langdon Coburn, a fellow photographer and member of the Linked Ring. Both men were inspired by the Belgian writer Maurice Maeterlinck’s 1906 book The Intelligence of Flowers, a mystical musing on the vitality of plant life. De Meyer exhibited several of his flower studies, including this platinum print, at Stieglitz’s influential Photo-Secession galleries in New York in 1909. The image also appeared as a photogravure in an issue of Stieglitz’s art and photography journal Camera Work.» [Camera Work, issue nº 24, 1908]
src The Metropolitan Museum of Art, Alfred Stieglitz Collection