Baron Adolph de Meyer :: Flower Study, 1908. Autochrome. (Royal Photographic Society Collection) | src The Dawn of Colour at Science and Media Museum via FlickrBaron Adolf de Meyer :: Still Life # 3, 1908. Printed from an Autochrome. | src eBay via FlickrBaron Adolf de Meyer :: Still Life # 3, 1908. Printed from an Autochrome. | src eBay via FlickrStill 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 & flickrBaron Adolf de Meyer :: Still Life, 1908. Printed from an Autochrome. | src eBay & FlickrBaron Adolf de Meyer :: Still Life, 1908. Printed from an Autochrome. | src eBay & Flickr
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
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
Adolf de Meyer :: The Shadows on the Wall (Chrysanthemums), 1906. Platinum print. Focusing his camera not on a still life per se, but on its evanescent trace, de Meyer creates a composition that approaches abstraction. (…) Here, the shadow of a vase of flowers cast onto the wall has the effect of a Japanese lacquered screen. | src Alfred Stieglitz Collection, MetMuseum
Adolf de Meyer :: For Elizabeth Arden (The Wax Head), 1931. Silver gelatin print. The Sir Elton John Photography Collection | src ArtBlart (Marcus Bunyan)