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

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 via Flickr
Baron Adolf de Meyer :: Still Life # 3, 1908. Printed from an Autochrome. | src eBay via Flickr
Baron Adolf de Meyer :: Still Life # 3, 1908. Printed from an Autochrome. | src eBay via Flickr
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 & flickr
Baron Adolf de Meyer :: Still Life, 1908. Printed from an Autochrome. | src eBay & Flickr
Baron Adolf de Meyer :: Still Life, 1908. Printed from an Autochrome. | src eBay & Flickr

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

The Shadows on the Wall, 1906

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

The Wax Head, 1931

Adolf de Meyer :: For Elizabeth Arden (The Wax Head), 1931. Silver gelatin print.
The Sir Elton John Photography Collection | src ArtBlart (Marcus Bunyan)