Adolf Wölfli. Sommer-Wirtschaft, The Waterfall in Zion, Great-Great-Grand-Vatter Rooseli und Skt Adolf, The Palace of the Inquisition on the St. Adolf-Star-Giant-Glacier, The Amazon River and Amazon...

Update: They recently painted it and then shot a Dexter episode there yesterday. (Aug 26 09)

From 'Street Life in London', 1877, by John Thomson and Adolphe Smith. "The accompanying photograph represents a second-hand clothes shop in a narrow thoroughfare of St. Giles, appropriately called Lumber Court, where. several similar tradesmen are grouped together, all dealing in old clothes and furniture of a most varied and dilapidated description. It is here that the poorest inhabitants of a district, renowned for its poverty, both buy and sell their clothes." For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description archives.lse.ac.uk/Record.aspx?src=CalmView.Catalog&i...

Digital ID: 482843. 'El', Second and Third Avenue lines, Bowery taken from Division St., Manhattan.. Abbott, Berenice -- Photographer. April 24, 1936 Notes: Patterns of light illuminate darkness under elevated railroad tracks, pedestrians, car, truck visible. Code: II.A.3. Source: Changing New York / Berenice Abbott. (more info) Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs. See more information about this image and others at NYPL Digital Gallery. Persistent URL: digitalgallery.nypl.org/nypldigital/id?482843 Rights Info: No known copyright restrictions; may be subject to third party rights (for more information, click here)

Called ‘the Eye of Paris’ by his friend the author Henry Miller, the legendary photographer created a striking body of work that documented high – and low – society in Paris between the first and second world wars

El’: 2nd & 3rd Avenue lines, looking W. from Second & Pearl St., New York City, March 26, 1936. From Old Images of New York

It was Scott's second day as a new student at the fictional 18th St. Green Dojo and he already has his eyes on Kim (especially during training), hoping to ask her out on a date. But will he succeed...or feel like a horse's... Inspired by my childhood in the 1970's. Crayola and Prismacolor colored pencils; Crayola art markers, Crayola watercolors, Prismacolor Premier illustration marker, STA pigment liners, Folger's coffee, chamomile tea with lemon extract, and a Sharpie Canson mixed media pad 7" x 10" 2019

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Henri Fantin-Latour c1900 silver print Musee d'Orsay, Paris Henri Fantin-Latour (1836 – 1904) was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers. He was born Ignace Henri Jean Théodore Fantin-Latour in Grenoble, Isère. As a youth, he received drawing lessons from his father, who was an artist. In 1850 he entered the Ecole de Dessin, where he studied with Lecoq de Boisbaudran. After studying at the École des Beaux-Arts in Paris from 1854, he devoted much time to copying the works of the old masters in the Musée du Louvre. Although Fantin-Latour befriended several of the young artists who would later be associated with Impressionism, including Whistler and Manet, Fantin's own work remained conservative in style. Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were "practically unknown in France during his lifetime". In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers. In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Buré, Orne in Lower Normandy, where he died on 25 August 1904. Henri Fantin-Latour's atelier Palace of Fine Arts, Lille, France photo © RMN - Stéphane Maréchalle This is part 1 of a 13-part series on the works of Henri Fantin-Latour: 1849 The Temptation of St. Anthony oil on canvas 19 x 25 cm Musée d'art et archéologie de Guéret, France 1853 Self-Portrait at Seventeen oil on canvas 1853 Self-Portrait at Seventeen lithograph 15.6 x 12.6 cm ( image ) National Gallery of Art, Washington, DC 1854 Female Head charcoal with white highlights 31 x 24.5 cm Musée du Louvre, Paris ©RMN 1854 The Crucifixion ( after Paolo Veronese - see below ) oil on canvas 22.5 x 22.5 cm Museums Sheffield, UK 1582c Paolo Veronese "Crucifixion" oil on canvas 102 x 102 cm Musée du Louvre, Paris 1854 The Dream oil on canvas 45 x 55 cm Grenoble Museum, France The Embroiderers (various dates): 1855 Les brodeuses ( The Embroiderers ) pencil with white highlights on grey paper 19 x 40 cm Musée du Louvre, Paris © RMN 1895 The Embroiderers lithograph 20.1 x 32 cm ( image ) Art Institute of Chicago, IL n.d. Embroiderers before a Window oil on paper ( black and white photograph ) 21.3 x 32.4 cm Museum of Fine Arts, Boston, MA n.d. Two Women Sitting Either Side of an Embroidery 22.6 x 29.1 cm Musée du Louvre, Paris ©RMN 1898 Les Brodeuses lithograph on chine colleé 16.5 x 21.1 cm National Gallery of Victoria, Melbourne, Australia 1860 Female Embroidering on a Loom pencil 18.4 x 15 cm Musée du Louvre, Paris ©RMN 1881 La Brodeuse black stone 13.2 x 10.3 cm Musée du Louvre, Paris © RMN 1855 Female Head charcoal 14.6 x 12.6 cm Musée du Louvre, Paris ©RMN 1855-1900 Young Woman Under a Tree at Sunset, Named Autumn oil on canvas 38 x 21 cm Rijksmuseum, Amsterdam 1856 Portrait of Mlle Nathalie Fantin black pencil on blue vellum 34.5 x 29 cm 1856 Portrait of the Artist Alphonse Legros oil on linen 26.6 x 22.8 cm Minneapolis Institute of Arts, Minnesota 1857 Bowl of Fruit oil on canvas 1857 Self-Portrait black chalk with charcoal and stumping on blue laid paper 36.5 x 31.2 cm Art Institute of Chicago, IL 1858 Self-Portrait oil on canvas 40.7 x 32.7 cm National Gallery of Art, Washington, DC 1858 Still Life with Kettle oil on wood 19.6 x 24.4 cm 1858c Portrait of Alphonse Legros oil on canvas Private Collection 1858c Self-Portrait oil on canvas 25.4 x 20 cm The Metropolitan Museum of Art, New York 1859 Mademoiselle Marie Fantin-Latour oil on canvas 85.5 x 60.5 cm Birmingham Museums Trust, UK 1897 Reading: Portrait of the Artist's Sister lithograph 16 x 12.7 cm ( image ) Cleveland Museum of Art, Ohio n.d. Woman Sitting, Half-Length, Reading charcoal on tracing paper 17.7 x 14.4 cm Musée du Louvre, Paris ©RMN 1859 Self-Portrait graphite on paper 14.4 x 10.9 cm Fitzwilliam Museum, Cambridge, UK 1859 Self-Portrait oil on canvas 101 x 83.5 cm Museum of Grenoble, France 1859 The Two Sisters oil on canvas 98.5 x 130.5 cm Saint Louis Art Museum, MO 1859 The Two Sisters pencil, pen and brown ink and brown wash on tracing paper 20.5 x 26.9 cm Musée du Louvre, Paris ©RMN 1860 Bouquet of Flowers oil on canvas 40.5 x 32 cm Hermitage Museum, St. Petersburg, Russia 1860 Cyclamens oil on canvas Private Collection 1860 Peach and White Grapes oil on canvas 16 x 27.3 cm Private Collection 1860 Self-Portrait charcoal 18.2 x 14.3 cm Musée du Louvre, Paris ©RMN 1860 Self-Portrait oil on canvas 31.4 x 25.4 cm Tate, London 1860 Still Life with Mustard Pot oil on canvas 26 x 40 cm National Gallery of Art, Washington, DC 1860-70 The Model oil on canvas 29.1 x 21.9 cm Tullie House Museum and Art Gallery Trust, Carlisle, UK 1861 A Plate of Apples oil on canvas 21 x 26.4 cm Tate, London 1861 Autumn Flowers oil on canvas Private Collection 1861 Chaise à la Fenêtre oil on canvas 27 x 22.3 cm Toulouse Fondation Bemberg, France 1861 Dahlias, Queens Daisies, Roses and Corn Flowers oil on canvas Private Collection 1861 Flowers oil on canvas 47 x 48.9 cm Private Collection 1861 Self Portrait black pencil on grey-blue paper 37.5 x 31 cm 1861 Self-Portrait oil on canvas 25.1 x 21.4 cm National Gallery of Art, Washington, DC 1861 Self-Portrait oil on canvas 35.6 x 28.9 cm Fondation Bemberg, Toulouse, France 1861 Still Life: Pears oil on panel 23.5 x 36 cm Private Collection 1861 Woman Reading ( Marie Fantain-Latour ) oil on canvas 100 x 83 cm Musée d'Orsay, Paris n.d. Woman in Bust, Reading charcoal 35.8 x 32 cm Musée d'Orsay, Paris photo © RMN ( Musée d'Orsay ) 1861c Self-Portrait oil on canvas Private Collection 1861c Still Life: Glass, Silver Goblet and Cup oil on canvas 35 x 47 cm Private Collection 1862 Camelias and Tulips oil on canvas Private Collection 1862 Flowers oil on canvas 45 x 37.2 cm Private Collection 1862 Flowers oil on canvas 49 x 40 cm Private Collection 1862 Narcissus and Tulips oil on canvas Private Collection 1862 Nude Woman and Cupid pencil 30.7 x 21.1 cm Musée du Louvre, Paris ©RMN 1862 Plate of Peaches oil on canvas 18.1 x 32 cm Museum of Fine Arts, Boston, MA 1862 Still Life of Four Peaches oil on canvas Private Collection 1862 Still LIfe with Chrysanthemums oil on canvas 46 x 55.6 cm Philadelphia Museum of Art, PA 1862 Still Life with Flowers oil on canvas 46.4 x 38.7 cm Private Collection

In 2018, we traveled across America in search of the best places to eat. Now, it's your turn to dine at destination restaurants in Los Angeles, Houston, Oakland and beyond.

Buy wall art of this image titled: Meadow Street in Bain's Town, Nassau, Bahama Islands, from the Vintage Photochrom Postcards Collection by Second Story Prints. Top quality print reproductions available now! Tags Bahamians. Huts. Residential streets. Bahamas--Nassau. Notes Copyright 1901 by Detroit Photographic Co. Title from item. Title on inventory list: Meadow Street in Bain's Town, Nassau. Caption for similar image (LC-D4-13465) lists title as: Meadow St., Bain's Town, Nassau, Bahama Islds. Detroit Publishing Co. no. "53752". Forms part of: Photochrom Print Collection. Original Date: c1901. Formats: Photochrom prints--Color. Creators: Detroit Photographic Co. Original Publisher: c1901. Reference #: 2008679536 SKU #: 46641691 Part of Collection: Vintage Photochrom Postcards Link to original at the Library of Congress: Meadow Street in Bain's Town, Nassau, Bahama Islands

In the second of a four-part series, Anthony Haden-Guest explores the perils of working in public spaces with Olek, Stik, Faile, and Fumero.

Darker days of the Birmingham blitz

photo by Alice Lum The quiet block of West 10th Street between Fifth and Sixth Avenues had seen much change by the time the Civil War ended. The modest brick homes of the 1830s built on the eastern fringe of Greenwich Village now shared the block with wide Greek Revival and Ango-Italianate residences. Although a private stable had elbowed itself in at No. 50; the block off Washington Square retained its respectability. Among the earliest structures was the handsome Federal home built for carpenter Abner Tucker between 1830 and 1831 at No. 52. Two stories high with a dormered attic, it reflected Tucker’s successful business. The Flemish bond brickwork and paneled lintels were extra touches that told the passerby that the family inside could afford a little extra. A high stoop with delicate iron railings let to a sophisticated entrance—an eight-paneled door framed by wooden columns and a glazed overlight that allowed sunlight into the foyer. It was perhaps the coming of the stable next door that changed the fate of the charming little house; but in the last half of the century the parlor floor was gutted and a wide opening gashed into the façade. The house that had been Abner Tucker’s pride and joy became a stable, as well. Another door in the back allowed access straight through to the back lot. The little house gained a gaping door, like the white-painted stable next door, in the second half of the 19th century -- photo by Alice Lum By the turn of the century William and Alice Evens owned both the stable at No. 52 and the four-story brick house next door at No. 54. The couple dabbled in real estate, buying and selling houses in the neighborhood and they ran No. 54 as a boarding house. In 1918 when William Egloff leased the stable, Greenwich Village was luring artists, poets and musicians. The Washington Square neighborhood filled with artists’ studios, and Bohemian cafes and nightspots sprouted in basements of the surrounding streets. The widowed Alice Evens sold her 10th Street properties in 1922. On July 2 the New-York Tribune announced the sale, noting that the two buildings had “been in the possession of the selling family for a great many years.” photo by Alice Lum The humiliation of being used as a stable was about to end for the prim little Federal home. It had been purchased by painter and sculptor Frederick MacMonnies who lived down the block at No. 20 West 10th Street. MacMonnies paid $25,000 for the building and immediately set to work to convert the ground floor into his studio. The upper floors would become a spacious apartment. Although he was also a portraitist, he was best known for his sculptures and was as highly regarded in Europe was at home. Through his associations with Stanford White and Carrere & Hastings, he received numerous architectural-related commissions, including the spandrel reliefs for White’s Washington Square Arch, the Nathan Hale monument in City Hall Park and several groupings for the World’s Columbian Exposition in Chicago. Other artists settled on the block and on March 6, 1927 they and other residents were aroused by gunshots and police whistles. Two doors east of MacMonnies’ studio artist Juliet Thompson lived at No. 48. The New York Times reported that “Shots and a chase over the roof of 48 West Tenth Street and adjacent apartment houses aroused members of the artists’ colony in that vicinity early yesterday morning.” Policemen rushed up the stairs of No. 48 and onto the roof where a chase of three men ensued. The Times said “The roofs in this block contain a succession of skylights, the top floors being occupied largely by artists.” Despite the gunfire and commotion, the article reported that “No arrests were made.” MacMonnies leased the apartment upstairs—in 1931 Baird Hall lived there—and sculpted below. Among his subjects who posed in the space was Giulio Gatti-Cassazza, the general manager of the Metropolitan Opera. When Gatti-Casazza announced his forthcoming retirement, Paul D. Cravath commissioned MacMonnies to sculpt a bust to be placed in the foyer of the opera house. For five weeks in 1935 Gatti-Cassazza visited the studio on West 10th Street for sittings. MacMonnies died on March 22, 1937. His studio was taken over by modern dancers Bruhs Mero and Felicia Sorel . Called the Dance Gallery, it served to showcase their avante garde routines—making West 10th Street just a little more Bohemian than it already was. On June 30, 1942 The Brooklyn Eagle described the weekly “Sunday Nights at 9” at the Dance Gallery. “You go in through doors large as an entrance to a stable, pass through a pleasant room with uneven floor, sit down in one of some 25 or 30 seats and you are in a studio with polished floor and a skylight far above. The lights go out and in a moment the darkness is cut by a sliver of light fro a little spot, and there before you in the beam one of them is dancing. It’s pretty lovely.” The article described Mero’s “dream dance” that began half-way up a ladder, and Sorel’s dancing to “short blue poems of Langston Hughes.” Other artists followed. Sculptor Isamu Noguchi, whose studio was at 33 MacDougal Alley, lived here for a period at the beginning of World War II, and sculptor Concetta Scaravaglione used the studio space several years later. In 1954 the end came for artists and dancers in the former stable. It was converted to a garage “for one motor vehicle,” according to the Department of Buildings, with a one-family dwelling above. Through all of its incarnations, the façade of the delightful Federal house remained perfectly preserved (well, except for the stable door). The entrance retains the original paneled door, the prim dormers survive unscathed, and the iron railing with its well-worn boot scraper still remains after nearly 200 years of use. No. 52 survives as part of a treasure-trove of architectural gems along the block -- photo by Alice Lum

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Mario Cattaneo