Ad’s appearing in Munsey’s Magazine 1906
Floyd Clymer’s Historical Motor Scrapbook No. 1 1944
The Intrigue (1890) Oil painting by James Ensor (Belgian, 1860-1949)
Located in the Royal Museum of Fine Arts Antwerp.
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Jean Béraud - Scene on the Champs-Élysées
By the late nineteenth century, the wealthy and fashionable bourgeoisie had largely abandoned the narrow passages and apartments of Paris’ central city for the grand boulevards of the post-Haussmann era. The expansive and orderly streets were flanked by the neat, plastered façades of grand hôtels with interiors that held all the comforts of modern living. Despite the luxuries of home, the social opportunities waiting out-of-doors were too tempting, and the beau monde spent much of their day, especially Sunday afternoons, riding and promenading on the boulevards and avenues— transforming them into plein air receiving rooms.
Perhaps He Is Right
March 21, 1906
Senator Tillman gestures to a mummified Senate, surrounded by jars containing stand-pat preservative, senatorial courtesy embalming fluid, and do nothing fluid.
The caption reads ‘Senator Tillman insists that the senate is not decaying.’
The Senate was refusing to pass a railroad rate bill, among other important issues.
From Hennepin County Library
Original available at: https://digitalcollections.hclib.org/digital/collection/Bart/id/5663/rec/81
From Lustige Blätter, 1904.
If your world seems topsy turvy, you’ll relate to my collection of vintage upside down imagery.
1890s Bicycle poster for Massey-Harris Co., makers of CCM bicycles.
The Red Kerchief, Claude Monet , ca. 1868-1873, Cleveland Museum of Art: Modern European Painting and Sculpture
In its early stages, this composition contained two figures seated inside the room on either side of the window. Monet radically altered the composition by painting over the figures. They were replaced by an image of the artist’s favorite model—his wife Camille, who passes outside the window in a red cape. Intense light—reflected from the snow-covered landscape—floods the room, obliterating details along the walls and floor. The off-center window frame and the blurriness achieved through sketchy brushstrokes suggest the scanning movement of the artist’s eye as he viewed this scene. Contrasted with cold blues and silver whites, Camille’s red cape draws the viewer’s attention through the glass and into a swift exchange of glances, registering a brief moment in time. This painting evidently held special meaning for Monet, for he kept it with him until his death in 1926. Size: Framed: 128.3 x 105.7 x 14.6 cm (50 ½ x 41 5/8 x 5 ¾ in.); Unframed: 99 x 79.8 cm (39 x 31 7/16 in.) Medium: oil on fabric
New York Street, Childe Hassam, 1902, Art Institute of Chicago: American Art
After studying painting in Paris, Childe Hassam applied the techniques of French Impressionism to his views of American cities and landscapes. While he also painted coastal and pastoral scenes, Hassam often focused on urban areas such as his hometown of Boston, and New York City, where he lived after returning from Paris. Here the artist rendered New York with short brushstrokes that emphasize the movement and activity of everyday life on Fifth Avenue along Central Park. He incorporated vivid colors, such as the red and yellow of the woman’s hat and skirt, into what would otherwise be a predominantly gray and white winter cityscape and captured the light in a natural manner, presenting a picturesque view of a modern metropolis. Bequest of Edna H. Loewenstein Size: 59.7 × 49.5 cm (23 ½ × 19 ½ in.) Medium: Oil on canvas
