2143 Résultats
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1993:0212
Description:
- This photograph shows Vladimir Tatlin (1885-1953) (bottom right) with two assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (top to bottom): Iosif Aizikovich Meerzon (1900-1941), and Tevel' Markovich Shapiro (1898-1984 or later).
PH1993:0212
Description:
- This photograph shows Vladimir Tatlin (1885-1953) (bottom right) with two assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (top to bottom): Iosif Aizikovich Meerzon (1900-1941), and Tevel' Markovich Shapiro (1898-1984 or later).
Personnes et institutions:
Sujet:
architecture, portrait
architecture, portrait
Date:
between March and 7 November 1920
between March and 7 November 1920
Titre:
Vladimir Tatlin and his assistants I.A. Meerzon and T.M. Shapiro constructing the first model for the monument to the Third International, Petrograd, Soviet Union (now Saint Petersburg, Russia)
Actions:
PH1993:0212
Description:
- This photograph shows Vladimir Tatlin (1885-1953) (bottom right) with two assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (top to bottom): Iosif Aizikovich Meerzon (1900-1941), and Tevel' Markovich Shapiro (1898-1984 or later).
Vladimir Tatlin and his assistants I.A. Meerzon and T.M. Shapiro constructing the first model for the monument to the Third International, Petrograd, Soviet Union (now Saint Petersburg, Russia)
Actions:
PH1993:0212
Description:
- This photograph shows Vladimir Tatlin (1885-1953) (bottom right) with two assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (top to bottom): Iosif Aizikovich Meerzon (1900-1941), and Tevel' Markovich Shapiro (1898-1984 or later).
Classification:
photographies
photographies
Date:
between March and 7 November 1920
between March and 7 November 1920
Personnes et institutions:
Sujet:
architecture, portrait
architecture, portrait
Niveau de description archivistique:
Projet
Projet
Titre:
Tumbleweeds Catcher (1972)
Tumbleweeds Catcher (1972)
Numéro de référence:
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
Personnes et institutions:
Date:
circa 1972-2017
circa 1972-2017
Titre:
Tumbleweeds Catcher (1972)
Actions:
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
Tumbleweeds Catcher (1972)
Actions:
AP207.S1.1972.PR03
Description:
The project series documents "Tumbleweeds Catcher", an installation by Pettena and a group of his students from the University of Utah, in Salt Lake City, in 1972. The installation consisted of a tower-scaffold built on a vacant lot near the city centre and covered with mesh so it could capture the tumbleweeds blown by the wind. Through this installation Pettena's intention was to "highlight the 'work of the land', the tumbleweeds moved by the wind and intercepted by the mesh of the tower, 'naturalize' it, contaminate it, thereby embodying the revenge of nature over urbanized space." [1] A second edition was later presented at the Utah Museum of Contemporary Art in Salt Lake City in 2013. The project series contains photographs of the installation in 1972 and 2013, and drawings and sketches of the tower. Source: [1] Marco Scotini, editor. Non-conscious architecture: Gianni Pettena, Sternberg Press, 2018, 235 pages. p. 162.
Niveau de description archivistique:
Project
Project
Date:
circa 1972-2017
circa 1972-2017
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Personnes et institutions:
Date:
circa 1985-2015
circa 1985-2015
Titre:
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Ombra ["Shadow" Armchair] (1986)
Actions:
AP207.S1.1986.PR01
Description:
The project series documents "Ombra", an installation presented for the first time at the Expo Arte of Galleria Speciale, in Bari, in 1986. It consists of an overcoat with flexible elements inserted in the lining of the fabric that form a structure to either create a seat for the wearer to sit on it or to stand on its own, if not worn. "So the multiplicity of roles, functions and subjects gives rise to an ambiguity, and a source of anxiety for he who, having conceived, made and “inhabited” it, perceives its more disquieting implications, those of an anomalous shadow, of another self that exists even in our absence." [1] The project series contains a sketch, photographs of the installation at the Galleria Speciale in 1986, a montage of film stills from Pettena's video explaining the installation, and digital versions of the installation film. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/inst-armchair-1986/ (last accessed 11 December 2019).
Niveau de description archivistique:
Project
Project
Date:
circa 1985-2015
circa 1985-2015
Personnes et institutions:
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1993:0211
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Iosif Aizikovich Meerzon (1900-1941), Tevel' Markovich Shapiro (1898-1984 or later), and Sofia Isaakovna Dymshits-Tolstaia (1888-1963).
PH1993:0211
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Iosif Aizikovich Meerzon (1900-1941), Tevel' Markovich Shapiro (1898-1984 or later), and Sofia Isaakovna Dymshits-Tolstaia (1888-1963).
Personnes et institutions:
Sujet:
architecture, portrait
architecture, portrait
Date:
between March and 7 November 1920
between March and 7 November 1920
Titre:
Group portrait of Vladimir Tatlin and his assistants I.A. Meerzon, T.M. Shapiro and S. Dymshits-Tolstaia at the time of the construction of the model for the Monument to the Third International, Petrograd (now Saint Petersburg)
Actions:
PH1993:0211
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Iosif Aizikovich Meerzon (1900-1941), Tevel' Markovich Shapiro (1898-1984 or later), and Sofia Isaakovna Dymshits-Tolstaia (1888-1963).
Group portrait of Vladimir Tatlin and his assistants I.A. Meerzon, T.M. Shapiro and S. Dymshits-Tolstaia at the time of the construction of the model for the Monument to the Third International, Petrograd (now Saint Petersburg)
Actions:
PH1993:0211
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Iosif Aizikovich Meerzon (1900-1941), Tevel' Markovich Shapiro (1898-1984 or later), and Sofia Isaakovna Dymshits-Tolstaia (1888-1963).
Classification:
photographies
photographies
Date:
between March and 7 November 1920
between March and 7 November 1920
Personnes et institutions:
Sujet:
architecture, portrait
architecture, portrait
Classification:
photographies
photographies
Actions:
Numéro de référence:
PH1993:0213
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Sofia Isaakovna Dymshits-Tolstaia (1888-1963), [Tatlin], Tevel' Markovich Shapiro (1898-1984 or later), and Iosif Aizikovich Meerzon (1900-1941).
PH1993:0213
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Sofia Isaakovna Dymshits-Tolstaia (1888-1963), [Tatlin], Tevel' Markovich Shapiro (1898-1984 or later), and Iosif Aizikovich Meerzon (1900-1941).
Personnes et institutions:
Sujet:
architecture, portrait
architecture, portrait
Date:
between March and 7 November 1920
between March and 7 November 1920
Titre:
Vladimir Tatlin and his assistants S. Dymshits-Tolstaia, T.M. Shapiro and I.A. Meerzon constructing the first model for the monument to the Third International, Petrograd (now Saint Petersburg)
Actions:
PH1993:0213
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Sofia Isaakovna Dymshits-Tolstaia (1888-1963), [Tatlin], Tevel' Markovich Shapiro (1898-1984 or later), and Iosif Aizikovich Meerzon (1900-1941).
Vladimir Tatlin and his assistants S. Dymshits-Tolstaia, T.M. Shapiro and I.A. Meerzon constructing the first model for the monument to the Third International, Petrograd (now Saint Petersburg)
Actions:
PH1993:0213
Description:
- This photograph shows Vladimir Tatlin (1885-1953) with three assistants from the "creative collective" which was organized so that he could continue work on the Monument to the Third International design while the model was being constructed (the model was completed for the third anniversary of the October Revolution, 7 November 1920). The assistants are (left to right): Sofia Isaakovna Dymshits-Tolstaia (1888-1963), [Tatlin], Tevel' Markovich Shapiro (1898-1984 or later), and Iosif Aizikovich Meerzon (1900-1941).
Classification:
photographies
photographies
Date:
between March and 7 November 1920
between March and 7 November 1920
Personnes et institutions:
Sujet:
architecture, portrait
architecture, portrait
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP207.S1.2017.PR02
Description:
The project series documents "Architecture Forgiven by Nature", an installation design by Pettena in 2017. The installation consists of an old water tower at the top of a hill in Brufa, covered with a metal grill. The intention is for plants to grow from the grill and hide the tower behind vegetation. The installation also included a staircase hidden behind the metal grill to give access to the top of the tower, so it could be used as a belvedere. "An additional function therefore joins the usual one, as nature helps to integrate a banal architecture into the landscape while also changing it into a place of consciousness and better understanding of both the environment and the art world." [1] The project is also known as "Torre di Brufa". The project series contains a drawing, printouts of digital renderings, plans of the structure surrounding the water tower, and video of Pettena showing the model of the tower. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-tower-in-brufa-2017/ (last accessed 28 January 2020)
AP207.S1.2017.PR02
Description:
The project series documents "Architecture Forgiven by Nature", an installation design by Pettena in 2017. The installation consists of an old water tower at the top of a hill in Brufa, covered with a metal grill. The intention is for plants to grow from the grill and hide the tower behind vegetation. The installation also included a staircase hidden behind the metal grill to give access to the top of the tower, so it could be used as a belvedere. "An additional function therefore joins the usual one, as nature helps to integrate a banal architecture into the landscape while also changing it into a place of consciousness and better understanding of both the environment and the art world." [1] The project is also known as "Torre di Brufa". The project series contains a drawing, printouts of digital renderings, plans of the structure surrounding the water tower, and video of Pettena showing the model of the tower. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-tower-in-brufa-2017/ (last accessed 28 January 2020)
Personnes et institutions:
Date:
2006-2017
2006-2017
Titre:
Architecture Forgiven by Nature (2017)
Actions:
AP207.S1.2017.PR02
Description:
The project series documents "Architecture Forgiven by Nature", an installation design by Pettena in 2017. The installation consists of an old water tower at the top of a hill in Brufa, covered with a metal grill. The intention is for plants to grow from the grill and hide the tower behind vegetation. The installation also included a staircase hidden behind the metal grill to give access to the top of the tower, so it could be used as a belvedere. "An additional function therefore joins the usual one, as nature helps to integrate a banal architecture into the landscape while also changing it into a place of consciousness and better understanding of both the environment and the art world." [1] The project is also known as "Torre di Brufa". The project series contains a drawing, printouts of digital renderings, plans of the structure surrounding the water tower, and video of Pettena showing the model of the tower. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-tower-in-brufa-2017/ (last accessed 28 January 2020)
Architecture Forgiven by Nature (2017)
Actions:
AP207.S1.2017.PR02
Description:
The project series documents "Architecture Forgiven by Nature", an installation design by Pettena in 2017. The installation consists of an old water tower at the top of a hill in Brufa, covered with a metal grill. The intention is for plants to grow from the grill and hide the tower behind vegetation. The installation also included a staircase hidden behind the metal grill to give access to the top of the tower, so it could be used as a belvedere. "An additional function therefore joins the usual one, as nature helps to integrate a banal architecture into the landscape while also changing it into a place of consciousness and better understanding of both the environment and the art world." [1] The project is also known as "Torre di Brufa". The project series contains a drawing, printouts of digital renderings, plans of the structure surrounding the water tower, and video of Pettena showing the model of the tower. Source: [1] Gianni Pettena website, https://www.giannipettena.it/italiano/opere-1/nat-tower-in-brufa-2017/ (last accessed 28 January 2020)
Niveau de description archivistique:
Project
Project
Date:
2006-2017
2006-2017
Personnes et institutions:
Niveau de description archivistique:
Projet
Projet
Numéro de référence:
AP056.S1.1984.PR01
Description:
This project series documents the interiors of the Marc Laurent store at 110 Bloor Street West in Toronto from 1984-1986. A project number assigned by the office is not identifiable. This project consisted of alterations to the interior of the high end retail store prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne. The design consisted of the removal and replacement of lighting fixtures, walls, change rooms and window displays. The project also included the design of a cash counter and new display furnishings such as mobile units, rack systems and a parallelogram unit. The rack system was made so that retail workers could easily reconfigure the design and locations of the racks based on merchandizing needs. Dark colours were used throughout the store including for the flooring, walls, and furnishings. The project is recorded through original drawings and a photograph dating from 1988 to around 1989. The drawings consist of a set of sections, plans, details for display and counter furnishings issued for construction, sketch plans, perspectives, and elevations. The photograph shows the finished interiors.
AP056.S1.1984.PR01
Description:
This project series documents the interiors of the Marc Laurent store at 110 Bloor Street West in Toronto from 1984-1986. A project number assigned by the office is not identifiable. This project consisted of alterations to the interior of the high end retail store prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne. The design consisted of the removal and replacement of lighting fixtures, walls, change rooms and window displays. The project also included the design of a cash counter and new display furnishings such as mobile units, rack systems and a parallelogram unit. The rack system was made so that retail workers could easily reconfigure the design and locations of the racks based on merchandizing needs. Dark colours were used throughout the store including for the flooring, walls, and furnishings. The project is recorded through original drawings and a photograph dating from 1988 to around 1989. The drawings consist of a set of sections, plans, details for display and counter furnishings issued for construction, sketch plans, perspectives, and elevations. The photograph shows the finished interiors.
Personnes et institutions:
Date:
1986
1986
Titre:
Marc Laurent Store, Phase 1, Toronto (1984-1986)
Actions:
AP056.S1.1984.PR01
Description:
This project series documents the interiors of the Marc Laurent store at 110 Bloor Street West in Toronto from 1984-1986. A project number assigned by the office is not identifiable. This project consisted of alterations to the interior of the high end retail store prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne. The design consisted of the removal and replacement of lighting fixtures, walls, change rooms and window displays. The project also included the design of a cash counter and new display furnishings such as mobile units, rack systems and a parallelogram unit. The rack system was made so that retail workers could easily reconfigure the design and locations of the racks based on merchandizing needs. Dark colours were used throughout the store including for the flooring, walls, and furnishings. The project is recorded through original drawings and a photograph dating from 1988 to around 1989. The drawings consist of a set of sections, plans, details for display and counter furnishings issued for construction, sketch plans, perspectives, and elevations. The photograph shows the finished interiors.
Marc Laurent Store, Phase 1, Toronto (1984-1986)
Actions:
AP056.S1.1984.PR01
Description:
This project series documents the interiors of the Marc Laurent store at 110 Bloor Street West in Toronto from 1984-1986. A project number assigned by the office is not identifiable. This project consisted of alterations to the interior of the high end retail store prior to the founding of KPMB, by Bruce Kuwabara and Thomas Payne. The design consisted of the removal and replacement of lighting fixtures, walls, change rooms and window displays. The project also included the design of a cash counter and new display furnishings such as mobile units, rack systems and a parallelogram unit. The rack system was made so that retail workers could easily reconfigure the design and locations of the racks based on merchandizing needs. Dark colours were used throughout the store including for the flooring, walls, and furnishings. The project is recorded through original drawings and a photograph dating from 1988 to around 1989. The drawings consist of a set of sections, plans, details for display and counter furnishings issued for construction, sketch plans, perspectives, and elevations. The photograph shows the finished interiors.
Niveau de description archivistique:
Project
Project
Date:
1986
1986
Personnes et institutions:
Classification:
dessins
dessins
Numéro de référence:
DR1986:0767:248
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
DR1986:0767:248
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Personnes et institutions:
Sujet:
architecture
architecture
Date:
printed 1890-1892
printed 1890-1892
Titre:
Monadnock Building, Chicago: First and second floor plans
Actions:
DR1986:0767:248
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Monadnock Building, Chicago: First and second floor plans
Actions:
DR1986:0767:248
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Classification:
dessins
dessins
Date:
printed 1890-1892
printed 1890-1892
Personnes et institutions:
Sujet:
architecture
architecture
Classification:
dessins
dessins
Numéro de référence:
DR1986:0767:249
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
DR1986:0767:249
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Personnes et institutions:
Sujet:
architecture
architecture
Date:
printed 1890-1892
printed 1890-1892
Titre:
Monadnock Building, Chicago: Third and fourth floor plans
Actions:
DR1986:0767:249
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Monadnock Building, Chicago: Third and fourth floor plans
Actions:
DR1986:0767:249
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Classification:
dessins
dessins
Date:
printed 1890-1892
printed 1890-1892
Personnes et institutions:
Sujet:
architecture
architecture
Classification:
dessins
dessins
Numéro de référence:
DR1986:0767:250
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
DR1986:0767:250
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Personnes et institutions:
Sujet:
architecture
architecture
Date:
printed 1890-1892
printed 1890-1892
Titre:
Monadnock Building, Chicago: Fifth and sixth floor plans
Actions:
DR1986:0767:250
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Monadnock Building, Chicago: Fifth and sixth floor plans
Actions:
DR1986:0767:250
Description:
- Twenty hectographs of the Monadnock Building were probably cut apart when the southern half, owned by Shepherd Brooks, became the Kearsarge Building in 1889 (DR1986:0767:120). The southern half of the building (DR1986:0767:466:001-042 and DR1986:0767:467:001-054) was cut out, leaving the northern half (DR1986:0767:048 - DR1986:0767:056, DR1986:0767:248 - DR1986:0767:257, and DR1986:0767:259). The hectographs were possibly divided so that two discrete sets of reprographic copies could be produced for the Monadnock and Kearsarge Buildings.
Classification:
dessins
dessins
Date:
printed 1890-1892
printed 1890-1892
Personnes et institutions:
Sujet:
architecture
architecture
