Joachim Nicolas Eggert (1779-1813)
https://en.wikipedia.org/wiki/Joachim_Nicolas_Eggert
Buddy Tate (1913-2001)
https://www.allmusic.com/artist/buddy-tate-mn0000631071/biography
Monthly Archives: February 2016
Rea Irvin & The New Yorker
The New Yorker debuted on February 21, 1925 — and its cover was graced with the first of many appearances by the magazine’s mascot Eustace Tilley. The illustration was by Rea Irvin (1881-1972), the man responsible for the eternal look of The New Yorker right down to designing the logo typeface, named “Irvin” for its creator.
In 1924, Irvin joined an advisory board to help launch The New Yorker. For the cover of the magazine’s debut issue the next year, Irvin created Eustace Tilley, a smartly attired dandy with a monocle and top hat. This amusing and worldly, yet somewhat detached, character embodied the spirit of the new publication. Tilley quickly became Irvin’s signature piece and has reappeared on the magazine’s cover every year since, with one exception–1994.
Between 1925 and 1958, Irvin’s work appeared on 169 covers of The New Yorker. Hundreds of other illustrations by Irvin were also published inside the magazine. http://www.tfaoi.com/aa/1aa/1aa398.htm (dead link)
https://en.wikipedia.org/wiki/Rea_Irvin
https://www.newyorker.com/magazine/1996/01/22/rea-irvin
Irvin had been art editor at Life, and Ross trusted
his taste, which—as others have noted—in turn shaped his
own. Ross biographer Dale Kramer describes his influence: “[Irvin]
had a quick, accurate eye for good craftsmanship. More important, he
knew what changes were necessary to make mediocre work passable and
passable work better.” Born in San Francisco, Irvin had worked as
a newspaper illustrator, stage and screen actor, comic strip artist, and
piano player before arriving at Life. Irvin’s diversity of
aesthetic experience was as essential to his invention of The New
Yorker’s visual style as Ross’s vagabond generalism was
to his conception of the subject matter. http://www.printmag.com/article/everybody_loves_rea_irvin/
February 20, 1872: The Met opens its doors to the public
Opening reception in the picture gallery at the Metropolitan Museum of Art, 681 Fifth Avenue, February 20, 1872. Wood-engraving published in Frank Leslie’s Weekly, March 9, 1872.
View image here: http://upload.wikimedia.org/wikipedia/commons/b/ba/Metropolitan_opening_reception.jpg
Profound Thoughts About Food~
Records of the National Park Service: Ansel Adams Photographs
In 1941 the National Park Service commissioned noted photographer Ansel Adams to create a photo mural for the Department of the Interior Building in Washington, DC. The theme was to be nature as exemplified and protected in the U.S. National Parks. The project was halted because of World War II and never resumed.
The holdings of the National Archives Still Picture Branch include 226 photographs taken for this project, most of them signed and captioned by Adams.
“Subconscious Plagiarism”
On February 19, 1981, a New York judge determined that George Harrison was guilty of “subconscious plagiarism” when he wrote My Sweet Lord, due to its similarities to the 1963 Chiffons hit He’s So Fine. Harrison was ordered to pay ABKCO Music $587,000.
Adelina Patti: Born February 19, 1843
Adelina Patti, original name Adela Juana Maria Patti (born Feb. 19, 1843, Madrid, Spain—died Sept. 27, 1919, Craig-y-Nos Castle, Brecknockshire, Wales), Italian soprano who was one of the great coloratura singers of the 19th century.
http://www.britannica.com/EBchecked/topic/446851/Adelina-Patti
Biographical sketch of Madame Adelina Patti
https://archive.org/details/biographicalsket00mortiala
Louis Comfort Tiffany: Born February 18, 1848
Since today is the birthday of Louis Comfort Tiffany, I thought it might be interesting to have a look at some of the magnificent examples of Tiffany design with which Baltimore has been favored.
Louis Comfort Tiffany’s career lasted from the 1870s through the 1920s. He was the son of Charles Lewis Tiffany who founded Tiffany & Company, but chose not to join the family business, instead embarking on a career as a painter. Although he never stopped painting, Tiffany began in the late 1870s to concentrate on the decorative arts for which we remember him today. He and his studios worked in a vast array of mediums, including stained-glass windows, glass mosaics, lamps, ceramics, enamelwork, and jewelry.
Tiffany was appointed the first design director of Tiffany & Co. upon his father’s death in 1902. He also continued his association with Tiffany Studios, which did not cease operations until his own death in 1933.
http://www.firstunitarian.net/about-us/history/our-buildings/
The First Unitarian Church of Baltimore has one of the only three versions of this particular Tiffany glass mosaic design for the Last Supper known to exist. It was installed in 1897 and measures 18′ wide x 9′ tall. The designer was Frederick Wilson who worked for the Tiffany Glass and Decorating Company.
http://www.browndowntown.org/index.php?s=tiffanywindows
Brown Memorial Presbyterian Church was dedicated in 1870; when it was enlarged in 1905 the church commissioned Tiffany Studios in New York City to create its stained glass windows. There are 11 documented Tiffany windows, including two transept windows which measure 40′ high by 16′ wide and dominate the interior.
http://www.stmarksbaltimore.org/st-marks-architecture.html
St. Mark’s Lutheran Church boasts a complete interior created by Louis Comfort Tiffany. The building was opened in 1898 and among its treasures are mosaics, lamps, and stained-glass windows. It is one of the few intact Tiffany-designed interiors left in the world.
The Misty Miss Christy 
