4,347 research outputs found
Leo B. Leonard\u27s civilian orchestra at the "Rainbow Rondeveau" dance hall, Salt Lake City, 1935
No full textItem from Leo Leonard Scrapbook (black cover), 1935 to 1957. Night Hawk Orchestra (left to right): Mills (sax), Felstead (sax), Barnes (sax), Davis (clarinet, sax, trumpet), Florence Robbins (singer), Forey (drums), Leo B. Leonard (band leader), Bandell (trombone, trumpet), Benjamin (mandolin, guitar, banjo), Melvin (strings, bass), Burn (trumpet), Reujerie (trumpet), Nedballick (piano, cello), Heinich (trombone, piano)
Leo B. Leonard\u27s civilian orchestra at the "Rainbow Rondeveau" dance hall
No full textLeo B. Leonard civilian orchestra (left to right): Mills (sax), Felstead (sax), Barnes (sax), Davis (clarinet, sax, trumpet), Florence Robbins (singer), Forey (drums), Leo B. Leonard (band leader), Bandell (trombone, trumpet), Benjamin (mandolin, guitar, banjo), Melvin (strings, bass), Burn (trumpet), Reujerie (trumpet), Nedballick (piano, cello), Heinich (trombone, piano
Leo B. Leonard\u27s civilian orchestra at the "Rainbow Rondeveau" dance hall
No full textNight Hawk Orchestra (left to right): Mills (sax), Felstead (sax), Barnes (sax), Davis (clarinet, sax, trumpet), Florence Robbins (singer), Forey (drums), Leo B. Leonard (band leader), Bandell (trombone, trumpet), Benjamin (mandolin, guitar, banjo), Melvin (strings, bass), Burn (trumpet), Reujerie (trumpet), Nedballick (piano, cello), Heinich (trombone, piano
Critical Voices: Selections from the Hall Collection
No full textCatalog of an exhibition held at the Oakland University Art Gallery, September 9 - November 20, 2022. Contains foreword and essay by Leo Barnes.Excerpt from foreword by Leo Barnes: My relationship with the Hall Art Foundation developed over the five years I worked there from 2012 to 2017. The artworks, collected by Andrew and Christine Hall, present a unique index of the best contemporary art of the late 20th and early 21st centuries. The collection, heavily infused in particular with the work of German and American artists, is a fascinating entrée into the contemporary visual arts in both cultures
Letter from Simeon Leo to his father
No full textLetter from Simeon Leo, Esq. to his father on paper torn from a notebook. Written in broken English.Digital imag
Portrait of Hans Sahl
No full textThree quarter profile portrait of the German writer Hans Sahl.Digital imageEstate of the artist.The German Jewish author and poet Hans Sahl was born in 1902 in Dresden. He fled Nazi Germany for France and then immigrated to the United States, where he gained success as a translator of American authors. Sahl returned to Tübingen in 1990, where he died in 1993.Leo Glueckselig was born in Vienna in 1914. He studied architecture and worked as an interior designer. He left Austria with his family in 1938 and immigrated to New York, where he worked as a graphic designer and illustrator. He was part of the Oskar-Maria-Graf Stammitsch. Since 1999 his artwork has been exhibited in Vienna, Salzburg, New York, Washington, and Graz. Leo Glueckselig died in New York in 2003. His brother was the poet Friedrich Bergammer (Fritz Glueckselig)
Ktētōr and Synthesis: Epigrams, Miniatures, and Authorship in the Leo Bible
No full textThesis (Master's)--University of Washington, 2014The Leo Bible (Rome, Vat. Reg. Gr. 1) is an illuminated Old Testament produced in Byzantium during the mid-tenth century. Presented as a gift to a monastery of St. Nicholas by Leo Sakellarios, a court eunuch and palace treasurer, the Bible is the only surviving manuscript of its kind from Byzantium. Known for its luxurious epigrams and miniatures, the Leo Bible's classicizing miniatures are frequently cited as exemplars of tenth-century Byzantine art, although the manuscript is rarely considered as whole. This study takes a new approach to the Leo Bible, focusing on the manuscript as a work of visual and poetic exegesis, in which word and image work together to frame the Old Testament in a Christian context. Beyond its exegetical nature, the Leo Bible also demonstrates a marked interest in the theme of authorship. By considering Byzantine notions of authorship in conjunction with the Bible's visual and epigrammatic program, this study offers new insights into the concept of patronage in Byzantium and the means by which patrons constructed their image and legacy through their commissions. In the case of the Leo Bible, this study will address how Leo Sakellarios is understood to be the author of the manuscript and its exegetical commentary, and how this act of authorship is reflected in the Bible's visual and poetic programs
Leo, 1930
No full textLeo from "Playgoers Almanac," Theatre Guild magazine, circa 1930, ink on paper, 5 x 6.5 inches
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