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Seidenhaus P. Brandt, Hamburg, Mönckebergstrasse 27
No full textSEIDENHAUS P. BRANDT, HAMBURG, MÖNCKEBERGSTRASSE 27
Seidenhaus P. Brandt, Hamburg, Mönckebergstrasse 27 ( -
Fissarcturus Brandt 1990
No full text<i>Fissarcturus</i> Brandt, 1990 <p> <i>Fissarcturus</i> Brandt, 1990: 129; Wägele, 1991: 174; Poore, 2001: 224; Brandt, 2007: 264.</p>Published as part of <i>Brandt, Angelika, 2013, Fissarcturus walteri sp. nov. from the Ross Sea of the Southern Ocean (Isopoda, Antarcturidae), pp. 339-348 in Zootaxa 3670 (3)</i> on page 340, DOI: 10.11646/zootaxa.3670.3.4, <a href="http://zenodo.org/record/216094">http://zenodo.org/record/216094</a>
Fissarcturus : Brandt 1990
No full text<i>FISSARCTURUS</i> BRANDT, 1990 <p> <i>Fissarcturus:</i> Brandt, 1990: 129; Wägele, 1991: 174; Poore, 2001: 224.</p> <p> <i>Type species:</i> <i>Fissarcturus emarginatus</i> Brandt, 1990.</p>Published as part of <i>Brandt, Angelika, 2007, Three new species of Fissarcturus (Isopoda, Antarcturidae) from the Southern Ocean, pp. 263-290 in Zoological Journal of the Linnean Society 149 (2)</i> on pages 264-265, DOI: 10.1111/j.1096-3642.2007.00247.x, <a href="http://zenodo.org/record/4634802">http://zenodo.org/record/4634802</a>
Macrostylis obscura Brandt 1992
No full textMacrostylis obscura (Brandt, 1992) nom. dub. Desmostylis obscura Brandt, 1992; p. 70, Figs 11–13; Macrostylis obscura (Brandt, 1992); Riehl & Brandt (2010); pp. 43–44; Fig. 19. Remarks. This species and the genus Desmostylis Brandt, 1992 were based on a single damaged manca. Both were subsequently transferred to Macrostylis Sars, 1864 (Riehl & Brandt 2010). The species was collected from the same box corer sample as M. sarsi Brandt, 1992, which is represented by a single subadult female specimen. Both species share several similarities, such as dorsal and lateral setation of the body. Quantitative samples such as boxcorer samples often show an aggregated distribution of single species, so the possibility remains that these specimens are conspecific. Unfortunately, much of each type specimen is missing owing to dissection and subsequent damage and loss at the NHM London. So the types cannot be fully compared to decide whether they are conspecific or not. Another consequence of the manca stage of the only known representative of M. obscura is that information suitable and available for comparison with other species of the family is very limited. M. obscura is therefore not included in the key presented below and is henceforward regarded nomen dubium. In accordance with the gender agreement stated in Article 31.2 of the ICZN, the species-group name is changed to be feminine.Published as part of Riehl, Torben & Brandt, Angelika, 2013, Southern Ocean Macrostylidae reviewed with a key to the species and new descriptions from Maud Rise, pp. 160-203 in Zootaxa 3692 (1) on page 190, DOI: 10.11646/zootaxa.3692.1.10, http://zenodo.org/record/22061
Macrostylis sarsi Brandt 1992
No full text<i>Macrostylis sarsi</i> Brandt, 1992 nom. dub. <p>(Fig. 21)</p> <p> <i>Macrostylis sarsi</i> Brandt 1992; pp. 74–78, Figs 14–16.</p> <p> <b>Type fixation.</b> Ovigerous female, 2.0 mm length, BM(NH) 1990:40:1, by original designation.</p> <p> <b>Type locality.</b> West Maud Rise, ANT VllI/6 station 1833–1. 65 ° 10.5’S, 0° 27.4’W; depth 4,335 m, box corer.</p> <p> <b>Type material.</b> Only holotype available, deposited at the Natural History Museum, London.</p> <p> <b>Modified diagnosis.</b> Body with furry coat of cuticular setules and scattered spine-like, bifid setae. Pereonite 3 posterolateral margins produced posteriorly. Pereonite 4 width subequal pereonite 5 width, lateral margins curved; posterolateral margins rounded, not produced posteriorly, posterolateral setae present. Pereonite 6 length clearly larger pereonite 5 length. Female pleotelson ovoid, waist absent. Pereopod III ischium dorsal lobe triangular. Pereopod VII length smaller pereopod VI length. Operculum elongate, length exceeding 1.5 width.</p> <p> <b>Remarks.</b> Based on the illustrations, the holotype is not adult. It is the only specimen available. A potential synonymy with <i>Macrostylis obscura</i> (Brandt, 1992) is discussed above. The ventral spines have not been illustrated in the original description, as it was the case in <i>M. obscura</i> (Brandt, 1992), described in the same publication, where later ventral spines were found (Riehl & Brandt 2010).</p> <p>The scale provided in the habitus plate is probably incorrect: according to the description, the body should be 2.0 mm long; new measurements based on the scale provided result in a body length of 1.3 mm. All other plates have no scale and hence, re-evaluation of ratios between parts is impossible and hence, original measures were mostly applied here. The holotype carcass is gone missing, slides are available but damaged and dissected parts are mostly in bad condition or lost. Appendages available on slides are: Antennula, antenna, mandibles, pereopod I, pereopods 5–7, operculum (apex broken). The taxonomic identity of this species cannot be determined from its existing type and it is hence considered nomen dubium.</p>Published as part of <i>Riehl, Torben & Brandt, Angelika, 2013, Southern Ocean Macrostylidae reviewed with a key to the species and new descriptions from Maud Rise, pp. 160-203 in Zootaxa 3692 (1)</i> on page 191, DOI: 10.11646/zootaxa.3692.1.10, <a href="http://zenodo.org/record/220612">http://zenodo.org/record/220612</a>
Shadows from Light. The photography of Bill Brandt
No full textCommentary describes the film as "a cinematographic journey through the photographic atmospheres of Bill Brandt". Nude model seats herself on chaise longue. Part reflected in mirror. Photograph of Bill Brandt. Wax hand on mantelpieces, chair, model; child’s VO quoting from Through the Looking Glass. Glass objects reflected in mantelpiece mirror. Picture of Brandt fades in in background. Brandt in profile. Objects. Commentary gives basic biographical details, pointing out that he studied with Surrealists, Dadaists and Metaphysical artists in the 1920s, photographed Britain in the 1930s and wartime London in the 1940s. Brandt at home. Photographs. Photographic self-portrait. Brandt’s VO describing the picture. Brandt at home. His VO talking about Citizen Kane, its set design and perspectives, which inspired him to take photographs. Some of Brandt’s nude studies.
Photograph of Flint Cottage, Box Hill, Surrey. Nude studies. Model being photographed. More nudes. More Through the Looking Glass – "you can’t look all round you". Photograph of train passing over city bridge in Newcastle. Nude with Noh mask. Model. Camera. "The magic paint box." Commentary quotes Man Ray on photographing and painting. Brandt. Child reading about the Cheshire Cat. Photograph of Jean Arp. Avebury. Highgate Cemetery. French subjects including St Barnabé and Alpes Maritimes. Iris Murdoch. Tombstones, Haworth Churchyard. Yorkshire Man. The Pilgrim’s Way. London by Moonlight – Fifteen Second Exposure. Nudes. Commentary quotes Susan Sontag on photography and Surrealism. Several photographs together; includes one of opera hats in a window. Photographs and their reflections. Commentary quotes Brandt on atmosphere. Photograph of René Magritte holding one of his paintings. Brandt.
Max Ernst – Left Eye. Joan Miro – Right Eye. Jean Dubuffet – Right Eye (1960). Jean Arp – Right Eye. Alberto Giacometti – Left Eye. Industrial buildings, railway, church. Battersea Bridge. Halifax. London by Moonlight. Wartime London. Commentary reading from René Crevel’s, La grande mannequin cherche et trouve sa peau (1934). Stonehenge; Brandt’s description over. Wartime London and others. Alice’s question "Who in the world am I? Ah, that’s the great puzzle!" Model and her photograph. Ezra Pound. Commentary quotes Edward Steichner on the two problems in photography – light and reality. Voices reading about the White King’s dream. Various photographs, including several of hands.
Room reflected in convex mirror. Photographic distortion. Nudes. Trees. Chiswick House Gardens. Brandt’s VO describing photograph of Francis Bacon. Wuthering Heights. Dover Beach. The Sea is Calm Tonight. Man Ray. Jean Rhys. A. J. P. Taylor. St Paul’s – Wartime. Prior Park, Near Bath. Oakworth Moor, Yorkshire. Chair, music and binoculars; voice reading about the railway guard looking at Alice on the train. Photographs of feet. Model walking around. Photograph of nude in apparently very small room. Door.
Quotation from Giorgio de Chirico on art bringing together "abnormal moments" and creativity. Photographs. Sontag on "the force of a photograph". Nudes. Reflections. Antonio Tapis – Left Eye. White Queen’s advice to Alice. Portraits: Glenda Jackson. Nicol Williamson. Brassaï. Pablo Casals. Dylan and Caitlin Thomas. Cecil Beaton. Cecil Day Lewis. Françoise Rosay. Benjamin Britten. Graham Greene. Nudes. Brandt sits in chair. Quote from André Breton on windows and views stretching away out of sight. More portraits: Jack Yeats. Salvador Dali. Henry Moore. Madame Marie Rambert. Lynn Seymour. Georges Braque. Pablo Picasso. Peter Sellers. John Betjeman. Alec Guinness. Nude. View of front garden. Nude. Brandt and his VO talking about his experiences with the Surrealists in Paris. Various photographs. Model walking out of room. Photographic distortions. Model re-enters room. Brandt VO on using nudes in order to be able to photograph rooms, and about distortions. Photographs. Quotation from Albert Sands Southworth on producing pictures with a camera. Nudes. Portraits: John Le Carré. Edith Sitwell. Paul Scofield. Franco Zeffirelli. Ivy Compton Burnett. J. B. Priestley. Harold Pinter. Edna O’Brien. Kenneth Tynan. Malcolm Muggeridge. Edith and Osbert Sitwell. House interior. Photograph. Stephen Dwoskin during the filming. Bill Brandt with his camera; his VO identifies this scene as having been taken during the filming. Credits
Personal Papers (MS 80-0002)
No full textLetter from Harris L. Kempner to P. L. Brandt informing that Isaac H. Kempner would be out of the city
Fissarcturus : Brandt 1990
No full text<i>FISSARCTURUS</i> BRANDT, 1990 <p> <i>Fissarcturus:</i> Brandt, 1990: 129; Wägele, 1991: 174; Poore, 2001: 224.</p> <p> <i>Type species:</i> <i>Fissarcturus emarginatus</i> Brandt, 1990.</p> <p> FISSARCTURUS BATHYWEDDELLENSIS <b>SP. NOV.</b></p> <p>(FIGS 1–10)</p> <p> <i>Material examined:</i> holotype, male (9 mm), station ANDEEP 133-3-E, 65°20.17′−20.08′S, 54°14.30′−34′W, 1121 m, north-western Weddell Sea, 7 February 2002, RV <i>Polarstern</i> (ZMH K−40890).</p> <p> <i>Paratype:</i> female (7.8 mm), station ANDEEP 133-3, station data as holotype (ZMH K-40891); male (9 mm), station ANDEEP 41-3-E, 59°22.24′−22.57′S, 60°04.06′−34′W, 1121 m, off Elephant Island, 26 January 2002, RV <i>Polarstern</i> (ZMH K-40892); 5 manca I stages, station ANDEEP 46-7-E, 60°38.33′−06′S, 53°57.38′−51′W, 3894 m, 30 January 2002, RV <i>Polarstern</i> (ZMH K-40893).</p> <p> <i>Distribution:</i> South Shetland Islands, Weddell Sea, Southern Ocean.</p> <p> <i>Etymology:</i> The species name is derived from Latin <i>bathy-</i>, which means ‘deep’ and refers to the depth and location of the type locality in the Weddell Sea. The gender is masculine.</p> <p> <i>Diagnosis:</i> Dorsal pereonal spination with elements in submedial, dorsolateral, lateral and coxal rows, dorsal spines smooth, anterior ones long, prominent, spines on posterior pereonites and on pleotelson shorter, blunt. Proximal last lateral pair of spines inserted almost at caudal tip, at 98% of the pleotelson length. Minute pleotelsonic apex.</p> <p> <i>Description of the holotype male:</i> Body length 9 mm (Fig. 1). Eye large, oval. Eye 0.4 of lateral length of head. Preocular spine long, acuminating, blunt, almost as long as supraocular spine. Supraocular spine blunt, long, directed frontally, slightly more than twice as long as diameter of eye. Second cephalic spine broken off in male. Two lateral smaller spines on head in male. Body long, slender (Fig. 1), pereonites 1–4 of about same length, pereonites 1–3 widest. Pereonite 4 about as wide as pereonites 5–7. All pleonites fused with pleotelson. Pereonal spination comprising elements in submedial, dorsolateral, lateral and coxal rows. Submedial and dorsolateral spines present on pereonites 1–4, submedial spines on pereonites 5–7 similar to 1–4, but smaller than on 1–4. Submedial, dorsolateral and lateral spines present on pereonites 1–7, longer and more stout on pereonites 1–4, on pereonite 4 shorter than on 3, blunt, small and tubercularlike on 5–7. Coxa 1 with 3–4 marginal spines (sexually dimorphic). Four contiguous coxal spines present on pereonite 1, frontally directed. One spine on coxae 2– 7 each, longest on pereonites 2 and 3, in male tubercular-like. Ornamentation of coxae of pereonites 1–7 with tubercles, some spine-like. Six major submedial and sublateral spines on pleotelson and 4–5 lateral, last caudolateral one very prominent. Pleotelson length 0.25–0.3 times total body length. Pleotelson width 0.5 total pleotelson length. Position of most posterior lateral spines 98% of pleotelson length. Position of last lateral pair of spines on pleotelson apically. Pleotelson apex minute, convex.</p> <p>A1 (Fig. 2) first peduncular article broadest and shorter than second, first and second both with medial and lateral feather-like setae, more laterally. Peduncular article 3 0.4 times length of article 2. Antenna 1 flagellum, aesthetascs seven groups of two, terminal simple setae and one short feather-like one.</p> <p>A2 (Fig. 2) peduncle 0.58 body length, with strong lateral spines on articles 2–4. Peduncular articles 3–5 with lateral and medial short spinules. Antenna 2 flagellum broken off in male.</p> <p>Mandibles (Fig. 2) without palp, asymmetrical. Pars incisiva of lMd with three teeth.</p> <p>Mx1 (Fig. 2) of two endites, both slightly narrowing distally, lateral one distally curved medially, apex with 11 strong smooth spines. Medial endite shorter, but lost during dissection.</p> <p>Mx2 (Fig. 2) consisting of three endites. Outer, lateral, endite with three long setulated setae, medial endite also with three setulated setae, inner endite with two rows of nine shorter setulated setae.</p> <p>Mxp (Fig. 2) with long-oval epipod, strong endite and a five-segmented palp. Endite distodorsally with four spine-like setulated setae. One coupling hook in male. Third palpal article longest, first and last smallest, dense medial brush of long setae equipped with few setules, especially on third to fifth articles.</p> <p>P1 (Fig. 3) basis slightly shorter than propodus, carpus trapezoidal, propodus subchelate and slender. Pereopod 1 propodus, length 0.5 times width. Dactylus shorter than propodus, with one long, strong distal claw. Propodus and dactylus densely setose. Ventral surface of propodus with few setae, most on medial part and on palm. Mediodorsal side of propodus forming a concave ‘spoon’, curved dorsolateral surface with long setae, arranged in six parallel transverse rows of combs, dorsal part of palm bearing many medially directed setae.</p> <p>P2–4 (Fig. 3) similar. P2 shortest, P4 longest, many long setae on posteromedial margins, some long setae on anterolateral margins, especially on carpus and propodus. Dorsal ornamentation of basis with tuberculated spines, and small blunt spines scattered on ventral side of carpus and propodus of P3 and P4, ischium-carpus of P2–P4 dorsal margin with tuberculated spines. Eight, seven, eight setal groups on carpus. Seven, five, four setal groups on propodus. Pereopods 2–3 dactylus, length 0.5 propodus. Unguis as long or longer than dactylus. Pereopods 2–3, unguis, length 1 dactyus. Pereopod 4, dactylus, length 0.5 propodus. Pereopod 4, unguis, length 0.5 dactylus.</p> <p>P5–7 (Fig. 4) similar in shape and setation and shorter and stouter than P2–P4, P7 smallest. Basis of P5 and P6 longest article, of P7 propodus longest. Basis with 1–2 feather-like setae. Merus, carpus and propodus with ventral strong setulated sensory setae, and some additional ventrolateral ones. Propodus dorsally with one feather-like seta and several simple setae. Dactyli all broken off in holotype.</p> <p>Plp1 (Fig. 4) sympod 0.4 as long as rami, with seven coupling setae. Exopod length 0.9 length and 1 width of endopod. Male pleopod 1 exopod terminally and medially equipped with setae. Male pleopod 1 endopod, groove opening at 80% of length, and groove opening with row of small scales. Endopod with eight distal and 20 lateral setae.</p> <p>Plp2 (Fig. 4) very similar to Plp1, but with much shorter sympod, about 0.2 as long as rami, without lateral spines, but with three medial coupling setae. Appendix masculina 1.2 length of endopod, simple.</p> <p>Plp3 (not illustrated) with very short sympod, as following pleopods; exopod with shorter lateral plumose setae, endopod bare.</p> <p>Plps 4 and 5 (Fig. 5) exopod with two and one plumose seta, respectively.</p> <p>Urp (Fig. 5) endopod 0.7 length of exopod. Uropod endopod with three distal setae.</p> <p> <i>Female paratype (differences to holotype male) of 7.8 mm length:</i> Preocular spines acute (Figs 6, 7). Second cephalic spine, longer and more robust than supraocular spine, acute in female, three other spines on head. Pereonites, pleonites and pleotelson of female with very similar pattern of spination if compared with male, but spines are generally slightly longer and more acute. Four erect coxal spines on pereonite 1. Antennula (Fig. 8) with two pairs of aesthetascs and fewer feather-like setae on lateral and medial margins. Antenna (Fig. 8), fifth article with few tubercles, flagellum of five articles. Maxilliped (Fig. 8) with long, distally acuminating epipod, strong endite and a fivesegmented palp. Endite distodorsally with seven spine-like setulated setae, medially with another three setae, no coupling hooks present. Medial brush of long setae equipped with few setules more dense than in male, especially on third to fifth articles. Pereopods (Figs 9, 10) all very similar, but ischium, merus and carpus of female with distal, blunt, spine-like projections. Endopodite of uropod (Fig. 10) with three setae.</p> <p> <i>Remarks: F. bathyweddellensis</i> can easily be distinguished from other species of the genus by the spination on the dorsum of the body. It is similar to <i>F. emarginatus</i> Brandt, 1990, but has a longer and stouter second cephalic spine. In addition, its pereonal spination comprises elements in submedial, dorsolateral, lateral and coxal rows, whereas that of <i>F. emarginatus</i> only has submedial, dorsolateral and coxal rows. In contrast to the long and acute spines of <i>F. emarginatus</i> on the posterior pereonites and pleonites, those of <i>F. bathyweddellensis</i> are shorter, blunt and more tubercle-like on these body segments.</p>Published as part of <i>Brandt, Angelika, 2007, Three new species of Fissarcturus (Isopoda, Antarcturidae) from the Southern Ocean, pp. 263-290 in Zoological Journal of the Linnean Society 149 (2)</i> on pages 264-269, DOI: 10.1111/j.1096-3642.2007.00247.x, <a href="http://zenodo.org/record/10114580">http://zenodo.org/record/10114580</a>
Bill Brandt: Centenary Retrospective
No full textIn 2004 the V & A led the celebration of the centenary of the birth of Bill Brandt, chiefly by hosting an exhibition and associated events. The exhibition had been originally curated by J.P. Kernot, director of the Bill Brandt Archive, London, and organised for circulation by Curatorial Assistance Incorporated in Pasadena.
Haworth-Booth’s role was to re-sequence the exhibition in a narrative more suited to a centenary, re-caption prints that had been incorrectly titled and dated, omit inferior prints, replace some prints with vintage prints from other collections, write introductory wall labels and texts for the exhibition’s six sections, and edit Brandt’s final television interview (1982) to serve an a preface to the exhibition. These interventions drew from an enquiry into Brandt begun in 1974. A further contribution to Brandt studies was made through recommending the donation of two Brandt albums containing 400 photographs (mainly by Brandt) to the national collection of the art of photography at the V & A, a recommendation that was accepted.
Finally, Haworth-Booth curated a display of these albums to compliment the Centenary Retrospective, organised a Brandt Centenary Symposium 01/05/04 at the V & A and wrote a new essay on the stylistic roots of Brandt’s series of nudes which were created 1945-60. This essay appeared in Brandt Nudes: a New Perspective edited by J. P. Kernot published by the Bill Brandt Archive, 2004 (ISBN 0954704800)
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