Résumé : This label was created on October 20th 1900. Around the turn of the 20th century, cigars were advertised and sold mainly by the colourful, intricate labels that adorned the boxes. Intense competition encouraged manufacturers to see who could create the most beautiful, eye-catching labels. A diffrent stone was required to print each colour. It was not unusual for as many as 20 stones to be used to create a single label. The register for each printing had to be perfect. The process became known as STONE LITHOGRAPHY or CHROMOLITHOGRAPHY. Once this exacting printing process was completed, the labels were then gilded with hand-applied gold leaf. Finally, the labels were embossed using huge 30-ton presses. According to Joe Davidson, the eminent American art dealer and collector, the "Golden Era" of cigar labels is associated with the introduction of gilding and embossing in the 1890's up to the late 1920's when the less attractive full-colour or photo-mechanical labels began to appear. Genuine gold leaf was used primarily by German and Cuban printers and "bronzing" in which bronze powder was mixed with lacquer or sizing, applied like ink, then burnished with brushes or polished rollers to make them gleam like gold. These particular labels were produced by the German factory, Gerhard Meinesz in Bentheim, near the Dutch border, and closed in 1932. The labels were used during the 1920's. These spectacular lithographs lithographs wound up lying unused and undiscovered for generations. Because they were printed on special long-fibre, acid-free rage paper, these old labels retained their original brilliant colours. Consequently, they are available in very limited quantities.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
C24-05393

Éditeur(s) : UF Center for Latin American Studies UF Center for Latin American Studies ( Gainesville, FL )
Résumé : (Biographical) Peter Szok teaches Latin American history at Texas Christian University. He received a PhD from Tulane University and has specialized in art, intellectual history, and popular culture. He is the author of Wolf Tracks: Popular Art and Re-Africanization in Twentieth-Century Panama (2012) and ‘La última gaviota’: Liberalism and Nostalgia in Early Twentieth-Century Panama (2001). His current projects include on a book on indigenous intelligentsia in contemporary Panama and a manuscript on Murphy Antoine and New Orleans folk art.
Panama

Droits : All rights reserved by the author/creator; permissions granted for online access, preservation, and Fair Use.
http://ufdc.ufl.edu/AA00020388/00001

Résumé : Label 7439 / 4 plates
Around the turn of the 20th century, cigars were advertised and sold mainly by the colourful, intricate labels that adorned the boxes. Intense competition encouraged manufacturers to see who could create the most beautiful, eye-catching labels. A diffrent stone was required to print each colour. It was not unusual for as many as 20 stones to be used to create a single label. The register for each printing had to be perfect. The process became known as STONE LITHOGRAPHY or CHROMOLITHOGRAPHY. Once this exacting printing process was completed, the labels were then gilded with hand-applied gold leaf. Finally, the labels were embossed using huge 30-ton presses. According to Joe Davidson, the eminent American art dealer and collector, the "Golden Era" of cigar labels is associated with the introduction of gilding and embossing in the 1890's up to the late 1920's when the less attractive full-colour or photo-mechanical labels began to appear. Genuine gold leaf was used primarily by German and Cuban printers and "bronzing" in which bronze powder was mixed with lacquer or sizing, applied like ink, then burnished with brushes or polished rollers to make them gleam like gold. These particular labels were produced by the German factory, Gerhard Meinesz in Bentheim, near the Dutch border, and closed in 1932. The labels were used during the 1920's. These spectacular lithographs lithographs wound up lying unused and undiscovered for generations. Because they were printed on special long-fibre, acid-free rage paper, these old labels retained their original brilliant colours. Consequently, they are available in very limited quantities.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
C24-05394

Éditeur(s) : HAL CCSD AGU and the Geochemical Society
Résumé : International audience
Rainbow is a dome-shaped massif at the 36°14′N nontransform offset along the Mid-Atlantic Ridge. It hosts three ultramafic-hosted hydrothermal sites: Rainbow is active and high temperature; Clamstone and Ghost City are fossil and low temperature. The MoMARDREAM cruises (2007, 2008) presented here provided extensive rock sampling throughout the massif that constrains the geological setting of hydrothermal activity. The lithology is heterogeneous with abundant serpentinites surrounding gabbros, troctolites, chromitites, plagiogranites, and basalts. We propose that a W dipping detachment fault, now inactive, uplifted the massif and exhumed these deep-seated rocks. Present-day deformation is accommodated by SSW-NNE faults and fissures, consistent with oblique teleseismic focal mechanisms and stress rotation across the discontinuity. Faults localize fluid flow and control the location of fossil and active hydrothermal fields that appear to be ephemeral and lacking in spatiotemporal progression. Markers of high-temperature hydrothermal activity (∼350°C) are restricted to some samples from the active field while a more diffuse, lower temperature hydrothermal activity (<220°C) is inferred at various locations through anomalously high As, Sb, and Pb contents, attributed to element incorporation in serpentines or microscale-sulfide precipitation. Petrographic and geochemical analyses show that the dominant basement alteration is pervasive peridotite serpentinization at ∼160–260°C, attributed to fluids chemically similar to those venting at Rainbow, and controlled by concomitant alteration of mafic-ultramafic units at depth. Rainbow provides a model for fluid circulation, possibly applicable to hydrothermalism at oceanic detachments elsewhere, where both low-temperature serpentinization and magmatic-driven high-temperature outflow develop contemporaneously, channeled by faults in the footwall and not along the detachment fault.
ISSN: 1525-2027

hal-01115281
https://hal.archives-ouvertes.fr/hal-01115281
https://hal.archives-ouvertes.fr/hal-01115281/document
https://hal.archives-ouvertes.fr/hal-01115281/file/Andreani_et_al-2014-Geochemistry%2C_Geophysics%2C_Geosystems.pdf
DOI : 10.1002/2014GC005269

Éditeur(s) : George A. Smathers Libraries, University of Florida George A. Smathers Libraries, University of Florida ( Gainesville, FL )
Résumé : (Funding) Digitized with funding from the Institute of Museum and Library Services as part of the Ephemeral Cities grant project.

Droits : All rights reserved, Board of Trustees of the University of Florida.
Photograph 9141 from the University Archives Photograph Collection.
http://ufdc.ufl.edu/UF00046800/00001

Résumé : This cigar-making industry has contributed materially to the development and growth of Tampa during the last five years, and it promises much greater benefit in the future. It was in October, 1885, that Martinez Ybor & Co., who began manufacturing in Havana in 1854, and afterward put up a large factory in Key West, came to Tampa to investigate the resources and advantages offered for cigar-making. They soon afterward purchased forty acres of land in the Fourth Ward, cleared it of the pines, wild-oats and gophers, and built a factory, a large boarding-house or hotel, and several small cottages for the workmen whom they brought from Key West and Havana. The venture proved a success from the start and improvements were added. The original factory, a wooden structure, is now the opera house, and a large brick factory has succeeded the first one, where the daily output of the 450 cigar makers employed is40,000 to 50,000 cigars. Then came Sanchez & Haya, Emilio Pons, and others, and all declare that they are doing an excellent business.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
C24-05718

Éditeur(s) : CRILLASH : Centre de Recherches Interdisciplinaires en Lettres, Langues, Arts et Sciences Humaines
Extrait de : "La prégnance du lieu dans la Caraïbe" : colloque, les 14 et 15 avril 2016. Université des Antilles
Description : Olivia Berthon (doctorante, CRILLASH, Université des Antilles) propose une réflexion sur les pratiques de l'installation des artistes dans le domaine des arts visuels, dans les îles francophones de la Caraïbe. L'installation est une pratique de l'art contemporain, éphémère ou pérenne, dans un espace spécialisé ou non.

Droits : CC-BY-NC-ND - Attribution - Pas d'utilisation commerciale - Pas de modification
Permalien : http://www.manioc.org/fichiers/V16061
V16061