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[Les Rayons et les Ombres, XXXVI : J'eus toujours de l'amour pour les choses ailées] Choses ailées

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[Les Rayons et les Ombres, XXXVI : J'eus toujours de l'amour pour les choses ailées] Choses ailées

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Illustration pour "Les Rayons et les Ombres" dans l'Edition Launette pour le Livre d'or de Victor Hugo (Subtitle), Le Livre d'or de Victor Hugo, par l'élite des artistes et des écrivains contemporains. Direction de Emile Blémont. Paris : Librairie artistique ; H. Launette, 1883. (Group title)
Oeuvre fixée à un montage avec passe-partout.
Lettre - Sous le trait carré, à gauche : "Dessiné par H. Giacomelli" et à droite : "Photogravure Goupil & Cie" ; dans la marge inférieure, au centre : "CHOSES AILÉES" ; au-dessous, à gauche : "LE LIVRE D'OR DE VICTOR HUGO." et à droite : " H. LAUNETTE EDITEUR PARIS"
Marque du musée - Tampon du musée à l'encre bleue, en bas à droite de l'estampe (Lugt 1270a)
Numéro d'inventaire - Au recto du montage, en bas à droite, au crayon graphite : "MVHPEREC299"
Illustration pour "Les Rayons et les Ombres" dans l'Edition Launette, pour le Livre d'or de Victor Hugo, page 168.

This large AI-assisted collection comprises about 60,000 images of botanical drawings and illustrations. It spans from the 14th to 19th century. As of today, we estimate the total number of botanical illustrations in our archive as 200,000 and growing. The "golden age" of botanical illustration is generally considered to be the 18th and 19th centuries, a time when there was a great deal of interest in botany and a proliferation of botanical illustrations being produced. During this period, many of the great botanical illustrators of the time, such as Maria Sybilla Merian, Pierre-Joseph Redouté, and John James Audubon, were active and produced some of the most iconic and influential botanical illustrations of all time. In addition to being used for scientific purposes, botanical illustrations were also highly prized for their beauty and were often used to decorate homes and other public spaces. Many of the most famous botanical illustrations from this period are still admired and collected today for their beauty and historical significance. All large Picryl collections were made possible with the development of neural image recognition. We made our best to reduce false-positive image recognition to under 5%.

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1883
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Paris Museum
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