Ilse Goldschmidt nee Molling with her sons Ernest and Frank Goldschhmidt on her 80th birthday; Laguna Hills, California.

Left to Right: Ernest Goldschmidt, Ilse Goldschmidt born Molling, and Frank Goldschmidt. The picture was taken on the occasion of Ilse's 80th birthday party 22 Dec 1989 Laguna Hills, CA.

Autographed portrait of Albert Einstein with Alice (Lili) Kahler-Loewy Portraits Groups

Handwritten dedication signed by Einstein

Portrait of Richard Mueller; Employee of Mendelssohn Bank, Berlin Portraits Men

"2.12.1895 Richard Mueller geb. 1.3.1853 pens. 31.12.1927"

Monumenttikuvista elämyskuviin : Helsinki matkaesitteiden kuvituksessa 1895 - 2005

The purpose of this study is to define how Helsinki has been presented in the pictures of tourist brochures and how their illustration has changed over time. Attention is also paid to the values and meanings that the pictures mediate, as well as their historical and societal connections. The pictures are approached as representations selectively interpreting and illustrating the reality of Helsinki, while constructing mental images of it. An iconological framework structures the study. It proceeds from the description and classification of the physical features towards an analysis of time- and culture-specific meanings. The emergence of meanings and their historical and cultural underpinnings are examined from the perspectives of humanistic geography, semiotics and constructionism. In the analysis attention is paid to the discourses, myths and ideologies that underlie the representations. Information on the physical features of the pictures and their changes is collected with a content analysis. The classified data consists of 1377 photographs. These pictures are collected from 75 tourist brochures of Helsinki that have been published between 1895 and 2005. The deeper meanings of the pictures are studied qualitatively, by paying attention to the mental images that the content elements and visual effects evoke. Research studies, contemporary literature and the texts of the tourist brochures are utilised in the interpretation of the meanings. There has been a permanent core to objects of the pictures during the entire study period. It has consisted mainly of sights that are located close to the Senate and Market Squares. In addition, marine elements have been popular. The area of Helsinki represented in the brochures has extended from the Senate Square towards Töölö Bay. Pictures of monumental buildings and statues have been complemented with snapshots and portraits. In the beginning of the 20th century, brochures were mainly produced for the travelling, educated elite. The style of the pictures was declaratory and educative. They aimed at medating an objective image of the reality that prevailed in Helsinki. In practice, the pictures were connected to a patriotic ideology and the corresponding myth of Finnishness. In the second half of the 20th century the improvement of the standard of living led to a democratisation of consumers and an increase in the tourism demand. Local culture and the everyday life of "ordinary" people became popular themes in the pictures. A new welfare ideology manifested itself in the people of the local residential areas, for instance. The increase in the cultural diversity has led to the recognition of new target groups, expecially since the 1980s. The human figures in the pictures have started to function as objects of identification and a means of constructing mental images. A pronounced emphasis on experience and individuality in the illustration of the tourist brochures mirrors the post-modern change and a new ideology based on consumption. The construction and consumption of the pictures in the tourist brochures is governed by the conventions of representation and interpretaion that are typical of the genre of tourist brochures. The pictures emphasize the perceived positive characteristics of Helsinki and thus construct a skewed view of the reality. However, consumers can knowingly use the pictures as a means of dreaming and detaching themselves from their everyday reality.

Efecto de benomyl en el desarrollo de mustia hilachosa causada por el hongo Thanatephorus cucumeris (Frank) Donk en cuatro variedades de frijol común (Phaseolus vulgaris L.)

Se realizó un estudio en la finca experimental La Compañía ubicada en el departamento de Carazo, Nicaragua, durante la época de primera de 1989. Con los objetivos siguientes; determinar la dosis de benomyl óptima en el control de la mustia hilachosa, Determinar la afectación de los rendimientos por efecto de la enfermedad en cuatro variedades de frijol común. Se obtuvieron 3 dosis de benomyl. 0.3, 0.6, 1.0 gramo por litro de agua y las variedades, 9ª. Talamanca, BAT 1155, Revolución 81 y Revolución 79A.. Los resultados mostraron que los porcentajes de severidad por la enfermedad alcanzaron hasta un 33 por ciento como máximo. Las dosis de Benomyl aplicadas para proteger el cultivo tuvieron un efecto marginal sobre la severidad de la enfermedad y los rendimientos. Así mismo estas aplicaciones no tuvieron efectos económicos. Talamanca y Revolución 81 presentaron menores porcentajes de severidad que BAT 1155 Revolución 79A.. Siendo Talamanca la variedad que obtuvo los más altos rendimientos, sin embargo fue la única variedad afectada por la enfermedad resultando una relación inversa entre severidad y rendimiento.

Joaquim Mir y la tienda de juguetes: microhistoria de un retrato

¿Puede un retrato pictórico suscitar un ejercicio de microhistoria? Nuestra investigación tratará de aportar una respuesta positiva a esta cuestión, analizando para ello uno de los pocos retratos del pintor postimpresionista Joaquim Mir Trinxet, fechado en 1926. El protagonista representado no es otro que el suegro del pintor, Antoni Estalella i Trinxet, un insigne personaje de Vilanova y la Geltrú (Barcelona) que vivió entre dos siglos. La obra está ambientada en la tienda de juguetes de la familia, convirtiéndose así en una de las escasas pinturas que han captado el interior de una juguetería en la España anterior a la Guerra Civil. Gracias a los trabajos de archivo realizados, este artículo reúne diversos documentos inéditos que permiten reconstruir no sólo la vida del retratado, que llegó a ser corresponsal de Francisco Pi y Margall, sino también el ambiente social, artístico y comercial de Vilanova, en un período que abarca desde la década de 1870 a la primera mitad del siglo XX, en plena “Edad de Oro” de la industria juguetera. Es esta una propuesta de metodología historiográfica cuyo recorrido comienza en el oficio arcaico de la tonelería para desembocar al fin en los albores del comercio moderno de juguetes.

M. Frank Polk [sous-secrétaire d'Etat aux Affaires étrangères des États-Unis] (Central News, New York) : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 58548

[Portrait de femme jeune à la robe à carreaux, à mi-jambes, assise, de trois-quarts à gauche] : [photographie] / Frank

Ancien possesseur : Gilles, Albert (1873-1959)

Frank Marion Chapman

Cabinet card photographic portrait of Frank Marion Chapman, taken in Ottumwa, Iowa, ca. 1890s.

Photograph of Two Girls by R. F. Uren, Photographer, St. Catharines [n.d.]

Two unidentified girls are featured in this black and white cabinet card style photograph by R. F. Uren, of St. Catharines. The photograph is not dated, however, the address of the photographer is printed at the bottom of the cabinet card. This photograph was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include former African American slaves who settled in Canada.Richard Frank (R.F.) Uren was a photographer in St. Catharines from 1886-1895. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Functional studies of the deubiquitinating enzymes USP19, USP4 and UCH-L1

El marcaje de proteínas con ubiquitina, conocido como ubiquitinación, cumple diferentes funciones que incluyen la regulación de varios procesos celulares, tales como: la degradación de proteínas por medio del proteosoma, la reparación del ADN, la señalización mediada por receptores de membrana, y la endocitosis, entre otras (1). Las moléculas de ubiquitina pueden ser removidas de sus sustratos gracias a la acción de un gran grupo de proteasas, llamadas enzimas deubiquitinizantes (DUBs) (2). Las DUBs son esenciales para la manutención de la homeostasis de la ubiquitina y para la regulación del estado de ubiquitinación de diferentes sustratos. El gran número y la diversidad de DUBs descritas refleja tanto su especificidad como su utilización para regular un amplio espectro de sustratos y vías celulares. Aunque muchas DUBs han sido estudiadas a profundidad, actualmente se desconocen los sustratos y las funciones biológicas de la mayoría de ellas. En este trabajo se investigaron las funciones de las DUBs: USP19, USP4 y UCH-L1. Utilizando varias técnicas de biología molecular y celular se encontró que: i) USP19 es regulada por las ubiquitin ligasas SIAH1 y SIAH2 ii) USP19 es importante para regular HIF-1α, un factor de transcripción clave en la respuesta celular a hipoxia, iii) USP4 interactúa con el proteosoma, iv) La quimera mCherry-UCH-L1 reproduce parcialmente los fenotipos que nuestro grupo ha descrito previamente al usar otros constructos de la misma enzima, y v) UCH-L1 promueve la internalización de la bacteria Yersinia pseudotuberculosis.

1989-1990 Yearbook

Vol. 8, Sept. 1990; 136 p.; b&w, color photographs TOC: Activities & Events…17 / Clubs & Programs…33 / Graduation…49 CREDITS: FACULTY ADVISOR, Vincent Banrey; PROJECT DIRECTOR, Catherine Whan; EDITORS, Luis Lopez; ASST. EDITOR, Rodolfo Medina; ART: Rodolfo Medina (Cover Design; Back Endsheet; Division Pages), Peter Abbate (Front Endsheet). GRAPHIC ARTIST: Rodolfo "Funky Cold' Medina. LAYOUT DESIGNERS: Vincent Banrey, Marino "Tito" Cabrera, Ann Marie Edwards, Charletin Enock, Ana Lisa Gonzalez, Edward Hollins, Luis Lopez, Peter Martinez, Rodolfo Medina, JilI Nage, Angela ?, Keith ?, Daly Rodriguez, Catherine Whan. WRITERS: Marino "Tito" Cabrera, Vincent Cousin, Edward Hollins, Luis Lopez, JilI Nage, Cathy Passiglia, Eartha Porter, Daly Rodriguez, Christiana Sommerville, Catherine Whan. PHOTOGRAPHERS: Peter Abbate, Marino "Tito" Cabrera, Charletin Enock, Milton Ferriera, Fran Gibson, Alexandra Gomez, Bernadette Henry, Edward Hollins, Juan Jiminez, Umoja Kwanguvu, Luis Lopez, Rodolfo Medina, Allen Scribner, Frank Tocco, Catherine Wran, Alan O. Young. Special Thanks to Cathy Soria of Classic Studio (as well as Frank & Tommy).