Search Results

Suit in hot pink nubbly wool knit. The ensemble consists of three pieces: a jacket, matching skirt, and black silk shell. The jacket is hip-length, with a shawl collar which has an attached black silk tie. The center front closure has 6 circular brass buttons with central embossed lion's heads and black outer edges. There are four faux flap pockets at front, two on each side of opening, each with button matching those of the closure. The long sleeves have simulated closure, with a line of three buttons matching others on each sleeve. The pocket flaps, cuffs, collar, center front, and hem are all edged in black. Designer's label sewn inside jacket at collar: "Adolfo / New York", with retailer's label sewn in just below: "Neiman-Marcus". The matching skirt is below-knee length, of the same pink wool knit, with pleating beginning 7" below waistband and extending to hem. Skirt has designer's label sewn inside at waistband as jacket. The accompanying black silk blouse is sleeveless, with rounded neckline. Single black silk -covered button closure at back of neck. Shell has designer's label sewn inside at left of closure as jacket.

Hat of beige straw with four-gored domed crown and flat, wide brim. Underside of brim of yellow straw is curved to upper brim; rolled ribbon of self on top of crown; bow of self on underside of brim at front left. Headband of yellow grosgrain ribbon; lined in white net. Comb at front for securing hat to head. Designer label: Adolfo / New York Paris Retailer label: Amen Wardy / El Paso Texas

Hat of red felt. Hat has a high, domed crown of smooth red felt. Around the base of the crown is a wide hatband made of a mosaic of various types and colors of feathers. At one side is a cluster of ostrich and spotted guinea feathers forming a pom-pom, with one long curling brown striped pheasant feather extending up and back. The wide felt brim is somewhat asymmetrical, and curves down except for near the pom-pom, where it waves upwards. Headband of red grosgrain ribbon; unlined. Designer's label: "Adolfo / New York Paris" Retailer's label: "Amen Wardy / El Paso Texas" Measurements: 35 cm. front to back; 35.5 cm. side to side; 16 cm. from base of brim to top of crown.

Man's necktie of navy silk jacquard in applied leaf motif of multiple foulard tie inspired patterns in shades of predominantly green and yellow. Four-in-hand style; interlined. Tipped in gray jacquard. Designer label: Adolfo

Man's necktie of black silk. Four-in-hand style. Tipped in dark purple jacquard; interlined. Designer's label: Adolfo Content label: 100% / Imported /Silk / Made in / U.S.A. / RN 22356

Hat in the form of a white leather Aviator's Cap. The domed ovoid crown is made in six triangular sections, and has straps which extend down and buckle under the chin with two oval gilt metal links. The cap is lined with black satin, and has an inner black grosgrain ribbon hatband. Designer's label: "Adolfo / New York Paris" Retailer's Label: "Amen Wardy / El Paso Texas"

Hat in the form of a black leather Aviator's Cap. The domed ovoid crown is made in six triangular sections, and has straps which extend down and buckle under the chin with two oval gilt metal links. The cap is lined with black satin, and has an inner black grosgrain ribbon hatband. Designer's label: "Adolfo / New York Paris" Retailer's Label: "Amen Wardy / El Paso Texas"

Picture hat of navy blue horsehair material. The high, domed crown is encircled at the base by a wide band of navy blue grosgrain ribbon and has an over-sized dark blue silk flower with artificial stems and leaves set at front. The wide brim is plain, turned back on itself at the edge to form a wide band of double-thickness. When worn, the brim hangs down forming conical shape, but when laid down, brim flattens. Hat is unlined with an inner hatband of dark blue grosgrain ribbon. Designer's label sewn to inner band: "Adolfo / New York"

Sweater dress of black wool/rayon blend knit with right shoulder and sleeve in red with black bar details. Street length; long sleeves with ribbed cuffs; collarless neckline. Elastic waist. Center back zipper closure; unlined. Designer label: Adolfo / New York

Evening ensemble: A) Skirt of ivory silk organza. Full length; wraps around at front. Zipper closure with hook & bar on waistband. Lined in ivory taffeta. b) Top of ivory organza. Oversized puff sleeves with elastic hems. Top of sleeves form a scoop neckline. Bodice is covered in lace and is heavily beaded with various white and silver beads. Lower quarter of bodice for tucking into skirt is lace with silver metallic thread. Left side zipper closure. Designer label: Adolfo / New York c) Sash of ivory organza.

Dress of ivory knit with red and black windowpane check below a black seam that circles the empire bust; upper portion and long sleeves of plain ivory knit trimmed in black. Black bow with long ties at round neckline; knee-length. Center back zipper closure; unlined.

Evening ensemble of black wool and rayon knit (70% wool, 30% rayon) with red, gold and silver sequin trim. a) Sweater jacket. Notched collar and center front opening. Sequined collar and interior edge of opening. Unlined. Padded shoulders. Designer's label: Adolfo / New York Retailer's label: "Neiman-Marcus" Care/Content label. b) Skirt has slight A-line and is mid-length. Elastic waist. Deep slit at left side seam. Unlined. Designer's label: Adolfo / New York Content & Care label. c) Shell top. Sleeveless with a scoop neckline. Sequined design at center front sprays out from a half circle of garnet colored rhinestones. Designer's label: Adolfo / New York

Suit of ivory knit includes (a) jacket with round neckline. long sleeves with three buttons at cuff. Jacket is trimmed in red and navy knitted bands around edges and on the four bound pockets. The matching ivory skirt (b) is straight with a slit on the left side. also trimmed in navy and red knitted bands.

Pant ensemble: A) Vest of black felt jeweled in studded concentric circles of clear and gold rhinestones with large rhinestone center. Fringed hem; 12.5" long. Unlined. Designer label: Adolfo / New York Retailer label: Neiman-Marcus / Salon B) Slacks of black jersey knit. Fitted waist with hidden hook & bar; wide legs. Zippered fly closure.

Hat of dark brown velvet. Somewhat styled as a "slouch hat", the slightly conical crown is flattened at top, and is embellished with concentric bands of top-stitching. Crown is encircled at base by a narrow band of taupe grosgrain ribbon, and has an ornament on right side consisting of a vertical 14" pheasant feather and various other brown and white feathers at base forming a "pouf". The wide brim is slightly wavy, turns down to edge, and is similarly embellished with concentric bands of top-stitching. The crown is lined in a steel gray satin, and has a steel gray grosgrain ribbon inner hatband. Designer's label: "Adolfo / New York Paris"

Cardigan sweater of black cotton knit bordered in black grosgrain ribbon. Center front closure of three gold buttons in anchor motif. Long sleeves with vented cuffs and three matching buttons. Faux welt pockets at front side hips trimmed with matching gold button. Unlined; shoulder pads. Designer label: Adolfo / New York Retailer label: Neiman-Marcus

Cardigan sweater of royal blue boucle knit with white yarn trim in floral motif. Long sleeves; faux welt pockets. Unlined. "Adolfo / New York"

a) Tunic-length top of red pleated silk with black floral Japanese print. Rounded neckline with ruffle edge. Tunic is diamond shaped with armholes at elbow. Designer label: Adolfo / New York b) Sash of self fabric.

Woman's cape coat of bright royal blue brushed wool, twill weave fabric. Mid-length; flat collar with rounded corners. Center front opening; closure by four round buttons covered with black wool fabric and bound buttonholes. Modified princess seams from front shoulder yoke with modified cape style sleeves in large circular cut from side back panel and sewn at front side at upper portion and lower end of coat; inside sleeve, large amscye to lower end. Lower portion of coat flared. Vertical welt pockets placed at sides near curve overlap of sleeve. Unlined. Length: 35 3/5" (90.8 cm) Designer label: Adolfo / New York

Blouse of white silk blouse. Long sleeves with closure of two buttons on vented cuffs. Center front button down closure trimmed with two tucks at each side. Turn down collar extends to form extra long ties. Designer label: Adolfo / New York

Maxi coat of black wool knit, styled like a full-length cardigan. V-neckline, long set-in sleeves with three buttons at cuffs, center front opening with wide-spaced round buttons, fully lined in black silk. Labels: Size 10 "Adolfo / New York" "Imported Fabric'

White long sleeve button-down blouse with elastic at wrists and long ruffled cuffs. Buttons down front and pointed collar. Label: "Adolfo / New York"

Ensemble of black faille; (a) Shirt with boat neck; mid-hip length; 3/4 sleeves; bottom half of sleeve is "pouffy;" same pattern as skirt; "Adolfo / New York" (b) Skirt 3/4 length (below calf); black faille with blue flowers; quilted; has bias look with trim in plaid pattern; shiny studs on black combo-fabric; waistband ties at back made with moire finish; side zipper closing. Same label.

...Jacket of pink wool boucle; rounded neckline; straight sleeves with bow on 3 in cuffs; pink boucle shoulder pads; bow at front center with snap closure; 2 large hook & eyes; black satin ribbon woven around hems; patch pockets; facing is black boucle. Designer's label cb neckline: Adolfo / New York Union label at left side seam

Skirt suit of black bouclé wool trimmed in white satin. A) Jacket. Slightly fitted. Rounded neckline, opening and hem bordered in white satin. Center front opening of large covered snaps is trimmed with white satin bows. Hems of long sleeves bordered in white satin with matching white satin bows on faux openings. Unlined; padded shoulders. B) Skirt. Slightly A-lined with hem bordered in white satin. Elastic waist. Unlined.

Pumps of beige snakeskin, square toe and vamp, square chunky heel. Designer label: "Adolfo / Couture / Made in Italy" Measurements: Length: 25 cm Width: 8.5cm Height: 12cm Heel: 5.5cm (2 1/4") high on axis w/cap

Hat in modified cloche style of off-white wool felt with visor in front. Style could also be referred to helmet style. Small bow of self on small front visor. Back of brim folds up. Unlined with cream colored grosgrain headband. Designer's label on inside headband: "Adolfo / New York Paris" Stamp on inside crown: "TouTou / Body Made in Italy"

Hat of purple felt. The hat is visually similar to a toque, but is designed with a domed crown and a brim that turns upwards vertically, forming a high band around the crown. Around the crown is a band of purple ribbon. The hat is unlined, with a black grosgrain ribbon inner hatband. Designer's label: "Adolfo II / New York Paris" Stamped inside: "100% Wool / 'Excello' / Made in U.S.A. / Geo. W. Bollman & Co., Inc."

Modified beret style hat of gold and silver thread brocade. Hat is trimmed at center of crown with hemisphere and spherical shaped attachments covered in matching fabric. Lined in brown and purple toned nylon in floral pattern. Headband of ivory grosgrain; two combs at sides for securing hat to wearer's head. Designer's label: "Adolfo II / New York Paris" Retailer's label: "Neiman-Marcus" Union Made label on reverse of designer label.

Cap of ocher/dark yellow wool. Designed somewhat as a "watch cap", the hat has a high domed crown, which folds up at bottom to extends back upwards almost the entire height of the crown. Spaced top-stitching along upper edge. Unlined. Designer's label: "Adolfo II / New York Paris" Measurements: Side to Side: 22 cm Front to Back: 21 cm Height: 17 cm

Ensemble consisting of: A) Jumper of brown suede. Knee length. Square neckline. Each shoulder with single snap closure at top. Left side closure of 11 snaps from arm to hem. Lined in brown cotton. Designer's label at center back: "Adolfo / New York" B) Blouse of cotton twill in multicolored paisley on taupe background. Turndown collar with pointed ends. Center front opening with 7 white plastic buttons and vertical, barred buttonholes. Long, set-in sleeves with 2-1/2" cuffs having 2 matching buttons and barred buttonholes. Unlined. Designer's label at center back neckline: " Adolfo / New York"

Skirt suit of creme knit trimmed in ivory yarn braid with three gold metallic lines and black knitted band. a) Jacket in cardigan sweater style. Five gold lion head nonfunctioning buttons trim the center front with one matching button on each of the two pockets. Straight long sleeves with three nonfunctioning matching gold lion head buttons at each cuff. Unlined. Designer label: Adolfo / New York Retailer label: Neiman-Marcus b) Matching skirt. Straight with a mock wrap around front that is trimmed in the same gold metallic thread braid and three matching buttons. Knee length; elastic waist. Unlined.

Pamela/Halo style hat of fine black straw. Hatband and trim on edge of brim in black straw. Headband of black grosgrain ribbon; unlined. Designer label: New York / Adolfo Réalités / Paris

Hat of fine natural straw with underside of brim in black straw. High cylindrical crown; wide brim curls at sides and back with curved cutout at center back. Big double bow of natural straw at center front. Headband of black grosgrain ribbon; lined in net. Designer label: Adolfo / New York Paris

On June 8, 2009, DOE issued Funding Opportunity Announcement (FOA) Number DE-FOA-000015 seeking proposals to capture and sequester carbon dioxide from industrial sources. This FOA called for what was essentially a two-tier selection process. A number of projects would receive awards to conduct front-end engineering and design (FEED) studies as Phase I. Those project sponsors selected would be required to apply for Phase II, which would be the full design, construction, and operation of their proposed technology. Over forty proposals were received, and ten were awarded Phase I Cooperative Agreements. One of those proposers was CEMEX. CEMEX proposed to capture and sequester carbon dioxide (CO2) from one of their existing cement plants and either sequester the CO2 in a geologic formation or use it for enhanced oil recovery. The project consisted of evaluating their plants to identify the plant best suited for the demonstration, identify the best available capture technology, and prepare a design basis. The project also included evaluation of the storage or sequestration options in the vicinity of the selected plant.

From Summary: This report describes the Department of Defense (DOD) process which discloses to the Senate adverse information about senior military officers awaiting confirmation of a General or Flag Officer (GFO) personnel action, such as a promotion or appointment.

Recording of Adolfo Núñez's Musica desde la Imagen. This piece was composed by translating the gestures of paintings by Eduardo Bonati. These gestures were applied to a rough sound material and to several fragments of the composers work "Jurel".

Recording of Adolfo Núñez's Noche Castellana. The composer states that this piece could work as concert music or a soundscape in an installation with multiple loudspeakers. The intent behind this work is to blend environmental sounds with our own imaginative sounds.

For four channel computer synthesised tape. This is a stereo version. This work was composed at CCRMA (1985), Stanford University, using the Samson Box digital synthesizer and the programs to control it written by Bill Schottstead. The structure of "Canales" results from the combination of opposite aspects of rhythm, pitch and timbre such as rhythmic/arhythmic, consonant/dissonant and harmonic/inharmonic. Rhythms and pitches were selected with regard to recent theories in psychoacoustics (Fraisse, Plomp, Rasch and others). Timbres were synthesized using frequency-modulation techniques. All variations and combinations of parameters were carefully controlled through time in order to get a maximum of variety and richness. Programs were written to allow the computer to amplify my musical ideas and even my imagination. The title, which means "canals", refers to my work of "canalizing" the parameter stream.

Images (composed in 1986) is based on the results of research into the perception of rhythm. For example, distortion of a composite rhythm at the beginning of the piece occurs because of unavoidable inaccuracies in the synchronization between performers. Yet another distortion occurs at the end of the piece when the performers are required to play with the tape in a rhythm having a period longer than the upper perceptible limit of synchronization, approximately 1.8 seconds. The soprano does not sing any texts, but rather creates timbres from phonemes. The tape part, computer synthesized at CCRMA, Stanford University, in 1986, requires that the performers follow it precisely in order to achieve a close dialog with it. Among other timbres, the tape uses simulations (images) of each of the live instruments. The tape canonically mimics the performers' rhythms, sometimes mechanically, sometimes with human-like inaccuracy. Computer-assisted composition was used most extensively in the middle sections. Pitches and rhythms were selected for the instruments and the tape by a program from lists which evolved according to a predetermined formal plan. The composition of this work was made possible by a grant from the U.S.-Spanish Joint Committee for Cultural and Educational Cooperation. Thanks to John Chowning, Ira Mowitz, John Polito, Joe Marks, David Jaffe and Jan Mattox for the use of their computer instruments.

The piece has two parts. One of them is written and the other one is improvised. In order to do the written one, two small phrases of the flute and piano are used as input for a computer program which makes other phrases that are variations from the input. The results are other phrases that are combined "by hand" (with my intuition) in my best possible order to make the scores of flute and piano players. The improvised part is done by a computer system (in real time) and the human performers reacting from what the computer does. The computer, using the "M" program, plays a Kawai K1 synthesizer and controls the signal processors for the flute and piano. There is also a person controlling the computer who can "improve" in real time what the computer does. Performers: Eduardo Paus‡, flute/piccolo. Ana Vega Toscano, piano. Adolfo Núñez, computer and electroacoustic.

For four channel computer synthesised tape. This is a stereo version. This work was composed at CCRMA (1986), Stanford University, using the Samson Box digital synthesizer and the programs to control it written by Bill Schottstead. It makes use of several computer musical instruments programmed by X.Serra, J.Mattox, D.Jaffe, J.Smith and the author, some of them are resemblance of acoustic instruments. "Press" is a divertimento about rhythmic perception. A regular rhythm (with only one duration) is transformed into another with almost perceptible irregularities. This ambiguous rhythm later becomes one with four clearly differentiated durations. The rhythm of the sun is also present, a function which represents the sun spots activity from 1940 to 1985 is used sometimes to control amplitude and spectrum.

Dedicated to Ana Vega-Toscano (1989). There are two possible versions: piano and computer controlled synthesiser or piano and tape (we will hear the piano en tape version). The technique of composition consist on the structured division of time in several levels that goes from its three sections to the small patterns. It is a duet, while one of the performers plays the piano the other triggers the computer to calculate and play short music fragments. The computer was also used for the development of chordal sonorities and melodic generation inspired on the theory of fractals. The same processes are used in piano and computer parts. The tape part was recorded at the LIEM-CDMC with programs written by the author in MIDI-Lisp, a MIDI extension developed at the IRCAM. Performers: Ana Vega Toscano, piano. Adolfo Núñez, computer. Madrid, Spain, 1988.

Recording of Adolfo Nunez's Zambra 44.1. The piece is a "zapping", i.e. what is heard by a radio listener that jumps back and forth between three different radio programs: a news show, a broadcasting of a contemporary music concert and a pop-music program. The leading thread are several short texts taken from flamenco popular songs as well as flamenco rhythms and sounds like guitar phrases, clapping, heel-clicking, "jaleos" (shouting to encourage dancers and guitar

Recording of Adolfo Nunez's Chocolate. Chocolate is a musical moment devoted to a single color, a single expression. Since it is intended to be part of a collective work around the theme of beauty, the composer wanted this short piece to be as essential as that known flavor is in the world of cuisine.

Recording of Adolfo Nunez's Wu Chi. This work is based on impressions derived from the own sonority of the flute. The main point is to modify it by electronic devices and differing sound effects. Basically all the sound processing techniques used come from the transposition and delay. With the transposition it is possible to get thicker melodic lines and parallel chords and by the delay also thicker melodic lines, imitations and other special effects.

No Description Available.

Recording of Adolfo Nunez's Toda la humanidad habla de troya. This recording is the soundtrack of a video that premiered at the Tabarca Island in the Festival of Contemporary Music of Alicante. It was part of a multimedia show and based on texts by Euripides. The sound materials come from recordings of said text being recited by various actors and philosophers as well as their personal thoughts on it.

Recording of Adolfo Núñez's Kinetics. This work was written for flute, clarinet, piano, and tape. It was dedicated to the Phonos Laboratory (Barcelona) on its 25th anniversary. The goal of the piece was to explore the relationships between the instruments sonorities as well as their possible electronic transformations. The title suggests movement in general and the composer plays with the movement of sound material and shape.

Recording of Adolfo Núñez's Huecograbado. This work was written for B-flat clarinet and tape and was commissioned by Musica-Realta from Milan, Italy. It premiered at the Festival Metaphonia at ScalaTheatre. The composer describes this work was a "trip to the ocean", with the music taking a journey from a very flat land to the sea shore. The composer translates this journey into musical conent by taking the initial sounds and evolving them to create melodic shapes which increasingly become more uneven as the piece goes on.

74 Matching Results

Add Filters