V O L . 3 8 , N O . 3 • 2 0 0 5
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(ISSN 0002–5100) is a publicationof Aldrich. Aldrich is a member of the Sigma-Aldrichfamily. © 2005 Sigma-Aldrich Co.
VOL. 38, NO. 3 • 2005
“PLEASE BOTHER US.”
Dr. Annegret Stark of the University of Jena (Friedrich-Schiller-Universität Jena), Germany, kindlysuggested that we add high-purity ionic liquids (HPIL) to our existing extensive list of ionic liquids.Dr. Stark stated, “In our laboratories, HPILs serve as a benchmark in investigating impurity-dependent effects on reactions.” The low water and halogen content of HPILs renders them moreeffective as solvents in transition-metal-catalyzed reactions.
(1) Seddon, K. R.; Stark, A.
, 119. (2) Dyson, P. J.; Ellis, D. J.; Parker, D. G.; Welton, T.
, 25. (3)
Ionic Liquids in Synthesis
; Wasserscheid, P., Welton, T., Eds.; Wiley-VCH, 2003; p 26. (4)Stark, A.; Ajam, M.; Green, M.; Raubenheimer, H. G.; Ranwell, A.; Ondruschka, B.
Adv. Synth. Catal.
, submittedfor publication, 2005.
04129 1-Butyl-3-methylimidazolium chloride
, 5 g$53.60puriss., dry,
99.0% (AT) 25 g214.30
55509 1-Butyl-3-methylimidazolium chloride
, 5 g57.40dry,
99.0% (AT) 25 g229.30
18122 1-Butyl-3-methylimidazolium hexafluorophosphate
, 5 g114.80for catalysis,
98.5% (T) 50 g820.00
39931 1-Butyl-3-methylimidazolium tetrafluoroborate
, 5 g105.00for catalysis,
98.5% (T) 50 g315.00
39736 1-Ethyl-3-methylimidazolium tetrafluoroborate
, 5 mL262.00for catalysis,
98.5% (T) 50 mL720.50Naturally, we made these useful solvents. It was no bother at all, just a pleasure to be ableto help.
Do you have a compound that you wish Aldrich could list, and that would help you in your researchby saving you time and money? If so, please send us your suggestion; we will be delighted to giveit careful consideration. You can contact us in any one of the ways shown on this page and onthe inside back cover.
TABLE OF CONTENTS
Palladium-Catalyzed Alkenylation by the Negishi Coupling
Ei-ichi Negishi,* Qian Hu, Zhihong Huang, Mingxing Qian, and Guangwei Wang,
Enantiopure Sulfoxides and Sulfinamides: Recent Developments in TheirStereoselective Synthesis and Applications to Asymmetric Synthesis
Chris H. Senanayake,* Dhileepkumar Krishnamurthy, Zhi-Hui Lu, Zhengxu Han, and IsabelleGallou,
Boehringer Ingelheim Pharmaceuticals, Inc.
ABOUT OUR COVER
Valdemosa, Majorca: Thistles and Herbage on a Hillside
(oil on canvas, 55.8 × 71.1 cm) was painted by the artistJohn Singer Sargent in 1908. Sargent was born in 1856in Florence, Italy, to expatriate American parents. His ﬁrstartistic training was in Rome, but he later attended theAccademia delle Belle Arti in Florence, and studied drawingat the École des Beaux-Arts and painting in the studio ofthe portrait painter Charles Carolus-Duran in Paris. In 1877,he began to exhibit in the Salons, the French governmentsanctioned art exhibitions. Sargent copied works by DiegoVelázquez on a trip to Spain in 1879 and by Frans Hals inBelgium and Holland in 1880, an experience that had agreat impact on his artistic development.By the end of the nineteenth century, Sargent had become the most sought-after portraitpainter of his time, but he always felt constrained by the limitations of portrait painting. By theearly twentieth century, his success ﬁnally allowed him to free himself almost completely from thepainting of formal portraits. He made annual trips to Spain, Italy, Austria, and Switzerland, and itwas on a trip to the Balearic island of Majorca that he painted this small picture. He had no interestin what he called “enormous views and huge skies”, and chose to concentrate on a small patchof vegetation growing in the earth of a hillside. This painting is not strictly a realistic image, butone which, with its strong formal contrasts, bright colors, and seemingly spontaneous execution,achieves an extraordinary intensity of expression. Confronted with such an immediate response tonature that seems almost spiritual in its intensity, it is easy to understand Sargent’s disdain for theartiﬁciality of the academic portrait painting that had dominated his career for most of his life.
This painting was acquired by the National Gallery of Art, Washington, DC, throughthe Avalon Fund and by Gift of Virginia Bailey Brown.
Joe Porwoll, President
Photograph © Board of Trustees, National Galleryof Art, Washington.