View allAll Photos Tagged Artistic-Design,
Belvedere Castle
Upper Belvedere, 2011
(further pictures you can see by clicking on the link at the end of page!)
Lower Belvedere, 2010
Vienna's most famous castles system, the Upper Belvedere and Lower Belvedere Palace, the city owes the former champion in the fight against the Ottomans, Prince Eugene of Savoy. This one had for himself the of two castles (Lower Belvedere, Upper Belvedere Palace ) consisting and with a park and other side attractions equipped estate as a summer residence in the style of Versailles built. Within ten years (1714-1723/24) Lukas von Hildebrandt built his biggest project, which is one of the most beautiful Baroque works in the world.
After the death of Prince Eugene, who remained unmarried, his whole estate passed to his sister Victoria, who sold it low priced to the imperial court in 1752. So the estate 1894-1914 served as a residential area for the heir to the throne, Franz Ferdinand, dying in the attack in Sarajevo with his wife in 1914. Even Chancellor Kurt Schuschnigg lived from 1934-1938 in the Upper Belvedere Castle. 1955 the plant became the scene of a major political event, the foreign ministers of France, Britain, Soviet Union, United States and Austria signing the treaty for independence in the Marble Hall of the Upper Belvedere. Today, in the formerly as a residential complex and representation residences used palaces are especially exhibitions of Austrian artists located.
Lower Belvedere Palace
The 1716 finished Lower Belvedere Palace looks in comparison to its opposite counterpart quite modest, though the castle has a rich interior decoration in the Baroque style. So forms the center of the mainly single-storey building the two-story marble hall, which with golden ornaments and painted mock architecture (Gaetano Fanti) was decorated. The famous frescoes by Martino Altomonte (1914) in the Marble Hall show the original owner of the castle Prince Eugene as he receives his hat and stick - alike Apollo on clouds dormant. In addition, invites the Golden Room, with its mirrors, the golden paneling as well as paintings of personalized continents, elements and seasons to marvel. This space, especially the interior, was once part of the city palace of the Türkenbesiegers (vanquisher of the Turks) before anything was transferred in 1770 to the Lower Castle. In addition to the Marble Hall and the Golden Room convince the other rooms in their equipment and artistic design. In the former bedchamber visitors can admire the relief of Raphael Donner and in the Marble Gallery stucco decorations by Santino Bussi with life-size mythological niche figures by Domenico Parodi. The Hall of Grotesques also could be interesting for art lovers: On one hand, the grotesque paintings by Jonas Drentwett can be viewed, which are intended to represent the Prince in his functions as a warlord and patron of the Arts. On the other hand, attracts the ceiling fresco depicting the four seasons as well as the design of the corners of the room with the four elements everyone's attention.
Upper Belvedere Palace
The representation castle of the former Prinz- Eugen-estate served primarily of the joyful coming together for lavish celebrations or enjoyment of many art treasures. It was completed in 1724 and is, due to its richly decorated façade, considered as the more marvelous of the two castles. The mentioned enjoyment of art is already visible at the richly decorated facade and is continued in the design of the castle rooms. Four powerful atlases of Mattielli in the Sala terrene carry the vault of the room and the white stucco decorations by Santino Bussi are continued in the hallway under the theme of the prince virtues. The two-story marble hall is here - as well as in the Lower Belvedere Palace - the center of the building. The ceiling painting "Allegory of Glory " by Carlo Innocenzo Carlone symbolizes the eternal glory of the prince in the midst of princely virtues. The Apollo-Aura-Fresco ("victory of light over darkness") in the garden room, too, also by Carlo Innocenzo Carlone, heroises Prince Eugene as a bringer of light and Türkenbesieger (defeater of the Ottomans). The frescoes in two other Ostsälen (east halls) are continuing the topic, yet these have been created by Ciacomo del Pò. Other images of high quality, thematically but biblically oriented can be found in the chapel and in the south-east tower of the castle. Here is on one hand, the dome image "God the Father" (Carlo Carlone ) to mention, as well as the altarpiece "Resurrection of Christ" (Solimena). "In the Gold Room in the Northwest Tower arised Canelettos famous view of Vienna from 1760".
Garden
Between the Upper and Lower Belvedere Palace is the beautifully landscaped garden. This one was layed out by the Parisian garden architect Dominique Girard. The axially landscaped terrace garden with symmetrical staircases, however, goes back to a concept of Hildebrandt. This construction permits from the front terrace of the Upper Belvedere a beautiful view over the sloping gardens to the towers of Vienna and the mountain ranges of the Vienna Woods behind them. The upper lawn area designed Girard in accordance with French geometries with cascades, stairs and water features, as well as laterally limited hedges and avenues. Once adorned numerous sculptures the garden grounds, too. Those have been distributed thematically and according to the altitude. So were found on the lower garden level sculptures which should symbolize the four elements. In the central region was the Parnassus represented and on the higher garden level have been found sculptures to Olympus. However, hereof have been preserved only a few sculptures, including eight muses and the symbolic figures of the Prince of Hercules and Apollo in the lower ground floor. Furthermore, two sphinx figures are standing as stone guards in front of the garden side main entrance of the upper Belvedere.
The garden also includes a botanical garden and an Alpine garden. In the former, the personal physician of Maria Theresia Gerard van Swietjens grew various medicinal herbs. Today, the Botanic Garden is owned by the University of Vienna. In contrast, the Alpine Garden was founded in the Schönbrunn Palace in 1803 by the Archdukes Johann, Rainer and Anton and 1865 moved to the Belvedere gardens. In this oldest alpine garden in Europe today can be visited the historic Alpine Plants collection of federal gardens. The there cultivated 4,000 plant species encompass in addition to numerous rare alpine plants also a rhododendron and a bonsai collection.
On the way from one to the other castle you get not only to a number of commercial buildings in the palace complex but also to the Menagerie and the famous Orangery, which served during the lifetime of Prince Eugene as heated winter garden for the orange trees.
Exhibitions and collections
The palace complex for several decades already no longer serves as a residential area for rulers or politicians. Instead, most of the spaces, especially in the Upper Belvedere Palace, are being returned to their original functions. They serve today primarily for presentation and admiration of many valuable art treasures. So can be found in the individual buildings different, always changing exhibitions such as the current on the topic of "gold". This exhibition could be visited until 17th June 2012. In addition, the Austrian Gallery Belvedere has numerous collections of different art directions. So are included in the stock collections to the Middle Ages, Baroque, Classicism, Expressionism and Impressionism as well as works of Art Nouveau, postwar and contemporary art. Particularly noteworthy at this point are the collection of Messerschmidt with his character heads, of Ferdinand Georg Waldmüller, of Gustav Klimt, of Egon Schiele and of Oskar Kokoschka.
Belvedere Castle
Upper Belvedere, 2011
(further pictures you can see by clicking on the link at the end of page!)
Lower Belvedere, 2010
Vienna's most famous castles system, the Upper Belvedere and Lower Belvedere Palace, the city owes the former champion in the fight against the Ottomans, Prince Eugene of Savoy. This one had for himself the of two castles (Lower Belvedere, Upper Belvedere Palace ) consisting and with a park and other side attractions equipped estate as a summer residence in the style of Versailles built. Within ten years (1714-1723/24) Lukas von Hildebrandt built his biggest project, which is one of the most beautiful Baroque works in the world.
After the death of Prince Eugene, who remained unmarried, his whole estate passed to his sister Victoria, who sold it low priced to the imperial court in 1752. So the estate 1894-1914 served as a residential area for the heir to the throne, Franz Ferdinand, dying in the attack in Sarajevo with his wife in 1914. Even Chancellor Kurt Schuschnigg lived from 1934-1938 in the Upper Belvedere Castle. 1955 the plant became the scene of a major political event, the foreign ministers of France, Britain, Soviet Union, United States and Austria signing the treaty for independence in the Marble Hall of the Upper Belvedere. Today, in the formerly as a residential complex and representation residences used palaces are especially exhibitions of Austrian artists located.
Lower Belvedere Palace
The 1716 finished Lower Belvedere Palace looks in comparison to its opposite counterpart quite modest, though the castle has a rich interior decoration in the Baroque style. So forms the center of the mainly single-storey building the two-story marble hall, which with golden ornaments and painted mock architecture (Gaetano Fanti) was decorated. The famous frescoes by Martino Altomonte (1914) in the Marble Hall show the original owner of the castle Prince Eugene as he receives his hat and stick - alike Apollo on clouds dormant. In addition, invites the Golden Room, with its mirrors, the golden paneling as well as paintings of personalized continents, elements and seasons to marvel. This space, especially the interior, was once part of the city palace of the Türkenbesiegers (vanquisher of the Turks) before anything was transferred in 1770 to the Lower Castle. In addition to the Marble Hall and the Golden Room convince the other rooms in their equipment and artistic design. In the former bedchamber visitors can admire the relief of Raphael Donner and in the Marble Gallery stucco decorations by Santino Bussi with life-size mythological niche figures by Domenico Parodi. The Hall of Grotesques also could be interesting for art lovers: On one hand, the grotesque paintings by Jonas Drentwett can be viewed, which are intended to represent the Prince in his functions as a warlord and patron of the Arts. On the other hand, attracts the ceiling fresco depicting the four seasons as well as the design of the corners of the room with the four elements everyone's attention.
Upper Belvedere Palace
The representation castle of the former Prinz- Eugen-estate served primarily of the joyful coming together for lavish celebrations or enjoyment of many art treasures. It was completed in 1724 and is, due to its richly decorated façade, considered as the more marvelous of the two castles. The mentioned enjoyment of art is already visible at the richly decorated facade and is continued in the design of the castle rooms. Four powerful atlases of Mattielli in the Sala terrene carry the vault of the room and the white stucco decorations by Santino Bussi are continued in the hallway under the theme of the prince virtues. The two-story marble hall is here - as well as in the Lower Belvedere Palace - the center of the building. The ceiling painting "Allegory of Glory " by Carlo Innocenzo Carlone symbolizes the eternal glory of the prince in the midst of princely virtues. The Apollo-Aura-Fresco ("victory of light over darkness") in the garden room, too, also by Carlo Innocenzo Carlone, heroises Prince Eugene as a bringer of light and Türkenbesieger (defeater of the Ottomans). The frescoes in two other Ostsälen (east halls) are continuing the topic, yet these have been created by Ciacomo del Pò. Other images of high quality, thematically but biblically oriented can be found in the chapel and in the south-east tower of the castle. Here is on one hand, the dome image "God the Father" (Carlo Carlone ) to mention, as well as the altarpiece "Resurrection of Christ" (Solimena). "In the Gold Room in the Northwest Tower arised Canelettos famous view of Vienna from 1760".
Garden
Between the Upper and Lower Belvedere Palace is the beautifully landscaped garden. This one was layed out by the Parisian garden architect Dominique Girard. The axially landscaped terrace garden with symmetrical staircases, however, goes back to a concept of Hildebrandt. This construction permits from the front terrace of the Upper Belvedere a beautiful view over the sloping gardens to the towers of Vienna and the mountain ranges of the Vienna Woods behind them. The upper lawn area designed Girard in accordance with French geometries with cascades, stairs and water features, as well as laterally limited hedges and avenues. Once adorned numerous sculptures the garden grounds, too. Those have been distributed thematically and according to the altitude. So were found on the lower garden level sculptures which should symbolize the four elements. In the central region was the Parnassus represented and on the higher garden level have been found sculptures to Olympus. However, hereof have been preserved only a few sculptures, including eight muses and the symbolic figures of the Prince of Hercules and Apollo in the lower ground floor. Furthermore, two sphinx figures are standing as stone guards in front of the garden side main entrance of the upper Belvedere.
The garden also includes a botanical garden and an Alpine garden. In the former, the personal physician of Maria Theresia Gerard van Swietjens grew various medicinal herbs. Today, the Botanic Garden is owned by the University of Vienna. In contrast, the Alpine Garden was founded in the Schönbrunn Palace in 1803 by the Archdukes Johann, Rainer and Anton and 1865 moved to the Belvedere gardens. In this oldest alpine garden in Europe today can be visited the historic Alpine Plants collection of federal gardens. The there cultivated 4,000 plant species encompass in addition to numerous rare alpine plants also a rhododendron and a bonsai collection.
On the way from one to the other castle you get not only to a number of commercial buildings in the palace complex but also to the Menagerie and the famous Orangery, which served during the lifetime of Prince Eugene as heated winter garden for the orange trees.
Exhibitions and collections
The palace complex for several decades already no longer serves as a residential area for rulers or politicians. Instead, most of the spaces, especially in the Upper Belvedere Palace, are being returned to their original functions. They serve today primarily for presentation and admiration of many valuable art treasures. So can be found in the individual buildings different, always changing exhibitions such as the current on the topic of "gold". This exhibition could be visited until 17th June 2012. In addition, the Austrian Gallery Belvedere has numerous collections of different art directions. So are included in the stock collections to the Middle Ages, Baroque, Classicism, Expressionism and Impressionism as well as works of Art Nouveau, postwar and contemporary art. Particularly noteworthy at this point are the collection of Messerschmidt with his character heads, of Ferdinand Georg Waldmüller, of Gustav Klimt, of Egon Schiele and of Oskar Kokoschka.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.
Saint John, who is depicted in this north ambulatory window, was the disciple whom Jesus loved and who wrote the Revelation on the Island of Patmos. He died a natural death whilst on the island in 96AD. He laboured for the spread of the gospel in Jerusalem, Samaria and Turkey.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
This cake can be done in square or other shapes and the colors can be changed the match your wedding. Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order.
Round fondant cake swiming pool with fondant sculptures of Tom jumping in the pool and Jerry on an float. The grass is butter cream on a square cake.
Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order
An artistically designed wall in a passageway. If I'm not mistaken it offers some space for additions and contributions made by beholders. (Köln / Cologne, Germany).
Model:Kawaï Von Tierisch
Photo: Black Veil Photography
Clothes/accessories: Black Veil Couture
Copyright : ift.tt/2T3zwgF
Facebook : ift.tt/2XXFHGF
Instagram : @alexis.von.lelouch
Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order
ABOUT EXHIBIT-A ®
Exhibit-A is not only about clothing, but bringing forth unique and innovative craftsmanship and textures inspired by nature, significant of immense passion by artists. Here artists from all over, meet together to plan out an exquisite piece of art to be crafted out and presented through apparels. However, as mentioned, it primarily focusses on wearables of art and lifestyle pieces, thus turning out into artistic_accessory enterprise rather just apparels.
The antique Exhibit-A_collection of art signifies diverse art styles, from the collaboration of unique artists, who put a lot of priceless efforts in making of these passionately crafted products, excelling in quality as well as traditional textures and detailing. The greatest inspiration comes from essentialism of nature, serving humankind to be nurtured under its shelter. Our naturally elevated designs and techniques are blend of contemporary and traditional culture. The gender neutral varieties of products are deliciously made, maintaining a delicate balance between masculinity and femineity.
Our creative designs in artistic accessories are extensively heart-touching and immersing, paving out ways to make unimaginable styles of clothing come true. Come, find us and fall in love with artistic_clothings at exhibitacollection.com . Feel free to browse and shop from our website, and proudly stand apart from the crowd in terms of reshaped traditional_clothing styles.
Our garments are designed in Los Angeles and proudly handmade in India, embracing widely appreciated rich and prosperous diverse cultures. We include soothing textures, warm earthy tones and cool aquatic shades which exudes the shifting nature of light at different times of day. It gives a premium touch and organic look, depicting an unique bond with nature. We delicately look upon sustainably sourcing of raw materials. Our artisan_collection combines traditional techniques with minimalist, modern design, created with locally-sourced premium leathers and natural fibers. Each product is designed to balance form and function.
OUR ARTISTS
Styled and crafted by outstanding artists, our textures get molded under the guidance of such experts, ranging from trending quirkiest trendsetters as Barbara_Mendes, contributing with her limited edition Noah Arks bucket hat, Anna Karenina Satin silk scarf, Ferris_Plock coming up with such an unique Bushido tiger cherry printed "Eye of The Tiger" jacket, a fabulous custom hand-sewn cap, to excellent widely advertised products of Hyun_Jung_Ji's peace leather flask, "Fold over dragon" head sleeve, inside out peace parka, and excellent work of creation by none other than Matthias Brown aka Traceloops with products like Accordian sling bag , Batik robe and creative products design origami. We have made them all appear together with their exquisites in Exhibit-A.
OUR PRODUCTS
EXCLUSIVE MUSEUM COLLECTIONS
Our museum_collections include wide range of products promising premium quality and superior comfort.
•Starting with croc on croc wallet, it's based on Ferris Claude's, The Albino Crocodile piece. Crafted from premium cow-hide leather, this semi-circular wallet marries form and function in a tongue-and-cheek manner as an ode to the artist’s exuberant works. Shell of the wallet is prepared from 100 percent pure leather and the linings are immersed in 100 percent polyester. It consists of two compartments, perfect for cash to be carried around, 2 card slots and a coin pouch. Apart from ordinary wallets, this artistic_accessory has an unique croc-printed outer layer, which contributes to the versatile appearance of the wallet. Inside the inner pocket, an interesting surprise awaits in the form of the embroidered croc motif.
• Hyun Jung ji contributes to the masterpieces with his elegant peace leather_flask, a bottle bag featuring debossed artwork by Hyun. Crafted with priceless efforts, the peace leather flask comprise artwork depicting 'cultural barrier' and says the word 'peace' in Korean, which is the central theme of Hyun’s subliminal work. It comes with a height of 8.7 inches and diameter of 3.6". Its crafted with self conditioning oily leather and has a thin strap which allows for shoulders wear. Made from 100 percent premium ox leather, it offers an elegant, premium look. Passionately made by Hyun Jung ji, it's one of the best selling masterpieces in Exhibit-A.
• This new generation of fitness freaks have made workouts common in every household, and so gym accessories. Designed by Traceloops, Accordian gym bag motivates and encourages to stay fit, promising efficiently carrying varieties hastle free to fitness centres. It's versatile artistic design and sturdiness makes it ideal for travelling too. It's shell comprises 100 percent premium polyester, lining comprises 100 percent cotton, and straps are made up from pure nylon. The artwork on the designer_bag comes from a wire face crafted by Traceloops. The single wire used to give the shape of face denotes a clear pathway from start to finish. This highly resistant travel/gym bag expands and showcases the wired faces filled up.
• The Batik_robe is a re-designed version of traditional Japanese robe, modernized by Matthias aka Traceloops. Its name itself suggests usage of unique and traditional Batik technique in its preparation which captures the rhythmic repetitions in Matthias’ work. Locally sourced premium cotton is dyed in small batches which gives it a smooth organic texture. It's passionately hand dyed. The designer_robe was actually achieved out of curiosity by Matthias, celebrating block printing and conveying relationship between the printing mechanisms. Crafted with 100 percent cotton, it promises elegant looks and premium superior comfort.
• Exclusive artistic Exhibit-A collections include a soothing ultra soft Exhibit-A_scarf. Inspired by Tolstoy's, 'Anna Karenina', Barbara Mendes decided to re-create Anna’s narrative elements symbolic of emotional state conveyed, through her art. Her art comprises symbolic fantasy figures and scenes from the book, depicting its emotional significance. Made from satin, the Anna Karenina scarf looks glossy, alongwith light weight which perfectly fits. Locally sourced premium cupra modal satin makes the scarf absolutely comfortable and magnificent. This silk_scarf comes with a length of 45.5 inches and width of 35 inches.
EXCLUSIVE APPARELS
•Knitted in premium yarns, Wet sand Poncho is an ideal winter wear, designed to deliver an artistic touch with a blend of traditional textures, cascading folds drape over the body like sand dunes. Made from 80 percent genuine lambswool and 20 percent nylon, wet sand poncho is absolutely light weight and generates perfect warmth to body. It's made unisex with dimensions of 49.5"×52". It comes with unique Beige color variety. The artistic apparel is simply fabulous, offering an exclusive exposure.
•Desert wool wrap is an unisex premium cardigan, comes with a rich texture and contemporary color palate. The woolen_wrap originated from pure organic lambswool turns it light-weight, illuminates your silhouette with its seamless flowy build. The apparel features two patch pockets as the finishing ones. Passionately crafted by artists, this apparel contributes to the masterpieces included in Exhibit-A. The unisex garment is currently available for single size.
•Izanami Robe, an exclusively crafted apparel is a modern customized appearance to the traditional Japanese silhouette. The masterpiece included in the inventory of EXHIBIT-A Collections, is crafted from 62 percent pure cotton, 36 percent polyester and 2 percent spandex, offering blend of relish with a premium look. It indulges usage of 100 percent pure cotton lining along with snap button closure. Unique attributes of asymmetric flap and a belt makes it perfect for custom fit.
•Geometric vest made from 100 percent pure cotton is the men's garment, encompassing premium comfort crafted in light shades of white and beige, simple yet elegant. Inspired by Greek architecture, its exclusive looks turn it into a perfect casual wear. The pockets provide structure to the excellent wardrobe accessory. Crafted with hand-dyed fabric and the textured twill weave gives it an unique organic look. Perfection of exposure and combination of comfort is what makes the product exceptional and absolutely magnificent too.
•Ribbed Beanie is a hand-knitted classic beanie and It's heavy duty chunky knit adds elegance to the artistic accessory along with a premium texture, not only excelling in comfort along with immersing users with a dynamic still organic look. The unisex beanie is crafted out from locally sourced premium top notch raw materials including usage of 100 percent purely extracted cotton.
•Exhibit-A exclusive winter collection includes men's sailor sweater. The premium men's_winter_sweater offers a versatile proportion to make you look glorious that blends with both formal and casual settings. The hand knitted sweater comes with unique smooth texture and extraordinary softness. It's crafted from 100 percent pure locally sourced cotton. It also comes with a variation of half-sleeves.
•Artistic apparels in Exhibit-A includes stratosphere jacket, crafted passionately by artists. Unlike its name, stratosphere jacket is actually a reshaped deconstructed take on formal shirt, creatively designed with color combinations similar to sky. It features usage of premium vegan leather, unlined construction and covered matte buttons in its making. Raw materials indulge 55% premium Polyester and 45% Polyurethane. The exclusive leather jacket signifies simplicity and adorable organic charm.
•Made from hand-knitted refined lambswool, the knit-down sweater is a female winter wear, with a perfect light-weight, embracing comfort. It's ideal for occasional as well as daily purposes. The purely extracted lambswool provides perfect warmth and rib knit helps it achieve a relaxed structure and elevated style. It features a bold oversized collar with a plunging neckline and drop shoulders. The rib-knit contributes to an enhanced, unique texture to the garment.
• Exhibit-A manufactures a simple yet magnificent cow hide leather_baseball_hat. The pure organic leather gives a cool, retro look to the hat, along with offering comfort, featuring a Velcro closure for adjustable fit. It's visor comprises sheep skin piping which turns the hat even more durable and resistant.
• Concerned about premium_office_purses_for_women, Exhibit-A manufactures Cubist Purse, crafted from 100 percent cow leather. This multi-functionality bag gains character and functionality from its oversized handle and bold leather finish that exhibits a luxurious visage. Perfect for carrying office accessories, the bag possess ultimate durability and flexibility. It comes in dimensions of 5.5×7×2.5" (H×L×W) and an elongated handle of 14.25" for comfortable use.
BFIEFCASES
•Exhibit-A indulges briefcases crafted out from locally sourced superior quality vegan leathers. The wavelength briefcase bag of Exhibit-A collections is an example of such premium quality crafted cases. The multi-functionality briefcase offers multiple compartments, including a laptop sleeve and an assorted cardholder. It's a premium_office_bag_for_men along with an ideal and perfect companion for women accessories too. The sturdy, extremely durable and flexible briefcase looks glamorous and stands for people looking forward.
• The Briefcase section consists of another passionately built Accordian briefcase bag crafted using premium veg tanned leather. It comprises five compartments to fit all your business essentials, including a laptop sleeve, cardholders and easy access through the front flap secured with a push clip. The unisex briefcase comes with dimensions of 11×14.75×5" (H×L×W). It's shell comprising 100 percent leather gives a glossy touch to the briefcase and offers a versatile look to the user.
Apart from the mentioned apparels and accessory collections of Exhibit-A, it also encompass range of casual_loafers and other premium quality footwears, crafted out from sustainable locally sourced raw materials.
Coming up with such diverse garment varieties, we promise, you won't feel to take your eyes off. Such great pieces of attention seeking garment segment by artists excelling in terms of traditions, will sway your heart, and let express the inside you. It's long we left our culture, lost somewhere in the shine of looking forward. Come lets meet again with traditions, Let's immerse in cultures at Exhibit-A.
this shot belongs to Soltan Amir Ahmad public bath house in kashan. it is constructed in 16th century, the architecture and interior decoration of bath house is glorious with wonderful artistic design and details. it was open to the people till few decades ago.
I started the set with this bath house, but the other persian bath houses will be added to the set.
all shootings are done with low exposure time and hand held. the lightening condition was not suitable, but I am satisfied with the result not because of the images quality(that is not so good) but because of they remind me that how great artsts we have been and created wonderful masterpieces even in such a highly humid places.
Three tier blue fondant wedding cake with handcrafted sugar paste moon, sun and stars,Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order. We want you to enjoy our desserts fresh baked.
Wedding invitations & greeting cards with traditional Sri Lanka Arts
Visit our gallery of eco-friendly unique anfrom recycled papers by designers who feel passionate with ideas. We
offer unique card designs for your wedding, which are artistically designed with traditional Sri Lankan arts. All our card designs have individualuncommon ideas for your need with fast & excellent service.
This old churchyard is known as St. John’s and it is located on Dublin Road. I visited this graveyard exactly a year ago but the weather was still very bad and the light was poor.
The colour of the gravestones is different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]
The graveyard is very open and there many signs of anti-social behaviour but on balance I would guess that much of the decline and decay of the graves is natural rather than as a result of vandalism. In some cases the collapse of gravestones and monuments may be as a result of poor workmanship or poor quality materials. I suppose the dead are not in a position to complain.
Is is described as being “a picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design.”
arteatsbakery.com Green, purple, and gold with polka dots, diamonds and swirls. the topper is a feather mask. Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order
Happy 80th Anniversary Durham Garden Club!
By Florence C. Flynn, Historian
Eighty years ago, on March 23, 1933, twelve ladies interested in gardening gathered at the Durham Library with Mrs. Stanley Pardee of the Meriden Garden Club to organize a similar club in Durham. They were Mary Asman, Gertrude Atwell, Blanche Coe, Josephine H. Francis, Daisy Hall, Annie Page, Gertrude Page, Hattie Page, May Roberts, Mary Stone, Alice Strong, and Carrie Wilcox.
It was fitting to return to our roots and have a celebratory meeting at the library. The meeting began with a History of Durham presented by Sarah Atwell. Laura Frances presented The Durham Garden Club with a Proclamation from the Town of Durham thanking the club for all of its service and dedicated members. Ronnie Schoelzel, president of The Federated Garden Clubs of CT spoke about all the wonderful projects that the state and national clubs have been involved with followed by a lovely luncheon at Time Out Tavern.
The mission of The Durham Garden Club is “To promote interest and activity in all forms of gardening, to encourage education that will lead to keener appreciation of the advantages of garden development, and when possible to use this knowledge for the betterment of our homes and our community.”
The first club project focused on the removal and elimination of the Mill Bridge dump. Since that time, the club’s main focus has been Civic Beautification.
The Durham Garden Club has maintained a high level of activity and visibility throughout the years. Some of the most recent award winning projects include The Triangle landscaping at the junction of Routes 79 & 17, Project 2000, The Greening of Main Street( which involved replacing diseased trees along. Main Street, The Hillside Project, Blue Star Marker and Gardens at the Town Hall, Daffodil Days Projects, and their efforts to eliminate visual pollution by participating in Adopt-A-Road and eliminating unsightly billboards. Their awards are on display this anniversary month at The Durham Library along with a new floral arrangement or plant every every month. Their brochures are available at the circulation desk.
The floral decorations displayed at Strong School Step-Up Day, District 13 Graduation and Memorial Day parade are also provided by The Durham Club. The Artistic Design Committee participates in various floral competitions throughout the year including Festival of Trees and Fine Art and Flowers at the Wadsworth Athenaeum in Hartford.
The Durham Garden Club raises revenue for all its projects from various events including Standard Flower Shows, Silver Teas, plant sales, as well as annual wreath sales. It gives it back to the community by providing quality programs involving lectures, school programs, and workshops about floral design, landscaping, horticulture, birding, and conservation. It donates books and media to the Durham Library and has been involved with their landscaping as well. A generous scholarship is also given to a local graduating high school senior who can further the aims and interest of The Durham Garden Club and The Federated Garden Clubs of CT.
The Durham Garden Club promotes and encourages “green gardening” whenever possible by reusing, recycling, and using earth friendly products.
The Durham Garden Club is a member of National Garden Clubs, Inc., The Federated Garden Clubs of Connecticut, Inc., and The New England Region of National Garden Clubs, Inc. It meets on the second Thursday of every month except for July and August. The public is always welcome to attend meetings. This is a great time to join us. Please call Flo Flynn 860 349 0504 if interested.
Meeting Dates
Thursday, May 9, 2013 - 10:30 a.m. Business and Annual Mtgs.
Saturday, May 18, 2013 - 2:00 p.m. Afternoon Tea - Lyman Homestead
Thursday June 13, 2013 - 10:00 a.m. Tour of Phelps Homestead & Gardens Simsbury, CT
Ronnie Schoelzel, Laura Frances, Sarah Atwell & Sue Giufridda
Wedding invitations & greeting cards with traditional Sri Lanka Arts
Visit our gallery of eco-friendly unique and creative card designs
from recycled papers by designers who feel passionate with ideas. We
offer unique card designs for your wedding, which are artistically designed
with traditional Sri Lankan arts. All our card designs have individual
uncommon ideas for your need with fast & excellent service.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the south ambulatory.
Saint James, who is depicted in this south ambulatory window, was the first to suffer martyrdom, being beheaded by King Agrippa in 44AD.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
A very fine example of Federation Free Classical style, rendered and painted, needs re-painting due to graffiti.
One of Perth's oldest arcades, Architect - H. J. Prockter.
In 1913 Bon Marche Store announce that they have just recently opened a furniture department with new and well assorted stock, most of which is of their own designing.
In 1917 A search made by Detective Cowie of Bon Marche furniture department employee Robert Walker's house in Jolimont, revealed the presence of a quantity of ironmongery and drapery goods, valued at £3/16/10, in which Walker had stolen from the Bon Marche Store, Walker was sentenced to 7 days hard labor.
In 1918 Bon Marche Ltd is exhibiting a display at the Claremont Show Grounds, which is greatly admired, some American visitors who made an inspection of the exhibit praised the workmanship, and said there was no need for Australia to import furniture wood from the States while we possessed such material as that with which Bon Marche furniture is made.
In 1920 On view in Bon Marche show window, Murray St, is a beautiful suite of artistically designed furniture, made by Bon Marche to furnish the Royal Train during the visit of the Prince of Wales to this State, the timber being of highly polished Banksia, will by fitted into his compartment.
In 1928 Bon Marche Ltd were charged by the inspector of Factories in the City Court this morning, as they exposed for sale, furniture, which had not been duly stamped. The magistrate Mr. A. B. Kidson fined them 30s.
In 1929 Keith Raymond Ramsay, a smartly dressed young man, was charged and sentenced for 1 month imprisonment for selecting and paying for a suite of furniture at Bon Marche valued at £62 5s, with a false cheque.
In 1931 George Muir was charged with with breaking Arcade skylights and being in possession of a pair of slippers.
In 1937 More than 14 years ago George William Barnard alias A. Harris a Commission Agent obtained £40 from two Perth firms, one being Bon Marche Ltd, by false pretenses, by passing valueless cheques. In the Perth Police Court he was sentenced to gaol for a year for the 14 year-old offences, Harris being now 74 years of age.
In 1942 and 1943 two brothers, 9 and 11 years old, both smokers, climbed the grating to the 2nd storey of Bon Marche and crawled along 2 inch piping and broke into the office of Louis Edelman, Room 27 and stole £1, and again in 1943 stole 35/- and also stole a £5 watch from the office of Archibald Ewers of Bon Marche and also cigarettes from other businesses around Perth, they strangely left notes at all the offices they visited, which read, "very sorry old chap" and "you dirty skunk", the parents said that the boys never came home for meals, the mother said, she didn't know, or care, where they were, they were put on 12 months probation, the 11 year old, to live with his Uncle and the 9 year old, with his Grandmother.
In 1950 Josephine Mary Willey, of York Rd, Greenmount was on 10 charges of obtained goods valued at £144/8/9 from Bon Marche Ltd. after having lied to the accountant that her husband was a farmer at Ardath, the bill was returned address unknown, and she admitted ten charges of false pretenses. She was sent to gaol for four months, the sentence to be cumulative with one she was serving.
In 1951 senior departmental Manager of Bon Marche, Alfred Claude Wood 28yrs, charged with stealing £10/17/4 from Bon Marche Ltd, he was fined £20 and ordered to make restitution.
In 1954 Denis Richard Bird 26yrs married, truck driver, of Rome Road, Melville, Bird is accused of having broken into and entered the jewellery shop of George Donald Livingston in Bon Marche Arcade, and having stolen 16 watches,18 wedding rings and 8 eternity rings worth a total of £314/17/6. Bird was found by the police and the owner of the shop hiding under the counter after having forced his entry by smashing a plate glass section in the front door. Det. J. Wilson said that he searched Bird and found the missing articles of jewellery in a pocket of his overcoat. "You've got me cold. I admit I broke into the shop, but I don't want to make a statement.
In 1954 First Floor, The Billy Barnes School of Music and Harry Bluck in Room 39 Bon Marche.
Heritage listed building.
Built in 1901.
— at 78 - 82 Barrack St., Perth.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include the Great West Window.
The Great West Window, which is also a memorial to soldiers who died during the Great War (1914 - 1918), depicts Christ illuminated as the centre of a golden yellow aura which radiates brilliant coloured light to the figures of Moses and Elijah who flank him. At the bottom each window are the figures of Saint John, Saint Peter and Saint James.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.
Saint John, who is depicted in this north ambulatory window, was the disciple whom Jesus loved and who wrote the Revelation on the Island of Patmos. He died a natural death whilst on the island in 96AD. He laboured for the spread of the gospel in Jerusalem, Samaria and Turkey.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.
The 7th Earl of Shaftesbury, who is depicted in this north ambulatory window, was born in 1801. He worked in parliament to try and improve conditions for the working classes. His ten hour bill limited working hours in the factories of the Nineteenth Century. He also fixed a minimum age for working children. He was a great reformer and Christian. He died in 1885.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Vroom vroom is a work of art created by Italian artist Lorenzo Quinn. This public sculpture in the form of a giant hand that holds an old car from the famous brands Fiat Cinquecento.
#Art-Architecture, #Artistic-Design, #Sculpture
Kamehameha Day, celebrated on June 11, is a Hawaii state holiday celebrating King Kamehameha. It was established by royal decree on December 22, 1871 by King Kamehameha V as a national holiday. Kamehameha Day was created to honor the memory of Kamehameha, the king’s great grandfather, who united the Hawaiian Islands in 1810 and became Hawai‘i’s first king. The first celebration occurred on June 11, 1872.
"A floral parade is held annually at various locations throughout the state of Hawaii. On the island of Oahu, the parade runs from ʻIolani Palace in downtown Honolulu past Honolulu Harbor and the Prince Kūhiō Federal Building through Kakaʻako, Ala Moana and Waikīkī, ending at Kapiʻolani Park. June 11 is also the anniversary of the dedication of Kapiʻolani Park. The floral parade features local marching bands — including the Royal Hawaiian Band (the oldest municipal band in the United States) — and artistically designed floats using native flowers and plants. Many local companies enter floats for their employees.
A favorite floral parade feature is the traditional royal paʻu riders. They represent a royal court led by a queen on horseback, followed by princesses representing the eight major islands of Hawaiʻi and Molokini. Each princess is attended by paʻu ladies in waiting. Paʻu women are dressed in colorful and elegant 19th century riding gowns accented with lei and other floral arrangements." Wikipedia.
There is an annual Lei Draping ceremony
in which the Kamehameha Statue in front of Aliʻiolani Hale and ʻIolani Palace on King Street in downtown Honolulu is draped in long strands of lei.
November 3, 2019 - The Broad Museum in Downtown Los Angeles, CA. For the Tuttle Cameras 12 Week Photo Challenge, Week 4, our Challenge is to photograph Abstract Shapes. I chose to photograph The Broad Museum for this week's Photo Challenge. I love the modern artistic design of the exterior of The Broad Musuem in Downtown Los Angeles! #tuttlecameras @tuttlecameras #tuttletribe #tuttletribe12weekchallenge
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the south ambulatory.
Andrew Seton Campbell, who is depicted in this south ambulatory window, was a member of the St Mark's Parish. He died on an RAAF mission on the 10th of March 1943. The sun rises to a new dawn, and eternal hills of high vision. The bird depicted symbolises the passing of Andrew's soul.
Christian Waller depicted the young man in a true likeness, which was a controversial thing to do in the 1940s.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
"Ecco Homo" are the Latin words for "Behold the Man" used by Pontius Pilate when he presented a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before Jesus' crucifixion.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
(more pictures or information about the 11th district of Vienna Simmering you can see by clicking on the link at the end of page!)
Parish church in Kaiserebersdorf
The parish church Kaiserebersdorf - also Saint Peter and Saint Paul resp. pilgrimage church Maria at the tree called - is located at Münnichplatz. As early as 1192 a church with a private cemetery in Kaiserebersdorf in the papal Zehentverzeichnis (tithe catalogue) of the Vatican Library was mentioned. Over time, the church building by events such as floods and wars over and over again has been affected, the worst during the two Turkish sieges of Vienna in 1529 and in 1683.
Although the place at that time was far outside of Vienna, it was together with the church severely damaged, and the church was from 1692 in late baroque design completely reconstructed. 1696 also the tower finally could be restored. In 1747 the church building by the well-known archiepiscopal and imperial baroque architect Mathias Gerl (1712-1762), who came from the distinguished family of architects Gerl, was extended in its present form and expanded. 1766 the effigy of Mary at the tree, which attracts countless pilgrims and thus the church turns into a pilgrimage church, was mounted at the high altar.
The interior of the church shows a single-naved, barrel-vaulted nave. The late Baroque high altar is dominated by the miraculous image with the metal replica of the tree, the mighty figures of Peter and Paul (the holders of the church) refer to the patronal feast of the church. The side altars show late baroque images of the Anna selbdritt (Virgin and Child with Saint Anne) and Saint Florian. Beginning of the 70s a redesign according to the new requirements was made, which included a change in the sweep of steps in the altar area and the establishment of a mobile, simple wooden table as a people's altar as well as a simple lectern as ambos.
As part of an interior renovation of the church also the creation of a permanent and dignified sanctuary solution was carried out. The by architects Geiswinkler & Geiswinkler created and award-winning system distinguishes itself by its modern shape design and use of modern materials. The altar consists of a green-gray marble block, which is polished on the top and at the bottom is perceived as roughly hewn rock. The shape of the altar as a rock is reminiscent of Christ, the color green-gray is related to the design of the high altar and the smooth polished surface symbolizes the table around which gathers the community. Distinguishing features are numerous steel bars of burnished stainless steel, which in different thicknesses of a metal plate (also burnished stainless steel) in an irregular arrangement bear the marble refectory and penetrate it. Between the steel uprights floats another smaller roughly hewn rock, in which the reliquary capsule was set in during the altar consecration. The ambos consists of a metal loop of burnished stainless steel. The metal loop stands as a symbol of the scroll. At the beginning and end of the loop the Book of the Gospels can be placed for the purpose of lecturing and presenting. A special feature is the ease and elegance of the powerful design. Through the material, shape and form the ambos can represent its importance and with that it stands out without chumming up to the existing Baroque artistic design. The consecration of the altar took place in 2002 by Archbishop Christoph Schönborn.
The parish is also responsible for the care of the chapel of Our Lady Queen of Heaven in the prison of Vienna Simmering .
Wedding invitations & greeting cards with traditional Sri Lanka Arts
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Kate Voegele, dymanic singer and songwriter and star of One Tree Hill, headlined the 2008 Simon dTOUR Live Presented by ABC Family, a free, six-hour teen concert and interactive event that blends live music, fashion and tech trends with a big dose of summertime fun at Montgomery Mall on Saturday, June 28 at 3pm in the mall’s Elevator Court.
For six years, Simon dTOUR Live has brought teens closer not only to their favorite music artists, but also to some of their favorite retail and fashion brands and new technologies with live music, games, contests, free giveaways, and more, in what has become America’s best teen mall tour.
“Simon dTOUR Live is a one-of-a-kind happening designed specifically for our teen shoppers,” said Menden Poole, marketing manager of Montgomery Mall. “Everyone knows how teens love visiting the mall, so that makes Montgomery Mall the perfect spot for this unique mixture of music, fun and shopping.”
And this year, for the first time in dTOUR’s history, teens themselves will have the chance to let their talents shine. Area teens were able to record their musical performances at dTOUR. They were then able to upload them onto the dTOUR Web site, www.simondtour.com, where viewers could vote for their favorites. The video recorded by the top vote-getter at each dTOUR Mall will appear on the OnSpot Digital Network at Simon Malls.
Teens were also able to register online at www.simondtour.com for free ring tones from Universal Music, a chance to win a meet-and-greet session with a dTOUR band, and a $250 shopping spree.
But it wasn’t all about music. During the event, sponsor Coca-Cola debuted its new state-of-the-art, interactive, plasma-screen vending machine, never before seen in the U.S. and available only at the 2008 Simon dTOUR Live.
DTour concertgoers were able to sample Coke’s new We8 product, developed exclusively for the Asian market with limited-edition “West Meets East”, 8.5 oz aluminum bottles, artistically designed for the 2008 summer Olympic Games. Coke also gave away eight of these specially designed bottles, while supplies lasted. Teens had the chance to design unique digital Coke bottles online. And, finally, teens could have their picture taken with simulated versions of our Coke Olympic Athletes, available for download from the Simon website through a photo retrieval card given away during the event.
Additionally, mall visitors who purchased a Coca-Cola product from a Coke vending machine at the mall could redeem their empty bottle at Guest Services for a Coke-sponsored “Everybody Wins!” scratch-off game piece. Various prizes were awarded, including a limited edition Visa Olympic-themed Simon Giftcard, complete with an innovative CD packed with Olympic-themed content, various downloads and digital coupons.
Teens who participated in the 2008 Simon dTOUR Live events experienced the latest offerings from some of their other favorite sponsors, including:
ABC Family – ABC Family provided teens the chance to get creative by designing their own T-shirts or tote bags with different designs and logos from shows. Audience members were invited on stage to participate in the exciting ABC Family Puzzle Race.
Sprint – Sprint showcased the latest in cell-phone technology and accessories in conjunction with their partners – Sanyo, Samsung, Palm, LG, Sandisk, Skinit, Jabra, Glu & EA. Teens had the opportunity to play Plinko and win prizes for matching popular text anagrams. Throughout the event, Sprint showered audience members with special giveaways.
Montgomery Mall is one of nearly two dozen Simon dTOUR Live tour stops exclusively at Simon malls around the country through late August. More information is available at www.simondtour.com. Montgomery Mall is located at the intersection of Routes 202 and 309 in Montgomeryville, PA, and is home to over 150 shops, services, and restaurants. More information on Montgomery Mall is available at www.shopmontgomerymall.com.
I captured this scene while visiting Brussels, Belgium, with my iPhone 16 Pro Max. The Neo-Gothic Monument is a tribute to Belgium's first monarch, King Leopold I…I love the artistic design and the beautiful park it's located in...
this shot belongs to Soltan Amir Ahmad public bath house in kashan. it is constructed in 16th century, the architecture and interior decoration of bath house is glorious with wonderful artistic design and details. it was open to the people till few decades ago.
I started the set with this bath house, but the other persian bath houses will be added to the set.
all shootings are done with low exposure time and hand held. the lightening condition was not suitable, but I am satisfied with the result not because of the images quality(that is not so good) but because of they remind me that how great artsts we have been and created wonderful masterpieces even in such a highly humid places.
Hello Design Cutters! Simon here. For this week's second tutorial, we are going to use the Inspirational Artistic Design Bundle to craft a cover for a children’s book called “Mister Oliver Rabbit and the fun roadtrip.”
This tutorial covers a ton of useful techniques, from how to work with creative typefaces (there are some great tips of adjusting baselines) to applying watercolour effects, and artistic details to your final piece.
Any questions left about the processes, tips, and tricks explored in the tutorial? Any suggestions on how to improve things? I'd love to hear them!
Two tier fondant baby shower cake with sugar daises and stripes. The booties and rattle are not edible. Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
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Chowringhee Pl, Calcutta.
Designed by architect W Banks Gwyther, this is the administrative headquarters of the Corporation of Calcutta. First formed in 1727, the Corporation managed buildings, parks, finance, public health, education, public works and improvements for the growing city. You can be sure that the art of idling Indian bureaucracy has been practised here for over a century.
Opened by the then Chairman of the Corporation RT Grier in June 1905, this is a monumental building in the Edwardian institutional style. However, it does not occupy a commanding position like say, the Writers' Building, and as a result, its architecture cannot be easily appreciated. Instead, it is tucked away behind Hogg Market. Its official entrance - seen here below the central tower - is rarely used. The working entrances are found along the busy Surendrath Banerjee Road.
Writing in 1940, John Barry's guidebook "Calcutta: 1940" exhaustively informed all that:-
"The eastern and western wings are connected with the central block by covered passages. The Council Chamber and rooms in the central block have verandahs on the north and south sides, the corridors formed by the verandahs and passages affording easy communication between the several departments,
The main feature of the building is the central tower on the south, raised to a height of 105 feet. Directly under the tower is the official entrance, reached from Chowringhee Place: this is only opened on Committee days for the use of the members.
Passing through the heavy grilled doors, we are in the well of the staircase, where is conspicuously exhibited a 75 M. M. Krupp gun captured in the Boer War, and presented to the Corporation of Calcutta in 1905 by the Government of India in recognition of services rendered by India during the War.
Ascending the wide steps we find ourselves in the spacious lobby, adorned with the busts of Sir Henry Leland Harrison, Kt,, Chairman of the Corporation, William Mearns Souttar, Chairman, and Sir Surendra Nath Banerjea, Kt., (1848-1925). Tablets to and portraits of, Sir Charles Alien, Kt., Chairman of the Corporation, and Dr. Herbert Milverton Crake, Health Officer of the Corporation ; and portraits of, John Blessington Roberts, Chairman of the Justice of the Peace, Gopal Lal Mitter, Vice-Chairman, Sir Kailash Chandra Bose, Kt., Commissioner, Nilambara Mukerji, Vice-Chairman, Robert Turnbull, Secretary, Rai Bahadur Nalini Nath Sett, Councillor, Raj Bahadur Debendra Chunder Ghose, Commissioner, and others, are also displayed in this lobby.
In the lobby on the south, is the Lady Councillors' Room, and on the east, the Council Chamber, a beautiful and lofty hall, well worthy of its site and functions. On the north, upon a raised dais and under an artistically designed canopy, is the Mayor's chair, elaborately carved and surmounted with the arms of the Corporation embossed in gold : on the right of the Mayor sits the Deputy Mayor, on the left the Chief Executive Officer: the Secretaries sit at the table immediately before the mayorial desk. The Councillors' chairs and desks, arranged in horse-shoe fashion facing the Mayor's chair, are upholstered in green moroccan leather, with the arms of the Corporation emblazoned in gold on each. The Committee Rooms, the offices of the Mayor, the Deputy Mayor, the Chief Executive Officer and Secretaries, are located in the western wing of the building; the Councillors' Room and the lift is in the eastern wing."
Wedding invitations & greeting cards with traditional Sri Lanka Arts
Visit our gallery of eco-friendly unique anfrom recycled papers by designers who feel passionate with ideas. We
offer unique card designs for your wedding, which are artistically designed with traditional Sri Lankan arts. All our card designs have individualuncommon ideas for your need with fast & excellent service.
(Further pictures you can see by clicking on the link at the ende of page!)
The history of the sanctuary and parish Mariahilf
The beginnings of Mariahilf
Since the cemetery of Hofpfarre (Court Parish) St. Michael - it was too close to the Imperial Palace - in 1508 had to be abandoned due to an imperial command, a new location outside the city walls and the glacis - served as a military parade and defense area - was searched. Only in 1656 could a vineyard in Ried "Schoeff" at the black cross in front of the Widmertor - the present castle gate - to be purchased for the new cemetery.
This Ried "Schoeff" stretched from Widmertor on the slopes of the left bank of Vienna (very small river Wienfluss) to Penzing. Here flourished a famous and popular type of wine, "the Gumpendorfer".
The first cemetery chapel
Picture of grace. At the highest point of this hill a small wooden cemetery chapel was built, that together with the cemetery on 19 April in 1660 was consecrated by Bishop Philipp Friedrich von Breuner. The only decoration of this humble chapel was that of the Barnabitenmönch (monch of the Barnabites) Don Celestine Joanelli - see today's Joanelligasse - donated miraculous image "Mariahülf ", which soon became the destination of many pilgrims from Vienna and the surrounding area.
This representation of Mary is a replica of the miraculous image on Mariahilferberg near Passau, which again is a copy of the miraculous image in the parish church at Innsbruck. All three images, the story tells of miraculous powers. In many "miracle books" - partly till today in Mariahilfer library preserved - is reported about miraculous healings.
The pilgrimages became more and more intense and so the Barnabites were forced to build in the years 1668 and 1669 a stone chapel, including residential buildings for the priests.
In the second Turkish siege of Vienna in 1683, the buildings were destroyed, but the picture of grace in time could be brought to safety by the then sexton Eduard Lampel within the city walls.
The new church
Due to popular demand for the miraculous image, the many pilgrimages and the non-successful floor plan of the building was from 1711 according to the plans of Franziskus Jänckl - a student and construction supervisor of Lukas von Hildebrandt - the church, using part of the existing foundation walls, in its present form built. 1714 choral parts were rebuilt and the nave erected, in 1715 were the towers of the west front - facing the present Mariahilferstraße - ready in shell (2nd construction periode). In the 3rd construction periode 1721-1726 the towers were covered with copper and decorated the west facade with statues and reliefs of J. Jacob and Ignatius Gunst.
A drawing of Salamon Kleiner from 1724 shows the general impression at that time.
Church 1724
Pilgrimages to the holy image of Mariahilf
To get a feel for the intensity of the pilgrimage tradition at this time, some numbers from 1733: 97 692 people received the Holy Communion, 20,000 Holy Masses were celebrated this year in Mariahilf.
The Empress Maria Theresa made a pilgrimage to Mariahilf to ask Our Lady for her intercession. The Chronicle reported that, during the three Masses, those she here attended sequentially, she a quarter hour lying on the ground here prayed and wept.
These and other notable historical documentations can be found until the middle of the 19th Century in the "Akta" of the parish Mariahilf, which can be looked-up in our library.
In the years 1805, 1809 and 1813 during the Napoleonic war took place enormous state processions with up to 90,000 participants to Mariahilf.
Many Viennese suburb and suburban communities pilgrimaged here every year for centuries to pray, to take their concerns to Mary and to obtain a plenary indulgence, under certain specified conditions. Some parishes in Vienna and Lower Austria come even today annually to the miraculous image "pilgrimaging".
In the years 1760 - 100th anniversary, 1860 - 200th anniversary of the mounting of the miraculous image, 1910 - 250 anniversary celebration and 1960 to the 300th recurrence of this event took place festivities lasting for days, the, as the chronicle reported, especially in the years 1760 and 1860 not only religious contents had but also secular celebrations were.
Ultimately led all these conditions and events to the consequence that until now the 6th District of Vienna is called Mariahilf and probably the largest shopping street in Vienna Mariahilferstraße.
The religious communities of Mariahilf
The Barnabitenorden (Barnabite Order) oversaw the parish, which in the meantime from 1722 was also the provost until 1920. From 1920-1923 diocesan priests worked here until church and parsonage were transferred to the Order of Salvatorianer. These were active here until 1997 and had to give up for lack of personnel and financial reasons this location. Subsequently transferred the Archdiocese of Vienna to the Polish Order of Michaelites the care of the parish and pilgrimage church.
Architectural and historic preservation measures in recent decades:
In 1960, on the occasion of the 300 year celebrations the partly wooden marble altars - this was quite usual in the Baroque period for cost reasons - new marbled , that is newly painted. In 1950/55 and 1982, the exterior facades of the church were renovated and restored, from 1986 to 1988 the interior of the church was also renovated and restored the frescoes on the ceilings and walls. Solid plaster damage, moister penetration of the masonry and the increasing pollution from the environment made in 2003 a renewed facade repair at the moment on the Western Front and the two church towers, including the statues and reliefs, urgently required to prevent an even greater extent of damage.
Another construction was 2008-2010, being renovated the remaining facade surfaces of the church (both long sides and south side) including sacristy tower and at the parsonage the roadside west facade and the narrow, southern front facing the courtyard. At the parsonage also an extensive roof renovation was necessary.
Church tower 2, church tower 1 Church Renovation 2010
The historic bell of the Mariahilferkirche - The Schuster Michel
Schuster Michel
After the shoemaker Johann Michael Sailler yet in the previous year had donated a large bell, he gave 1720 again fl 4,000 for a larger bell. This was in the imperial Arsenal by the imperial stucco founder Michael Leopold Heylil casted into tin bronze and weighed 4445 kg with a diameter of 193 cm. On the spot took, took Gottfried Bessel, abbot of Göttweig (Lower Austria), the consecration to the "Blessed Virgin Helper" (ad impositum phenomenon BV Auxiliatricis). It is designed with typical squat baroque style in heavy rib with wide flaring, heavy blow ring carried out and it resounds with massive, very dark basic tone a.
Artistic design of the surface: at the neck (upper edge), a narrow flower frieze, below it then again, broad, by decorative strips edged frieze with rose garlands, enclosed by double trimming elements, the inscription in Roman capitals:
GOSS ME IN LEOPOLD HALIL KAYSERLICHER STVCKGIESSER Wienn 1720 WIGT 7939 PF I AM TO HONOR GOD AND HUMAN SERVICES MANAGEMENT AND READY WHEN I AM (shall) the dead THE TOLL !
The sheath of the bells adorn four cartridges with inscriptions and images: the picture of grace Mariahilf, the Apostle Paul with the sword icon and the founders of the Regular Clerics of the St. Apostle Paul, farther a with an arrow pierced shoe, probably the arms of the founder.
The fourth cartridge contains the chronogram: AVS Dear Rich h MICaeLI Saller generosity Am I AVCH here gehenCket ("from dear rich bounty of the Lord Michael Sailer I 'm also here gehäncket (suspended)"), the capital letters of this inscription constitute the latin number sequence VLIICMICLILLIIIIICVCIC, giving as a result the year 1720.
Schuster Michel
That such a large bell was not so easy to ring by hand and in the course of time were necessary stabilization measures in the belfry, shows an entry in the parish chronicle of 1903: It...."was for the Great Bell "Schuster Michel" of the tower instead of the much more expensive wood helmet an iron belfry .....manufactured, by which the dangers at ringing should be eliminated because now only two men were required to ring the bell and also the vibrations of the whole tower are resolved. "Meant are probably iron bracings and reinforcements in the bell chamber, as the wooden belfry itself continued to remain preserved.
The replacement of the old wooden yoke through a Glockenjoches (bell yoke) of steel followed 1930. When the electrification took place is not documented.
The legend of the "miserly Schuster Michel" was created 1726-1731 and initially referred to a 1719 by the same donor donated, smaller Michael bell. Its defects, which coincided in terms of time with illness and death of the donor, and the in 1731 necessary recast gave this bell a mysterious reputation. As of 1731, hence the name "Michel Schuster" was transferred to the in 1720 also by Michael Sailler donated larger bell. The Michael Bell, however, was later referred to as "Saller-bell" or "Saillerin (Lady Sailler)".
Schuster Michel Schuster Michel
In the heyday (1st half of the 19th century) the Mariahilferkirche was equipped with a total of 8 bells. A detailed Läutordnung (toll regime) already should give the believers acoustically the time and type of worship. The Schuster Michel was rung on the eve before Sundays and public holidays. In the two world wars but in each case bells had to be delivered as war material. 1930 three new bells were still re-purchased, but 1941 the next war took its toll. It remained in the Mariahilferkirche only the historically valuable bell from 1720.
2011: New Patterns for Schuster Michel
Probably 1930, at the Schuster Michel the original wooden yoke was replaced by a steel yoke. These steel suspension proved now but not as convenient, because the ringing of the bell had to be done in a very high Läutwinkel (toll angle). Furthermore, the iron clapper from 1908 was too hard and proportioned wrong and could have hurt the bell. Since the antiquated electric drive, too, was very susceptible to disturbance, the Schuster Michel since Easter 2011 had to be silent.
In order to conserve the Schuster Michel as long as possible, the parish Mariahilf decided to had done some changes. With the renovation work the company Schauer und Sachs from Salzburg was commissioned: The steel yoke was again exchanged with an oak one (approximately 350 kg). As a result, the Läutwinkel (toll angle) could be reduced by 15%. A new round bale clapper, 180 kg, of special steel RSK 100, cast of the company Rosswag in Germany, was installed.
During a small devotion on 25 October 2011, the new clapper was blessed by Father Casimir, before it acceded to the applause of a small crowd of onlookers to the breezy trip to the height on its new location. The unilateral electrical drive has been replaced by an electronic drive with two motors. The screw connections at the belfry were tightened. So the Schuster Michel after a half year break on 28th October 2011 finally could resound again .
The costs for these bell remediations amount to € 20,218.38. Of which bears the parish Mariahilf € 6,803.01. The Federal Monuments Office has a grant of € 5.000, - promised, the rest is pumped in from the Archdiocese of Vienna .
Photos of the installation can be found here: in the photo gallery.
www.pfarremariahilf.at/mariahilf/index.php?mid=Kultur&....
Belvedere Castle
Upper Belvedere, 2011
(further pictures you can see by clicking on the link at the end of page!)
Lower Belvedere, 2010
Vienna's most famous castles system, the Upper Belvedere and Lower Belvedere Palace, the city owes the former champion in the fight against the Ottomans, Prince Eugene of Savoy. This one had for himself the of two castles (Lower Belvedere, Upper Belvedere Palace ) consisting and with a park and other side attractions equipped estate as a summer residence in the style of Versailles built. Within ten years (1714-1723/24) Lukas von Hildebrandt built his biggest project, which is one of the most beautiful Baroque works in the world.
After the death of Prince Eugene, who remained unmarried, his whole estate passed to his sister Victoria, who sold it low priced to the imperial court in 1752. So the estate 1894-1914 served as a residential area for the heir to the throne, Franz Ferdinand, dying in the attack in Sarajevo with his wife in 1914. Even Chancellor Kurt Schuschnigg lived from 1934-1938 in the Upper Belvedere Castle. 1955 the plant became the scene of a major political event, the foreign ministers of France, Britain, Soviet Union, United States and Austria signing the treaty for independence in the Marble Hall of the Upper Belvedere. Today, in the formerly as a residential complex and representation residences used palaces are especially exhibitions of Austrian artists located.
Lower Belvedere Palace
The 1716 finished Lower Belvedere Palace looks in comparison to its opposite counterpart quite modest, though the castle has a rich interior decoration in the Baroque style. So forms the center of the mainly single-storey building the two-story marble hall, which with golden ornaments and painted mock architecture (Gaetano Fanti) was decorated. The famous frescoes by Martino Altomonte (1914) in the Marble Hall show the original owner of the castle Prince Eugene as he receives his hat and stick - alike Apollo on clouds dormant. In addition, invites the Golden Room, with its mirrors, the golden paneling as well as paintings of personalized continents, elements and seasons to marvel. This space, especially the interior, was once part of the city palace of the Türkenbesiegers (vanquisher of the Turks) before anything was transferred in 1770 to the Lower Castle. In addition to the Marble Hall and the Golden Room convince the other rooms in their equipment and artistic design. In the former bedchamber visitors can admire the relief of Raphael Donner and in the Marble Gallery stucco decorations by Santino Bussi with life-size mythological niche figures by Domenico Parodi. The Hall of Grotesques also could be interesting for art lovers: On one hand, the grotesque paintings by Jonas Drentwett can be viewed, which are intended to represent the Prince in his functions as a warlord and patron of the Arts. On the other hand, attracts the ceiling fresco depicting the four seasons as well as the design of the corners of the room with the four elements everyone's attention.
Upper Belvedere Palace
The representation castle of the former Prinz- Eugen-estate served primarily of the joyful coming together for lavish celebrations or enjoyment of many art treasures. It was completed in 1724 and is, due to its richly decorated façade, considered as the more marvelous of the two castles. The mentioned enjoyment of art is already visible at the richly decorated facade and is continued in the design of the castle rooms. Four powerful atlases of Mattielli in the Sala terrene carry the vault of the room and the white stucco decorations by Santino Bussi are continued in the hallway under the theme of the prince virtues. The two-story marble hall is here - as well as in the Lower Belvedere Palace - the center of the building. The ceiling painting "Allegory of Glory " by Carlo Innocenzo Carlone symbolizes the eternal glory of the prince in the midst of princely virtues. The Apollo-Aura-Fresco ("victory of light over darkness") in the garden room, too, also by Carlo Innocenzo Carlone, heroises Prince Eugene as a bringer of light and Türkenbesieger (defeater of the Ottomans). The frescoes in two other Ostsälen (east halls) are continuing the topic, yet these have been created by Ciacomo del Pò. Other images of high quality, thematically but biblically oriented can be found in the chapel and in the south-east tower of the castle. Here is on one hand, the dome image "God the Father" (Carlo Carlone ) to mention, as well as the altarpiece "Resurrection of Christ" (Solimena). "In the Gold Room in the Northwest Tower arised Canelettos famous view of Vienna from 1760".
Garden
Between the Upper and Lower Belvedere Palace is the beautifully landscaped garden. This one was layed out by the Parisian garden architect Dominique Girard. The axially landscaped terrace garden with symmetrical staircases, however, goes back to a concept of Hildebrandt. This construction permits from the front terrace of the Upper Belvedere a beautiful view over the sloping gardens to the towers of Vienna and the mountain ranges of the Vienna Woods behind them. The upper lawn area designed Girard in accordance with French geometries with cascades, stairs and water features, as well as laterally limited hedges and avenues. Once adorned numerous sculptures the garden grounds, too. Those have been distributed thematically and according to the altitude. So were found on the lower garden level sculptures which should symbolize the four elements. In the central region was the Parnassus represented and on the higher garden level have been found sculptures to Olympus. However, hereof have been preserved only a few sculptures, including eight muses and the symbolic figures of the Prince of Hercules and Apollo in the lower ground floor. Furthermore, two sphinx figures are standing as stone guards in front of the garden side main entrance of the upper Belvedere.
The garden also includes a botanical garden and an Alpine garden. In the former, the personal physician of Maria Theresia Gerard van Swietjens grew various medicinal herbs. Today, the Botanic Garden is owned by the University of Vienna. In contrast, the Alpine Garden was founded in the Schönbrunn Palace in 1803 by the Archdukes Johann, Rainer and Anton and 1865 moved to the Belvedere gardens. In this oldest alpine garden in Europe today can be visited the historic Alpine Plants collection of federal gardens. The there cultivated 4,000 plant species encompass in addition to numerous rare alpine plants also a rhododendron and a bonsai collection.
On the way from one to the other castle you get not only to a number of commercial buildings in the palace complex but also to the Menagerie and the famous Orangery, which served during the lifetime of Prince Eugene as heated winter garden for the orange trees.
Exhibitions and collections
The palace complex for several decades already no longer serves as a residential area for rulers or politicians. Instead, most of the spaces, especially in the Upper Belvedere Palace, are being returned to their original functions. They serve today primarily for presentation and admiration of many valuable art treasures. So can be found in the individual buildings different, always changing exhibitions such as the current on the topic of "gold". This exhibition could be visited until 17th June 2012. In addition, the Austrian Gallery Belvedere has numerous collections of different art directions. So are included in the stock collections to the Middle Ages, Baroque, Classicism, Expressionism and Impressionism as well as works of Art Nouveau, postwar and contemporary art. Particularly noteworthy at this point are the collection of Messerschmidt with his character heads, of Ferdinand Georg Waldmüller, of Gustav Klimt, of Egon Schiele and of Oskar Kokoschka.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
"Ecco Homo" are the Latin words for "Behold the Man" used by Pontius Pilate when he presented a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before Jesus' crucifixion.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Tartu (German Dorpat) is the second-largest city in Estonia, after Tallinn.
In the early 11th century Yaroslav I the Wise, Prince of Kiev, invaded the region and after a victorious battle with the locals built his own fort there, Tartu probably remained under Kievan control until 1061, when the fort was burned down by an Estonian tribe. Soon afterwards the fort was rebuilt.
During the Northern Crusades at the beginning of the 13th century, the fort was captured by the crusading Brothers of the Sword — and recaptured by Estonians. In 1224 the fort was besieged and conquered for one last time by the Teutonic crusaders. Subsequently, Dorpat became a commercial centre of considerable importance during the later Middle Ages and the capital of the semi-independent Bishopric of Dorpat.
German merchants and artisans settled alongside the bishop's fortress. In the 1280s Dorpat joined the Hanseatic League.
In 1558, tsar Ivan the Terrible invaded Tartu beginning the Livonian War. His forces encircled the town. After a heavy bombardment, the town surrendered. In 1582, the city became part of the Polish–Lithuanian Commonwealth. In 1598. A Jesuit grammar school "Gymnasium Dorpatense" was established in 1583.
In the effect of the Polish-Swedish War, in 1625 Tartu was captured by Sweden. The city became part of the Dominions of Sweden, which led to the foundation of the University of Tartu in 1632 by king Gustavus Adolphus of Sweden. So the University of Tartu is Estonia´s oldest and still most renowned university
In 1704 the town was taken by the Russian army. In 1708 the fortifications and houses, including the remains of the bishop's castle, were blown up, all movable property was looted and the citizens were deported to Russia. In 1721, the city became part of the Russian Empire and was known as Derpt. A great fire in 1775 destroyed most of the buildings in the centre. The city was rebuilt along Late Baroque and Neoclassical lines.
Shortly after the conquest and Christianisation of the Brothers of the Sword, a presumably wooden church was built on the site of today's St. John's Church. The oldest parts of the present church building date from the 14th century.
Century. The church survived the iconoclasm of 1524/26 largely unscathed. During the Livonian War (1558-1583) the church was badly damaged but later rebuilt. The Great Northern War also left traces of destruction. In 1704, Russian troops occupied the Swedish city of Tartu. In 1708, the troops systematically destroyed the city. The upper part of the tower was destroyed, as well as the nave and the presbytery. Reconstruction of the destroyed church began in 1737 and it was rebuilt as a three-nave basilica. In 1944, during the Second World War, the church was set on fire and largely destroyed by bombing. In 1952, the north wall of the nave collapsed.
Reconstruction work did not begin until 1989.
The most outstanding feature of the church is its wealth of terracotta figures. According to today's estimates, there were about 2,000 different sculptural elements in Jaani kirik in the Middle Ages, of which only about a third have survived to this day. They are located both inside the church and on the exterior walls. The figures are unique in Europe in their number, size, and artistic design. The oldest are over 700 years old. The original figures are now kept in the neighbouring museum, which has made copies for the church.
Originally, the sculptures were painted - but both the polychromy and the texts carved in clay have been almost completely destroyed.
Artistic macro photo of a beautiful camellia, the floral belle of the south.
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Buy prints: johnkirkland.pixels.com/featured/southern-belle-john-kirk...
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See more of my work at johnkirkland.pixels.com
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Three tier round cream color wedding cake with white chocolate seashells and coral. The seashells have edible pearl dust for the colors. The boarders are sugar pearls. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
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Way of Human Rights
The history of the "Way of Human Rights" dates back to 1988, when a twelve-member jury in connection with the expansion of the Germanic National Museum had to decide on the artistic design of the Kartäuser alley. Among the four received competition proposals, the concept of Dani Karavan proved to be the most convincing one whose "Way of Human Rights" with its 27 white columns of eight meters high, two base plates, a pillar oak (Säuleneiche, Pyramideneiche - Quercus robur Fastigiata) and an archway should create a welcoming connection between Grain market and city walls. After several years of planning and construction, Karavan on 24 October 1993 was able to hand over his work in a moving ceremony to the public.
The artist Dani Karavan in the Way of Human Rights
On October 24, 2013, 20 years to the day that Karavan his work had made available to the public, was in a poignant ceremony looked to 20 years of "Way of Human Rights" and the unique development from artwork to model.
With a wink commented the 83-old-artist: "the power of art begins to convince me".
In addition to the solemn ceremony in the Germanic National Museum, there was a series of events as well as an educational accompanying program. The offers ranged from lectures and guided tours over children's theater to hands-on activities.
The message
Its powers of persuasion the sculpture not only obtains from the artistic impression, but above all from its message. Each of the elements in the Way of Human Rights bears in a short form one of the human rights articles in German and another language. The "Way of Human Rights" is both a denouncement of the crimes of the National Socialists and a petrified reminder to people that human rights even today are massively violated in many countries of the world.
The meaning of the artwork for the City of Nuremberg
What a work of art in the best case can cause, the colonnade and its creator have accomplished: the "Way of Human Rights" set a new intellectual, political and social accent in Nuremberg, the former city of Nazi racial laws and the Nazi Party Rallies, but also the scene of the international Military Tribunal as the nucleus of an international criminal jurisdiction.
The walk-in installation beyond its high aesthetic quality has a large symbolic power, which provided an impetus for numerous human rights activities of Nuremberg. So bookmarked the opening of the "Way of Human Rights" also the birth of the Nuremberg International Human Rights Award: In his speech promised the then Lord Mayor Dr. Peter Schönlein, the city of Nuremberg Dani Karavan's installation always will understand as a constant invitation to make an active contribution to the global enforcement of human rights, and he announced the sponsoring of the price. As a jury member of the International Human Rights Award and as a frequent guest in Nuremberg, Dani Karavan since then accompanies the human rights work in the city.
The Way of Human Rights in panorama
www.nuernberg.de/internet/menschenrechte/strasse_der_mens...
Ajmer Jain Temple, also known as Soniji Ki Nasiyan, is an architecturally rich Jain temple. It was built in the late nineteenth century. The main chamber, known as the Swarna Nagari "City of Gold", has several gold-plated wooden figures, depicting several figures in the Jain religion.
Kurt Titze, in his book, "Jainism: A Pictorial Guide to the Religion of Non-Violence" (1998, p. 143), writes on Soniji Ki Nasiyan:
"Ajmer's main attraction is - for the Jainas - the prominently situated Nasiayan Digambara Temple, or rather the two-storied Svarana Nagara Hall behind the temple, better known as the Museum. Both the temple and the museum were built and are still owned by the Sony family of Ajmer. The temple, dedicated to Rishabha or Adinatha in 1865, was constructed of red sandstone in a matter of a few years, but it took twenty-five years, from 1870 to 1895, to fashion - by artisans at Jaipur - the thousands of individual parts required to assemble a three-dimensional replica of the story of Rishabha in accordance with an old manuscript by Acharya Jinasena.
The thought to have such a three-dimensional model for eduational purposes occurred to Seth Moolchand Soni, who was born in 1830, only after the completion of the temple. His death in 1891 prevented him from seeing his ambitious work in its finished state.
In many Jaina temples one sees painted or figurative representations of the 'five auspicious events' (pancha-kalyanak) in the life of every Tirthankara: conception, birth, renunciation, enlightenment, and salvation (moksha or nirvana). The one at Ajmer, now over a hundred years old, is by far the largest and most artistic plastic representation of that much-loved mythological narrative. A specially designed hall of 24.3 m by 12.2 m had to be build to display it effectively. It is open to visitors of all religions every day all the year round for a very small entry fee."
HISTORY
Greatly revered by the Digambar sect of the Jains, the Nasiyan temple is dedicated to Lord Rishabhdev, first of the 24 Tirthankars [religious path makers of the Jains] by Rai Bahadur Seth Moolchand and Nemichand Soni. It is situated on Prithvi Raj Marg in Ajmer, the heart of Rajasthan state in India. The foundation of this magnificent Jain temple was laid on 10 October 1864 and the image of the first Tirthankar Lord Rishabhdev (Adinath), was installed in the Sanctum Sanctorum on 26 May 1865. This work was carried out under the able guidance of the great scholar Pandit Sadasukhdasji of Jaipur.
The name of the temple is Siddhkoot Chaityalaya. It is also known as 'Red Temple' as it is built of red sand stone or 'Nasiyan of Seth Moolchand Soni' signifying the founder’s name. After the Svarna Nagri was added to the temple in 1895 A.D. it popularly began to be called as 'Sone ka Mandir' or 'Soni Mandir' emphasizing the golden structure as well as the family name. The halls of this temple are adorned with fascinating series of large, gilt wooden figures and delicate paintings that display scenes from Jain scriptures.
MAIN TEMPLE
The entrance gate of the temple is made of red sand stone brought from Karauli. In front of the gateway is the marble staircase, leading to the main temple, which is embellished with the images of the Tirthankars.
VEDI´S
The central image is of Lord Rishabhdev seated in the "Samavasharana" - in which He imparts true knowledge to the suffering humanity, so that they get liberated from the entanglements of life and death. In the year 2005, the 3 Vedi's were renovated and all the idols of Tirthankaras were re-installed amidst religious rituals and ceremonies. In this portion only Jains are allowed to perform their religious rituals.
MANASTAMBHA
On entering this historical temple one gets the view of the beautifully and artistically designed 82 feet high Manastambha. R. B. Seth Tikamchand Soni laid the foundation and R. B. Seth Sir Bhagchand Soni built this Manastambha. He, along with his sons Prabhachand, Nirmalchand & Sushilchand consecrated and installed the images of the Jain Tirthankars in it. A big function was held for ten days in June 1953, where along with the members of the Soni family, thousands of others participated.
LIBRARY
In the year 1974, in the auspicious presence of 108 Acharya VidhyasagarJi Maharaj, a big library was established by R.B. Seth Sir Bhagchand Soni. The library houses rare Jain scriptures which are extensively used for research by scholars.
VISITORS
The temple is being visited by many tourists annually. Distinguished Visitors include India's first President Dr. Rajendra Prasad, Prime Ministers Jawaharlal Nehru, Indra Gandhi, Morarji Desai & Rajiv Gandhi, Commander-in-Chief General K.M.Kariappa. Pre independence the Viceroy and Vicerene of India Lord & Lady Irwin and Lady Willingdon also visited.
SWARNA NAGARI
It came to R.B. Seth Moolchand Soni’s mind that 5 Kalyanakas of Lord Rishabhdev could be displayed in models. Accordingly, the work started in Jaipur and it took 25 years to complete these replicas of Ayodhya and Mt. Sumeru. The whole structure, covered with gold leaf, is made according to the descriptions contained in Adi Purana written by His Holiness Shri Jina Sen Acharya.
On completion, the models were displayed in Museum Hall in Jaipur. A big fair was celebrated for ten days in 1895 A.D which was attended by H.H.Maharaja Madhosinghji of Jaipur. The models were thereafter installed in the building behind the Main Temple. This Hall is richly painted in variegated colours, and the walls and ceiling are covered with glass mosaic work.
GARBHA KALYANAK (CONCEPTION)
The great soul of the Lord is emulated and glorified by the Celestials even six months before He comes into his mother’s womb. Saudharma Indra, the Lord of the celestials, ordered Kubera to rain down priceless jewels in the palace of his father Maharaj Nabhiraj, thus announcing the coming of the Saviour of the World. The golden city of Ayodhya was constructed by the Celestials according to the wishes of Indra. After six months, the mother Marudevi saw sixteen symbolic dreams, signifying that she was going to be the mother of The Tirthankar.
JANMA KALYANAK (BIRTH)
When Lord Rishabhdev was born in the royal palace in the center of Ayodhya, the thrones of Indras vibrated indicating the birth of the Divine Child. The celestials marched towards the city with great majesty. Indra, after completing three rounds of the city took the Baby Tirthankar on the 'Airawat' (Elephant) to Mt. Sumeru. On this golden mountain lies Panduk Shila upon which the Baby Tirthankar was seated for Mahabhisheka (the great sacred ablution) ceremony. The ablution was performed by the waters of the distant ocean Kshira Samudra, brought in 1008 huge pitchers. After this, the celestial company returned the Baby Tirthankar to the Palace of Maharaj Nabhiraj leaving several Celestials as child playmates with Him. Rishabhdev attained manhood and succeeded his father to the throne of Ayodhya.
TAP KALYANAK (RENUNCIATION)
As Rishabhdev became engrossed in worldly affairs, Indra appeared before Him with Apsara Nilanjana. She danced before Him and suddenly disappeared, discarding her mortal coil. This reminded Rishabhdev of the transient nature of the World and He decided to renounce it.
Installing in his place his eldest son Bharat, He left the palace followed by 4000 other kings. Indra followed by the other Celestials, took Rishabhdev in procession to the Triveni, the confluence of the Ganges, the Jamuna and the Saraswati at Prayag ( Allahabad ) where under the shade of the Akshayavat (sacred Banyan Tree) Rishabhdev gave up the world, including his clothes and gave himself to contemplation. He pulled out his hair (Kesh Lonch) by his own hands depicting his extreme detachment to all worldly and bodily comforts. Lord Rishabhdev took his first meal after one year of austerities and penance. Raja Shreyans, the king of Hastinapur, had the good fortune of being the first person to offer him a meal in the form of Sugarcane Juice on the 3rd day of the bright fortnight of the month of Vaishakha. This occasion is celebrated even today as "Akshaya Triteeyaa".
KEVAL JNAN KALYANAK (OMNISCENCE)
After 1000 years of austerities and penance, Lord Rishabhdev attained Keval Jnan (Omniscience) at Mount Kailash. Indra arranged a beautiful place of congregation known as "Samavasharana" where the Lord preached the doctrine of non-attachment to the world. Celestials, humans, and even birds & animals gathered to listen to Him. Tirthankars attain the power of walking in sky after attaining Omniscience. 225 Golden lotuses are placed beneath the Lord’s feet during his travel by Indra.
MOKSHA KALYANAK
On Mount Kailash where Lord Rishabhdev attained Salvation or Nirvana, his eldest son Bharat, the first Chakravarty (emperor of Bharat Kshetra), constructed seventy two magnificent golden temples.