View allAll Photos Tagged Ivory
A daisy I shot back in 2009. Now that spring is gone, I'm searching, hunting through old files.
Will put this one up on the blog with a poem that a friend wrote about God. This treatment makes me think of heaven because of the softness and gold desaturated tones.
Textures: Flypaper - Peach Blush, Archival Canvas; SkeletalMess - Art Grunge 5.
Here is a link to my blog, just click on the Faith page to read the poem, "Abiding Love". www.jleggphotography.com
Ivory Crucifix
2nd Half of the 18th Century
Hispano-Philippine
Ivory, Kamagong, Lanite and Silver
ivory: H:18” x L:13” x W:3 1/2” (46 cm x 33 cm x 9 cm)
crucifix: H:42” x L:17 1/2” x W:4” (107 cm x 44 cm x 10 cm)
Opening bid: P 700,000
Provenance:
Made in a Workshop in the Parian
Manila
Lot 117 of the Leon Gallery auction on 18 February 2017. Please see www.leon-gallery.com for more details.
Ivory santos were one of the major luxury items being exported from Manila to Acapulco in Mexico during the entire period of the Galleon Trade. They were in great demand in Mexico, where wills of the major families are replete with numerous ivory images, all described as ‘obra Filipina’ or Philippine-made. Numerous pieces also made their way across Mexico along the Camino de China to Vera Cruz on the Atlantic Coast, where they were shipped to Cadiz in Spain. Many were brought into the Peninsula by officials and monks returning after their tour of duty in the colony, but others were sent as trade goods.
Every Philippine house during the colonial period had an altar with a crucifix that measured at least a foot in height. The more affluent households had crucifixes with the corpus carved in ivory and everyone tried to outdo each other in the size and richness of the ornaments attached to it.
This piece is not of ordinary size and has an ivory corpus beautifully carved in the Cristo Moribundo pose with its head relaxed in death with the mouth partially open. The face is very oriental in aspect, with the hair and beard very finely detailed in typical Philippine religious carvings of the colonial period. The hands and feet of the statue are well carved and in perfect condition and the corpus is carved with a perizonium or loincloth, locally called a bahag or tapis and is attached to a kamagong cross. The latter, bordered on each side by a line inlay of lanite, is embellished with ivory terminals called cantoneras and an INRI of the same material. A hole below the feet of the corpus indicates the place where a skull, probably an ivory one, was previously attached but has since been lost.
The image of the crucified Christ wears a silver-gilt crown of thorns and has three potencias, the rays emanating from the pate that symbolize Christ’s potencies or power. The form of the potencia following those made in the 2nd half of the 18th century with rays emanating from an oval cartouche formed by foliate C-scrolls.
-Martin I. Tinio, Jr.
Hand sewn, hand beaded lace necklace - Swarovski bicones, crochet flowers, vintage rhinestones, shell beads....
The tusks are stacked on metal frames, which have been plumbed to spray diesel, kerosene and compressed air into the middle of each pyre, to ensure that they burn hot enough to destroy the tusks.
Ivory loves: marshmallows
She was originally a T42 ebl! She has gotten new hair in an ivory weft, fully thatched, brushable, stylable, and playable. Not your everyday weft ;) She has had all chips changed, sand matted, lips painted, new blush, eyeshadow, and will come with the outfit shown.)
Taï National Park, Ivory Coast.
Usually found in shaded places in mature forest, it occurred typically in damp habitats near streams, rivers, waterfalls, or swamps. The soil may be clayey, sandy, or rocky (Sosef 1994).
Model: Ivory Flame
Photographer: Barrie Spence
© Copyright 2011 Barrie Spence. All rights reserved and moral rights asserted. Theses images are not in the public domain and may not be used without licence.
Comments are very welcome and very much appreciated, but any with linked/embedded images will be removed.
The multi-purpose supply ship Ievoli Ivory docked in Lowestoft to be fitted with specialist ROV's (remotely operated underwater vehicles). The ship, registered in Napoli is owned by Marnavi SpA an Italian shipping company.
i recently purchased these vintage ivory edelweiss pendants from an antique shop. they are especially dear to me because the song 'edelweiss' from the musical 'sound of music' is the lullaby i've sang my son since he was born.
Calvario
Binondo, Manila and San Miguel de Mayumo, Bulacan 1890s
ivory, silver, velvet, silvergilt threads,
baticuling wood, glass, enamels
Cristo::
wingspan: 8" (20 cm)
head to toe: 11" (28 cm)
body: 1 1/2" x 1" (4 cm x 3 cm)
Mater Dolorosa: 12" x 5" x 3 1/2" (30 cm x 13 cm x 9 cm)
Maria Magdalena: 7" x 4" x 3"(18 cm x 10 cm x 8c m)
San Juan Evangelista: 11" x 5" x 4"(28 cm x 13 cm x 10 cm)
Virina: 28" x 20" x 11"(71cm x 51cm x 28 cm)
Base: 7" x 26" x 16" (18 cm x 66 cm x 41 cm)
Opening bid: PHP 800,000
Property from the Don Maximo Viola Collection, San Miguel, Bulacan.
Provenance: Maximo Viola, Descendants of Maximo Viola
About the Work
By Augusto Marcelino Reyes Gonzalez III
Commissioned by D Maximo Viola y Sison (1857– 1933): a contemplative and reflective tabletop “Calvario” tableau. The “Cristo Expirante” has a resigned expression. It has long hair of “jusi” fibers and on its head are a silvergilt crown of thorns and “tres potencias” symbolizing the three powers of the Lord: Authority (Exousia in Greek), Ability (Dunamis in Greek), and Strength (Kratas in Greek), it wears a “tapis” loincloth of silvergilt repousse with flowers and leaves. The cross itself is of kamagong wood with linear lanite inlay terminating in silvergilt repousse “cantoneras” on three of its exposed sides; there are the requisite INRI plaque (“Jesus the Nazarene, King of the Jews,” in unusual silvergilt openwork) surmounting the cross, the reverse–painted red glass sun framed by silver rays above the Cristo, and the silver skull and bones representing Golgotha below the Cristo; the cross exudes silvergilt repousse rays with flowers and leaves which symbolize the Cristo’s divinity. The Cristo is flanked by the two thieves, San Dimas the good thief to the Cristo’s right and Gestas the unrepentant thief to the left, as dictated by tradition; San Dimas gestures towards the Cristo but Gestas ignores both of them; both San Dimas and Gestas are polychrome “de tallado” wooden figures with their carved “tapis” loincloths painted red for some reason. The other principal figures in the tableau are the grieving “Mater Dolorosa” (Mary the Sorrowful Mother) on the left, a silvergilt “rostrillo” (of the distinct 1890s type) around its face and a silvergilt heart pierced by a dagger on its breast, clad in a gold robe and blue cape; a distraught “San Juan Evangelista” (Saint John the Apostle and Evangelist) on the right, a silvergilt “paraguas” halo on its head, clad in a red robe and green cape; and a prostrate and desperate “Santa” Maria Magdalena (Saint Mary Magdalene) at the foot of the cross, a silvergilt “paraguas” halo on its head, clad in a purple robe and yellow cape. All the velvet vestments are embroidered with floral and foliar designs of the 1890s genre. In the tradition of nineteenth century (Victorian) “miniaturismo,” many charming glass baubles, reputedly created by the inmates of the Bilibid Prison (according to the prewar–postwar collector Felipe Kleimpell Hidalgo), dot the base of the tableau. There are country folk: a farmer (well –dressed, looks like a prince), his wife, daughter, and a female vendor with a basket on her head, all wearing cheery dresses. Plants and flowers. There are all kinds of animals: dogs, cats, birds, geese, sheep, goats, even antlered deer. There is a “Roman centurion” on a horse between the Cristo and San Dimas, although the horse looks like anything but one. The surface of the base is textured to simulate earth. Overall, it is a very interesting tableau. “Calvario” tableaux (Calvary scenes) were necessary appurtenances of Roman Catholic evangelization and catechesis in the past centuries. They depicted the Crucifixion: the “Cristo Expirante” (dying) or even the “Cristo Moribundo” (dead) Jesus Christ on the cross, his nearest and dearest --- “Mater Dolorosa” (Mary his Sorrowful Mother), “San Juan Evangelista” (Saint John the Apostle and Evangelist), and “Santa Maria Magdalena” (Saint Mary Magdalene) at the foot of the cross. To the faithful, they were daily reminders of the ultimate sacrifice by Jesus Christ. They were the visualizations of “Semana Santa” (Holy Week), “Viernes Santo” (Good Friday), “Las Siete Palabras” (The Seven Last Words), “La Procesion del Entierro” (Burial Procession), and “El Triduo Pascual” (Easter Triduum), all central themes of Roman Catholicism leading to Easter, the Resurrection of Christ, the most central theme of all.
Lot 139 of the Leon Gallery auction on June 17, 2023. Please see leon-gallery.com/auctions/The-Spectacular-Mid-Year-Auctio... for more information.
Detail of the beautiful Parisian ivory c.1330 in the British Museum of the Virgin Mary carrying the infant Christ who is playing with an apple.
Ivory arm, from Anguillaria Sabazia / Rome - Hypotheses: 1) Greek original by Euphranor (4th century BC); 2) Roman copy from Phidias or Praxiteles; 3) Portrait of Antonia Minor, Claudius emperor's mother (41-54 AD) - Archaeological Museum Palazzo Massimo in Rome
Nativity Scene
18th Century
FILIPINO (mis-attributed as Flemish)
Ivory and polychromy.
Height: From 4.5 cm or 1.75 inches to 5.5 cm or 2.25 inches
A very rare complete set of a Nativity Scene composed of images of the Virgin and child, St. Joseph, the three Kings (one wearing a turban) and three attendant women. The pieces are small but each is completely carved n the round.
The tradition of carving nativity images may have come to the Philippines via Peru as the tradition is very popular in Cuzco art. These pieces are mis-attributed as being Flemish. But numerous ivory examples carved in the Philippines exists which lends credence to the Philippine attribution of such images carved in ivory.
To see similar examples, please see Jose and Villegas's Power+Faith+Image (2004) particularly:
p. 238: A very similar Nativity Scene of the Virgin with adoring figures.
pp. 187-189. Three miniature angels (two on p. 187 and one on p.189) which may have accompanied such Nativity sets.
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I would like to take this time to wish all of you, my Flickr Family, a very MERRY CHRISTMAS and a most prosperous NEW YEAR!!!
Just quick pics of Ivory, to say that I'm glad I didn't sell her. I've listed her on DoA cause I was bleh... but missed her after 1 week she was in her box. :}
Sorry the semi-naked snapshots... she's just resurrected! LOL I promise to do more elaborated pictures of my dolls soon. :)
Ebony and ivory live together in perfect harmony,
Side by side on my piano keyboard,
Oh Lord, why don't we?
- Paul McCartney & Stevie Wonder
Dark ivory yarn-dyed fabric, Woven lace, Acrylic beads, Resin bottons.
All of the Design, made and embroidery was made by youya
+The Shoes were designed and made by Nalisinko Workshop+
Complete working hours: 18 hours
The model is Soom 2008 MD Onyx shadow RO head + Spiritdoll Prond girl 1st body
Shot with Canon EOS R5 and 24-105mm © Craig Lindsay 2025. All rights reserved.
Model: Ivory Flame
Folded August 2016. Each elephant folded from an uncut square sheet of crepe paper. Learn how to fold this design here!
OrigamiUSA recently partnered with the World Conservation Society in attempt to break the current Guinness World Records™ title for the largest display of origami elephants. The goal is to fold 35,000 origami elephants to bring attention to the 35,000 African elephants that are killed each year for their ivory. I wanted to get involved, so I made a video tutorial on how to fold this elephant design by Rui Roda. Be sure to share this video and together we can break the world record while raising awareness for a very serious issue.
Find out more about how to submit your elephant for the world record here.
Special thanks to Rui Roda for granting me permission to create this tutorial on his wonderful design which is dedicated to Barth Dunkan. More of Rui's excellent work can be found on his Flickr photostream.
Upload photos of your elephant to Instagram and tag them with #ezorigami or submit your photos to my YouTube Gallery.
Nativity Scene
18th Century of Earlier (misattributed as 15th or 16th Century)
FILIPINO (misattributed as Northern French)
Ivory mounted on flat-back wooden panel. Original polychromy throughout.
Height 11.5 inches (29 cm), Width 7.25 inches (18.5 cm). Estimate $4,000-$6,000
A highly important ivory and wood Nativity Scene. The Holy Family is depicted sheltering in a woodshed with farm animals such as cows and donkeys. There is even an ivory angel inset on the roof (steeple) of the barn. An close inspection of the photograph indicates that the entire Holy Family scene including St. Joseph, the Virgin and the Christ child -- and even the animals in the manger -- are carved from ivory.
The whole seems to be of European origin until one looks closely at the eyes of the figures. Both St. Joseph and the Virgin have the slanted eyes that figure prominently on early pieces carved in the Philippines.
The strong probability that this piece was carved in the Philippines give strong support to the claim that the ivory and wood Pieta -- seen in an earlier upload -- is also of Philippine origin. They may not have come from the same hand but most definitely from the same workshop.