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Ivory model of a skull, stylized, with moving eyes, tongue and mandible, operated by a metal mechanism contained within the skull.
From the ‘Understanding the Body’ theme of the Science Museum of London's upcoming "Brought to Life" web exhibition. There are ten themes in total covering everything from surgery to treatments, public health and belief.
Of, or relating to, the Morbid Anatomy blog.
Photo Credit: Alexa Marcigliano/FWS
On the morning of June 19, 2015, in Times Square, New York City, the U.S. Fish and Wildlife Service, with wildlife and conservation partners, hosted its second ivory crush event. One ton of ivory we seized during an undercover operation, plus other ivory from the New York State Department of Environmental Conservation and the Association of Zoos and Aquariums was crushed.
Riddhima smoothed the blouse over her breasts for the third time, her palms damp despite the cool air of the drawing room. The blouse wasn't something she usually wore, too frilly, too feminine, but her mother had chosen it. The ivory satin blouse shimmered like liquid light, the delicate outline of her matching satin bra just visible beneath. She wanted it buttoned higher… but her mother had insisted this was how a young woman should look tonight, approachable, inviting, but not too slutty.
The house was quiet, apart from the faint ticking of the grandfather clock and the hum of the chandelier. Every detail here spoke of her father’s success... the silk wallpaper, the antique furniture polished to a mirror shine, and yet, all she felt was small.
She had never met him. The man. The one her father said would secure her future, their family’s future. She was told only his name, his wealth, and the way he would "take good care" of her. It sounded more like a transaction than a promise.
She glanced at her reflection, taking in the perfectly styled hair, her mother's shimmering satin blouse, the outline of her bra, and the gold pencil skirt that hugged her curves. She looked like a woman from a glossy magazine, but inside, she still felt like a little girl playing dress-up.
Somewhere downstairs, the front door opened. Her heart thudded. This was it. Tonight she would meet the stranger her father had chosen. A voice inside was screaming, "run... take the car and drive until the road runs out," but that would only bring shame upon her family.
She took a deep breath, forcing her lips into a polite, practised smile, then stepped toward the rest of her life.
IMMACULADA CONCEPCION
-virina-type santo image of the Virgin Mary
as the Immaculate Conception
-ivory head, hands and feet
-original robes and adornments
-from Bataan
Height of image with globe: 15 inches
Height of entire virina: 24 3/4 inches
Diameter of base: 9 inches
Housed inside a hurricane glass (known as “Coca-Cola”) virina with metalwork top cover and wooden base.
A SPANISH OR PORTUGESE COLONIAL FRAGMENTARY IVORY FIGURE OF CHRIST
17TH CENTURY
With eyes and mouth open, some paint and stain finish with spots of gilding to his perizonium
7 in. (18 cm.)
Estimate
£1,000 - £1,500
($1,619 - $2,429)
Christie's Interiors - Masters & Makers, Oak Furniture, Works of Art, Arts & Crafts and Old Master Paintings
8 March 2011
London, South Kensington
Model: Ivory Flame www.modelmayhem.com/ivoryflame
Photographer: Stanley Mladenov www.stanphoto.com.au
My faux ivory was inspired by Victoria Hughes and Luann Udell. I started with thin layers of transparent and white polymer clay, passing them through the pasta machine multiple times. Then I sandwiched a layer of scrap clay with thin slices of the faux ivory. Next the fun began, cutting pleasing shapes, embedding beads and creating texture with clays patterns I had or tools. After baking, I sanded each piece smooth. Then I used a harsh sandpaper to give a scratched appearance and used black acrylic paint to bring out the patterns. On top of all this, I used a dark brown show polish to give an antiqued effect and finished it off with Renaissance wax.
My faux ivory was inspired by Victoria Hughes and Luann Udell. I started with thin layers of transparent and white polymer clay, passing them through the pasta machine multiple times. Then I sandwiched a layer of scrap clay with thin slices of the faux ivory. Next the fun began, cutting pleasing shapes, embedding beads and creating texture with clays patterns I had or tools. After baking, I sanded each piece smooth. Then I used a harsh sandpaper to give a scratched appearance and used black acrylic paint to bring out the patterns. On top of all this, I used a dark brown show polish to give an antiqued effect and finished it off with Renaissance wax.
blogged! bloomingleopold.blogspot.com
vintage navy and ivory lace coat - tennessee antique mall
ivory lace dress, gold heart locket - forever21
brown suede wedges - urban outfitters
an image of our lady of the most holy rosary with the christ child -ivory head and hands, de-mannequin- this set is actually her secondary robes for shrine use, belongs to a private collection
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.
It took more than a year for the UK based charity Stop Ivory to get permission from the Kenya Wildlife Service (KWS) to produce an inventory of its seized ivory. Winni Kiiru, the Kenyan country director, said rangers at every level of the organisation - apart from the chairman of the board Richard Leakey - were afraid it would expose how much had gone missing. In fact they found 135 tons scattered across storerooms all around the country, which was far more than they were expecting. Alex Rhodes, Stop Ivory's CEO said there was no doubt some tusks had gone missing from KWS stores, but he said the gross larceny that had been alleged hadn't happened. Dr Kiiru said most of the tusks had been stacked up like firewood with little or no records of where they were from. Stop Ivory took DNA samples from more than 600 tusks to trace their origin.
Stroke my ego and follow me: Instagram ≈ 500px ≈ flickr ≈ tumblr
© 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.
A fruit seller in the Abidjan district of Marcory wears a mask to protect herself and others during the COVID-19 crisis in Côte d'Ivoire. Credit : Jennifer A. Patterson / ILO
Ivory figurines from the funerary couch (kline) of the Tomb of the Palmettes, Lefkadia, a 3rd century Macedonian vaulted tomb.
Santo carving of the Virgin and Child from the Spanish colonial period. Approximately 13" height. The so-called suksok detail found in other statues of this type is noticeably absent. Not for sale--the owners have no intention of selling their precious family heirloom. This piece has been with the clan for generations.
The utopia is a world where animals are all the same and humans stop thinking they are the elected ones…
Elected by who then?
Planet Earth would survive without man, even the smallest bug or bacteria are more important than man..
Without bacteria there would be no material recycle without man there would be no selfish overuse..
I do not wanna bother you so I’ll tell you about this elephant I met yesterday morning:
We were doing some shots in the country and he came, he told us he was still afraid cause poachers are still hunting there even if ivory trade is banned somewhere….
And he didn’t want to die for something useless…
Well, I can make some spells and I made him shrink and put him in my bag…
Have a ecological day my friends!!
Santo carving of the Virgin and Child from the Spanish colonial period. Approximately 13" height. The so-called suksok detail found in other statues of this type is noticeably absent. Not for sale--the owners have no intention of selling their precious family heirloom. This piece has been with the clan for generations.
Paramio, J.M.C. 1997. Museo Oriental de Valladolid: Marfiles Hispano-Filipino [Hispano-Filipino Ivories at the Oriental Museum in Valladolid]. Catalogo II. Valladolid: Caja Espana..
Paramio is a student of famed Spanish ivory expert, Margarita Marcos Estella. This book may have been Paramio's Ph.D. dissertation. Regardless, the outstanding collection of Philippine ivories at the Oriental Musuem at Valladolid is but a small portion of the total number of ivory images imported to Spain from the Philippines at the height of the Manila Galleon trade.
The Oriental Musuem in Valladolid is the showcase display of the Augustinian priests of Philippines and the Orient. In fact, the province is named after the most holy name of Jesus and an image of the Santo Nino of Cebu graces the central pediment of the chapter house in Valladolid.
Father Blas Sierra de la Calle of the Augustinian chapter in Manila is the curator of Museo Oriental de Valladolid of the Royal College of the Augustinian Fathers in that city. The museum is said to hold the most extensive collection of Asian art and artifacts in Spain.
this is one of poly's environmental settings I used here, you can get her hoo dillies at marketplace.secondlife.com/stores/30787 she has a bunch of them
Visit this location at Ivory Tower Library of Primitives Sandbox in Second Life