View allAll Photos Tagged Ivory
Ivory 2 tier wedding cake with piping detail and flowers.
To go on dispaly at an event in a bridal shop.
Terrible light this afternoon - so hoping for a better shot of it tomorrow!!
This puzzle is so pretty but I couldn't take a straight picture. I had to use a step stool to get higher than the puzzle on my card table and even then could not see the puzzle in the camera, so this might be the best I can do.
Painting by Lesley Anne Ivory
1000 pc.
Brand: Flame Tree (never heard of before)
Shot with Canon EOS R5 and 24-105mm © Craig Lindsay 2025. All rights reserved.
Model: Ivory Flame
Ivory sat with his friend Victor on the north side of Monroe Street east of State Street. Victor was very engaging and friendly as we started talking. Early on in our conversation he told me, "Don't ever strive to be good, don't ever strive to be great, strive to be ex-cell-ahnt". He wrote that, he said. He said he's not homeless, but he comes out here and hangs out with his friends on the weekdays. He is a very generous man. One of his friends needed some money, so he reached into his shirt and gave him five dollars. He used my phone to leave a message on his mom's phone. He then talked about his mom, who was very strict and didn't let anyone smoke or drink in her house. He said one time, she had him put in jail because he had alcohol on his breath. But he spoke fondly of her and said her full name--Mary Montgomery Hudson Patterson. He was going there for Thanksgiving and said she was an amazing cook. He used to work at the Palmer House as a bus boy and dishwasher. He said he's famous and that everyone knows him. He also said he's a writer and an artist. He likes to draw and is currently writing an autobiography titled, "The Life and Times of Homeless People". He said he has a lot of it written already.
Taken at La Desembocada, Jalisco, Mexico, in late December 2014.
I have some really close up shots of this species from the trip but I liked the setting around the bird in this photo.
Canon 7D Mark II | Canon EF 400mm f/5.6L USM | 1/100 | ISO 640 | f/5.6
At least one doll picture this weekend! I was cleaning and reorganizing my BJDs space and she was so pretty on the shelf.
Everyone have a wonderful week! ♡
An ivory head of a Santo on a base
31 x 9 x 9 cm (12 x 3 1/2 x 3 1/2 in)
Estimate PHP 60,000-65,000
Lot 429 of the Salcedo Auctions auction on 19 September 2015. Please see www.salcedoauctions.com for details.
HNFF!!!
Piano on piano XD
The small piano is a pencil sharpener that my mom gave me. I love it, but I've never used it to sharpen anything. I just keep it displayed on top of my real piano so I can see all the time.
I took a similar shot about 1 1/2 years ago and posted it on my deviantArt account. I didn't have my camera back then, so I used my phone. Here's what it used to look like. (I named it "Ivory" too) That was my very first upload on deviantArt.
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Camera used: Canon Digital Rebel XTi
Lens used: Canon 50mm f/1.8
Photography by: MCTGarcia (me)
Three young women wearing masks are selling medicine on the street during the COVID-19 crisis in Abidjan, Côte d'Ivoire. Credit : Jennifer A. Patterson / ILO
Our Daily Challenge 15-21 February : On the shoulders of giants
The largest of a set of tiny elephants, brought back from Ceylon by a great uncle.
2 1/2" from tip of trunk to tail.
I'm so glad that dealing in these objects is now illegal, hopefully more lives will be saved, both of the animals and their wardens.
"‘I have told you, but you do not believe.
The works I do in my Father’s name are my witness;
but you do not believe,
because you are no sheep of mine.
The sheep that belong to me listen to my voice;
I know them and they follow me.
I give them eternal life;
they will never be lost
and no one will ever steal them from me.
The Father who gave them to me is greater than anyone,
and no one can steal from the Father.
The Father and I are one.’"
– John 10:24-30.
This beautiful and intricate 17th-century ivory sculpture from India shows Christ as the Good Shepherd, who leads unites his flock with his Father in heaven.
It was displayed in Singapore at the exhibition entitled "Christianity in Asia: Sacred Art and Visual Splendour"
Paris. Louvre Museum. Coronation of the Virgin, ivory with gold and polychrome painted decoration. Paris, ca. 1250-1275.
I won first prize at The Rutherglen Ag Show last Sunday, actually I won a few first prizes for other things, so I was quite chuffed.
The cake was left from the Corowa Ag Show the week before, I won second for my own recipe fruit cake. I had to stick the cake back together, so that is why it has a drape over the centre.
The faux ivory was layered to create a striped effect separated by a bold red stripe as accent. (This color is mostly red mixed with a bit of brown polymer clay). The patterns were made from a pointed tool and an old rectangular dental tool.
Kim's new formula for faux ivory is so good I couldn't tell if from the real piece (antique, of course) sitting on the table right next to it.
Ebony and ivory live together in perfect harmony
Side by side on my piano keyboard, oh lord, why don't we?
We all know that people are the same where ever we go
There is good and bad in everyone,
We learn to live, we learn to give
Each other what we need to survive together alive.
Ebony and ivory live together in perfect harmony
Side by side on my piano keyboard, oh lord why don't we?
We all know that people are the same where ever we go
There is good and bad in everyone,
We learn to live, we learn to give
Each other what we need to survive together alive.
Ebony and ivory live together in perfect harmony
Side by side on my piano keyboard, oh lord why don't we?
Ebony, ivory living in perfect harmony
Pearl necklace and an ivory jewel box. The background is a silk carré scarf by Hermès and the red thingy is a modern Murano glass and gold bracelet from Antica Murrina in Venice.
Composite shot made of an unrecorded number of focus-stacked exposures, set using the built-in function on the Nikon Z7. Micro-Nikkor 60mm ƒ/2.8 macro lens with FTZ adapter.
NAZARENO or Christ Carrying his Cross
19th Century
FILIPINO
H w/o Base: 44cm or 20 in
H w/ Base: 52 cm or 24 in
Ivory head, hands and feet mounted on a wooden mannequin body
Base is a later addition with Chinese character for "Front" incised in bottom right
Wooden cross visible in the background.
Provenance: Private Collection
The ivory-billed woodpecker, long thought to be extinct, was rediscovered in the big woods of Arkansas!
Photos from the 1935 Louisiana expedition (www.birds.cornell.edu)
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.
From the amazing li'l bosque session with Candace :)
Lighting by Aaron War :) (but I don't remember what we were using at the time this was shot)
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Three-storey retablo, a distinctive nativity scene from Peru, seen in the Museum Würth during an exhibition of cribs from all over the world, Gaisbach, Franconia (Baden-Wuerttemberg)
Some backrground information:
Retablos are a sophisticated Peruvian folk art in the form of portable boxes which depict religious, historical, or everyday events that are important to the Indigenous people of the highlands. The Spanish word retablo comes from the Latin retro-tabulum ("behind the table or altar"). This is a reference to the fact that the first retablos were placed on or behind the altars of Catholic churches in Spain and Latin America. They were three-dimensional statues or images inside a decorated frame.
Retablos probably originated with the Christian knights of the Crusades and the Spanish reconquista (the 700-year struggle against the Moors on the Iberian Peninsula). The Christian warriors, who frequently found themselves far away from their home churches, carried small portable box-altars for worship and protection against their enemies. These earliest retablos usually featured religious themes, especially those involving Saint James, the patron saint-warrior in the fight against the Moors.
Retablos came to the New World as small portable altars depicting nativity scenes and other religious topics used by the early priests to evangelize the Indigenous. In a syncretic process, the early retablos brought by the Spanish merged with Indigenous beliefs in the Andean region to acquire certain magical or symbolic properties which had been the attributes of local spirits before the conquest. These early South and Central American retablos were wooden boxes with figures inside carved from stone, ivory or wood.
Later, retablos evolved to include daily scenes in the lives of the Andean people, such as harvests, processions, feasts, and tableaux depicting shops and homes. The use of wood for the outside box remained, but other materials, such as gypsum, clay, or a potato-gypsum-clay paste mix, were increasingly used for the figures because of their ease of handling and durability.
As you can see, the retablo in this picture shows the Nativity in its top floor. In the middle floor some kind of celebration is shown, with lots of female and male musicians playing traditional Peruvian instruments. And in the bottom floor, a hat shop is depicted. The hats there bear a close resemblance to the typical North American ten-gallon hats. The three-storey box is carved from wood, while all figures inside are made from clay. I guess that the whole ensemble has a height of 80 centimetres, which means that it’s definitely no pocket size retablo, but one that was perhaps used as some kind of home altar.
In the 1940s more and more artists were using retablos as a vehicle for affirming and recording the distinct identity of the Indigenous people of the Andean region. They are also a defense of Indigenous culture and values in the face of the modernization and the penetration of their culture by the one of the white Hispanic elites of Lima.
If you drive through the countryside of the rural district of Hohenlohe with its pastures and little villages in the northeast of the federal state of Baden-Wuerttemberg, you wouldn’t expect an art museum of international reputation being located in this area. However the museums Würth 1 and Würth 2 are and that has a particular reason: Both museums are attached to the headquarters of Würth Group, a multinational company and the biggest producer of screws in the world.
In 1954, the German billionaire Richard Würth took over a two-man business from his father at the age of 19 and made it a successful worldwide concern with almost 86,000 employees today. In the 70s, Würth began to collect art. Since then, he has collected roughly 18,500 works of art. His passion for collecting art even resulted in art becoming an important element of the Würth company culture. The most important works of art are made publicly available in altogether five museums of the Würth Group. All of them are freely accessible.
A Merry Christmas 2024 to all of you! Have a great festive season together with your families and friends!