View allAll Photos Tagged MEXICAN_ONYX
Barry X Ball’s installation it was exhibited at the Michela Rizzo Gallery, in a narrow street just behind the famed “Prigioni” (Prisons). The gallery owns two spaces. In a large room on the second floor of a nearby building, Ball placed some works from the past years. They revealed Ball to be a refined assemblagist of themes and materials, steeped in cultural references and quotations, of the kind that makes scholars gloat but whose essence remains anchored in the canons of late postmodernity. But it was in the smaller street-level room that this artist jumped into a realm that awakened in me the subtle vibration of discovery. The title of the piece is too long and fantastic to copy. It suffices to quote the beginning: “paired, mirrored, flayed, javelin-impaled, cable-delineated-pendentive-funnel-suspended, squid-like, priapic / labio-vulval, Janusian meta-portrait lozenges of the artist, screaming, and Matthew Barney, in two guises: determined combatant and recently-deceased, resigned stoic. (…)”, 2000-2007. The title continues then to describe the Baja California Mexican onyx marble the piece is carved in and indicates several other material and imaginary connotations of the work.
This sculpture it seems like contains the characteristics of both the Biennale and Artempo shows. It is attempting to bypass the shackles of current discourse. It is both mystical and grotesque, both transcendent and upsettingly earthy. I read it as having been made in a state of lucid, calculated obsession the resulting image of which triggers in the spectator a sense of unease while also giving reassurance because of its completeness. Two pieces of onyx are suspended from the ceiling in a way that pierces the void over which they float. Gilded stainless steel javelin-like tubular shapes that are spiked at either end traverse both vertically. 30 tiny micro holes have been drilled on all sides in the upper part of each javelin. In them are inserted very thin cables that radiate towards eyelets fixed to the ceiling from which the heavy sculptures thus hang. The marble is carved in great detail. Both parts consist of two back to back portraits linked as one head. One can see on their surface the horizontal lines of the computer-guided point that carved them before the sculptor started retouching and refining by hand. Barney’s faces face one another while Ball’s faces look outwards. Barney’s face is serious, eyes open as if looking into space, Ball’s eyes squint because he is screaming. Underneath, the necks morph into hanging folding cloths. The heads end at the top with a kind of exploded opening from which the upper part of the javelin comes out. Intricate reliefs carved in curlicues with crosses and heraldic imagery reminiscent, as the artist says, of decorations on Renaissance armor decorates the surfaces of the heads and necks. The inside of Ball’s open mouth is smooth and shiny.
It took Ball seven years to finish this piece. With other artists, often refinement becomes boring, and excessive symbolism and cultural references become pedantic, but the labor-intensive attention Ball pours into his art conveys to me a sense of disquiet, a bridge between death and life. I read here a desperate tenderness for the human condition exalted to the millionth degree, a daring frozen outlook spanning primitive rituals and cartoonish sci-fi banality.
.....an angel or cupid inspiring love today and everyday!
I Took the foto at Eclectic Art Gallery this week, a borrowed angel!
Mexican onyx lighting in the background
for inquiring minds, like Ana's; the angel is one of an inexpensive plaster set of bookends, I needed an angel for a client request!)
this is the image I am using for a client's valentines to send to her clients!!
have a smile worthy day!
LARGE ON BLACK (press F11 for full screen view)
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Something a little different today. I have been brushing up on my texture skills in CS5, and this is the best one I've done so far. Old Morris Tobacconist opened it's doors in 1892, and is the second oldest tobacconist in North America still in operation today. I worked in this place for most of this year. It sure was fun! I got to meet people from all over the planet every single day.
Location Info...
Old Morris Tobacconist, originally E.A. Morris Tobacconist, was established in 1892 on its present site and is one of Victoria, British Columbia's last remaining examples of pure Victoriana. It is considered one of Victoria's oldest businesses (as well as one of North America's oldest tobacco stores) and serves as a rare surviving example of an of an early twentieth century retail interior of the city. It was commissioned by businessman E.A. Morris. Designed by architect Thomas Hooper, the value of this unique building lies in its Georgian exterior and interior elements and detailing.
As you enter the shop, you can glance overhead at the fine examples of leaded glass in the domed entrance and the Alabaster arch and pillars framing the doorway. In 1910, the interior of the store was completed, including such materials as mahogany, marble and onyx, as well as state-of-the-art fixtures and mirrors. A walk-in humidor was also added. The final result was an excellent representation of a quaint high Victorian 'gentlemen's club' image suited to the typically male patrons of this specialty shop. The shop presents a unique contribution to the Government Street streetscape in its alluring shop front, gentlemanly facade and its masculine interior atmosphere.
A big thanks to Ewan Thot for the texture.
Thanks for stopping by, and have a great week ahead!
Fabergé Museum in St. Petersburg.
The composition of base of the souvenir, made in the year of the 30-year anniversary of Maria Feodorovna coming to the throne, was an evergreen laurel. The upper part of the tree’s crown contains an opening for a key and a tiny lever, which, when pressed, releases a cover hidden by the leaves on the tree. A bird with iridescent feathers appears from inside the tree, and begins to sing. When the singing ends, the bird disappears. The leaves of the tree crown, shaped somewhat like an egg, are made of Sayan jade. The bright leaves are covered with amethysts, citrines, and pink diamonds, as well as small white enamel flowers. The tree is planted in a pot of white Mexican onyx, draped with golden trellis netting and hanging enamel garlands.
Built in 1851-1870, this Gothic Revival-style church was designed by Richard Upjohn, and rebuilt with a stone interior to replace the original wooden interior following a fire in 1888 under the direction of Robert W. Gibson, with reconstruction being completed in 1890. The building is clad in Medina Sandstone with two sandstone spires topped with crosses, the taller of which sits atop the main tower and belfry of the church and is among the tallest unreinforced masonry spires in the world. The rest of the building features slate gabled roofs, with gable parapets at the ends. The church features stained glass lancet windows, with the larger windows featuring tracery, an octagonal western tower and a square eastern tower, buttresses, an irregular footprint, pinnacles, and gothic arched entrance doors. The church’s interior features slate and marble mosaic tile flooring, a Mexican Onyx altar, and ornately carved oak furnishings, hammer beam vaulted ceilings, columns supporting gothic arches, with the smaller Richmond Chapel featuring a hammer beam ceiling with painted panels, a decorative oak screen between the chapel and the nave of the main sanctuary, and decorative chandeliers. The building was listed on the National Register of Historic Places in 1973, and was listed as a National Historic Landmark in 1987, due to its historical and architectural significance. The building continues to serve as the seat of the Episcopal Diocese of Buffalo, and is a very well preserved example of 19th Century Gothic Revival architecture.
A beautiful tobacconist storefront on the touristy 'little Britain' Govenment Street in Victoria.
This was taken a year ago and although I liked it, it just didn't seem to have something. Well, after a little photoshop magic I think I found what I was looking for :)
San Francisco - the main lobby is getting a remodel - barriers were put in place today.
The columns in this photograph were originally made of Mexican onyx - they may still be below the wood.
The original fountain was by Ruth Asawa, a noted San Francisco artist. It was ripped out after her death a few years ago. In it's place is this ugly fountain with black river rocks.
Interior of St. Paul's Cathederal, 1907. The columns lining each side of the isle are solid granite (trivia note!).
St Paul's Cathedral is the seat of the Roman Catholic Diocese of Birmingham, located at 2120 Third Avenue North, on the northwest corner of its intersection with 22nd Street North in downtown Birmingham. The present Victorian Gothic brick building was dedicated on November 30, 1893.
The first Catholic church in downtown Birmingham was a 30-foot by 60-foot wooden building on a site adjacent to the present cathedral. It was moved to the present site on the corner and enlarged in 1880.
The cornerstone for the Neo-Gothic cathedral building, designed by the German-born, Chicago-based architect Alphonse Druiding, was laid on June 11, 1890 and $90,000 was spent completing the building over the next three years. The walls of the 96-foot by 140-foot building is clad in red brick and limestone with a polychrome slate roof. The two octagonal towers on the southeast front carry spires reaching to 183 feet. A large statue of Christ dominates the facade, flanked by an image of St Paul the Apostle, the church's patron and St Joseph. The interior of the nave is 66 feet wide and 130 feet long. The clerestory walls are supported by ten slender granite columns and the vaulted ceiling reaches 67 feet above the interior floor. The semicircular apse supports a domed vault and frames the altar. The original altarpiece was installed on the back wall of the sanctuary in 1905. It was fabricated in Spain of Italian marble and Mexican onyx at a cost of $5,000. It has since been modified several times, most notably in 2004 when the altar table was brought forward so that the celebrant faced the congregation. The sculpted angels flanking the tabernacle also remain from the original altar.
Irish-Americans made up the majority of the parish of St Paul's at its founding. A memorial in the southwest corner of the nave recognizes founding members of the Holy Name Society. The cathedral's stained glass windows, made by G. C. Riordan & Co. in Cincinnati, Ohio, depict the Sacred Heart of Jesus, the Immaculate Heart of Mary, the Assumption of the Virgin, Saint Paul, Saint John, Saint Patrick, Saint John Berchmans, the Good Shepherd, the Holy Family, and Christ gathering the children. The eastern windows are topped by trefoils, while those on the west feature quatrefoils. A circular window over the sanctuary depicts the Dove of the Spirit. Statues in the interior honor Mary, the mother of Christ, St Joseph and St Anthony, patron of Italy - a nod to the increasing numbers of Italian Catholics in Birmingham.
Mexican onyx sculpture (1936) by Carl Milles (1875-1955)
Millesgården, Lidingö, Sweden
Re-edited in August 2019
Fabergé Museum in St. Petersburg.
The composition of base of the souvenir, made in the year of the 30-year anniversary of Maria Feodorovna coming to the throne, was an evergreen laurel. The upper part of the tree’s crown contains an opening for a key and a tiny lever, which, when pressed, releases a cover hidden by the leaves on the tree. A bird with iridescent feathers appears from inside the tree, and begins to sing. When the singing ends, the bird disappears. The leaves of the tree crown, shaped somewhat like an egg, are made of Sayan jade. The bright leaves are covered with amethysts, citrines, and pink diamonds, as well as small white enamel flowers. The tree is planted in a pot of white Mexican onyx, draped with golden trellis netting and hanging enamel garlands.
The Vision of Peace is a statue in the three-story memorial concourse lobby along the Fourth Street entrance of the Saint Paul City Hall and Ramsey County Courthouse in Saint Paul, Minnesota, United States. The memorial to war dead was created by Swedish sculptor Carl Milles. He drew on memories of a Native American ceremony he witnessed in Ponca City, Oklahoma, when he designed the statue, Indian God of Peace. Although there is no connection between Native American spirituality and his own vision, Milles depicted five Native Americans seated around a fire and holding their sacred pipes. Emerging from the smoke of those pipes is a “god of peace” which Milles imagined speaking to “all the world.”
The statue was unveiled on May 28, 1936 as the Indian God of Peace. It was later renamed Vision of Peace in 1994 at a special community ceremony involving three major Minnesota Native American tribes.
The statue weighs approximately 60 tons, stands 38 feet high, and was carved from creamy white Mexican onyx using Milles’ full-scale model. The statue sits on a revolving base which turns the figure 132 degrees every 2.5 hours. There are 98 sections fastened to a steel I-beam and supported by three-quarter inch bronze ribs.
Barry X Ball (born 1955)
National Academy Museum, New York
for educational purpose only
please do not use without permission
Little wood was used in construction of the Smith Tower, an innovation which didn’t endear a newcomer to a neighborhood of timber men. Window frames and sashes were fashioned of bronze. Doors were steel, hand finished to resemble highly grained mahogany. Mosaic tiles, Alaska marble and Mexican Onyx provided a mirrored setting for the highly polished brass used as a trim on the elevators and the telegraph and mail chutes.
The L.C. Smith Building with its 540 offices, including 60 in its Gothic Tower, was built without injury or incident, even setting a record during final stages when E.E. Davis & Co., steel contractors, erected eight tower floors during a single rainy week.
See more of my Seattle photos: www.flickr.com/search/?q=seattle&m=tags&w=2621914...
Once the tallest office building in the world outside New York City.
More about the Smith Tower: www.smithtower.com/
See more of my Smith Tower photos: www.flickr.com/search/?s=int&w=26219140%40N00&q=%...
Built in 1851-1870, this Gothic Revival-style church was designed by Richard Upjohn, and rebuilt with a stone interior to replace the original wooden interior following a fire in 1888 under the direction of Robert W. Gibson, with reconstruction being completed in 1890. The building is clad in Medina Sandstone with two sandstone spires topped with crosses, the taller of which sits atop the main tower and belfry of the church and is among the tallest unreinforced masonry spires in the world. The rest of the building features slate gabled roofs, with gable parapets at the ends. The church features stained glass lancet windows, with the larger windows featuring tracery, an octagonal western tower and a square eastern tower, buttresses, an irregular footprint, pinnacles, and gothic arched entrance doors. The church’s interior features slate and marble mosaic tile flooring, a Mexican Onyx altar, and ornately carved oak furnishings, hammer beam vaulted ceilings, columns supporting gothic arches, with the smaller Richmond Chapel featuring a hammer beam ceiling with painted panels, a decorative oak screen between the chapel and the nave of the main sanctuary, and decorative chandeliers. The building was listed on the National Register of Historic Places in 1973, and was listed as a National Historic Landmark in 1987, due to its historical and architectural significance. The building continues to serve as the seat of the Episcopal Diocese of Buffalo, and is a very well preserved example of 19th Century Gothic Revival architecture.
Barry X Ball (born 1955)
National Academy Museum, New York
for educational purpose only
please do not use without permission
Barry X Ball’s installation it was exhibited at the Michela Rizzo Gallery, in a narrow street just behind the famed “Prigioni” (Prisons). The gallery owns two spaces. In a large room on the second floor of a nearby building, Ball placed some works from the past years. They revealed Ball to be a refined assemblagist of themes and materials, steeped in cultural references and quotations, of the kind that makes scholars gloat but whose essence remains anchored in the canons of late postmodernity. But it was in the smaller street-level room that this artist jumped into a realm that awakened in me the subtle vibration of discovery. The title of the piece is too long and fantastic to copy. It suffices to quote the beginning: “paired, mirrored, flayed, javelin-impaled, cable-delineated-pendentive-funnel-suspended, squid-like, priapic / labio-vulval, Janusian meta-portrait lozenges of the artist, screaming, and Matthew Barney, in two guises: determined combatant and recently-deceased, resigned stoic. (…)”, 2000-2007. The title continues then to describe the Baja California Mexican onyx marble the piece is carved in and indicates several other material and imaginary connotations of the work.
This sculpture it seems like contains the characteristics of both the Biennale and Artempo shows. It is attempting to bypass the shackles of current discourse. It is both mystical and grotesque, both transcendent and upsettingly earthy. I read it as having been made in a state of lucid, calculated obsession the resulting image of which triggers in the spectator a sense of unease while also giving reassurance because of its completeness. Two pieces of onyx are suspended from the ceiling in a way that pierces the void over which they float. Gilded stainless steel javelin-like tubular shapes that are spiked at either end traverse both vertically. 30 tiny micro holes have been drilled on all sides in the upper part of each javelin. In them are inserted very thin cables that radiate towards eyelets fixed to the ceiling from which the heavy sculptures thus hang. The marble is carved in great detail. Both parts consist of two back to back portraits linked as one head. One can see on their surface the horizontal lines of the computer-guided point that carved them before the sculptor started retouching and refining by hand. Barney’s faces face one another while Ball’s faces look outwards. Barney’s face is serious, eyes open as if looking into space, Ball’s eyes squint because he is screaming. Underneath, the necks morph into hanging folding cloths. The heads end at the top with a kind of exploded opening from which the upper part of the javelin comes out. Intricate reliefs carved in curlicues with crosses and heraldic imagery reminiscent, as the artist says, of decorations on Renaissance armor decorates the surfaces of the heads and necks. The inside of Ball’s open mouth is smooth and shiny.
It took Ball seven years to finish this piece. With other artists, often refinement becomes boring, and excessive symbolism and cultural references become pedantic, but the labor-intensive attention Ball pours into his art conveys to me a sense of disquiet, a bridge between death and life. I read here a desperate tenderness for the human condition exalted to the millionth degree, a daring frozen outlook spanning primitive rituals and cartoonish sci-fi banality.
Barry X Ball’s installation it was exhibited at the Michela Rizzo Gallery, in a narrow street just behind the famed “Prigioni” (Prisons). The gallery owns two spaces. In a large room on the second floor of a nearby building, Ball placed some works from the past years. They revealed Ball to be a refined assemblagist of themes and materials, steeped in cultural references and quotations, of the kind that makes scholars gloat but whose essence remains anchored in the canons of late postmodernity. But it was in the smaller street-level room that this artist jumped into a realm that awakened in me the subtle vibration of discovery. The title of the piece is too long and fantastic to copy. It suffices to quote the beginning: “paired, mirrored, flayed, javelin-impaled, cable-delineated-pendentive-funnel-suspended, squid-like, priapic / labio-vulval, Janusian meta-portrait lozenges of the artist, screaming, and Matthew Barney, in two guises: determined combatant and recently-deceased, resigned stoic. (…)”, 2000-2007. The title continues then to describe the Baja California Mexican onyx marble the piece is carved in and indicates several other material and imaginary connotations of the work.
This sculpture it seems like contains the characteristics of both the Biennale and Artempo shows. It is attempting to bypass the shackles of current discourse. It is both mystical and grotesque, both transcendent and upsettingly earthy. I read it as having been made in a state of lucid, calculated obsession the resulting image of which triggers in the spectator a sense of unease while also giving reassurance because of its completeness. Two pieces of onyx are suspended from the ceiling in a way that pierces the void over which they float. Gilded stainless steel javelin-like tubular shapes that are spiked at either end traverse both vertically. 30 tiny micro holes have been drilled on all sides in the upper part of each javelin. In them are inserted very thin cables that radiate towards eyelets fixed to the ceiling from which the heavy sculptures thus hang. The marble is carved in great detail. Both parts consist of two back to back portraits linked as one head. One can see on their surface the horizontal lines of the computer-guided point that carved them before the sculptor started retouching and refining by hand. Barney’s faces face one another while Ball’s faces look outwards. Barney’s face is serious, eyes open as if looking into space, Ball’s eyes squint because he is screaming. Underneath, the necks morph into hanging folding cloths. The heads end at the top with a kind of exploded opening from which the upper part of the javelin comes out. Intricate reliefs carved in curlicues with crosses and heraldic imagery reminiscent, as the artist says, of decorations on Renaissance armor decorates the surfaces of the heads and necks. The inside of Ball’s open mouth is smooth and shiny.
It took Ball seven years to finish this piece. With other artists, often refinement becomes boring, and excessive symbolism and cultural references become pedantic, but the labor-intensive attention Ball pours into his art conveys to me a sense of disquiet, a bridge between death and life. I read here a desperate tenderness for the human condition exalted to the millionth degree, a daring frozen outlook spanning primitive rituals and cartoonish sci-fi banality.
Dyersville, Iowa...
In the center of the sanctuary is the High Altar on Italian marble and Mexican onyx, which rests on a solid rock foundation reaching up from the basement. On either side of the altarpiece are brass crosses containing small relics of various saints.
Above the Altar is an 1873, woodcarved crucifix, from the old St. Francis Xavier Church, which formerly stood to the south of the Basilica. The crucifix was made by an early parishioner from a walnut tree on his farm.
Title : Smith Tower
Creator : Gaggin and Gaggin
Creator role : Architect
Creator 2 : NBBJ; Mithun
Creator 2 role : Architect
Date : 1914 (original) 1999 (renovation by NBBJ and Mithun)
Current location : Seattle, Washington, United States
Description of work : At 522 feet, the Smith Tower was the fourth tallest building in the United State upon its completion. It remained the tallest structure in Seattle until 1962 when the 605-foot Space Needle was built. The building rises 24 floors and steps back to a tower center over the western elevation, which rises to 35 floors. The interior doors and trim are steel painted to simulate mahogany and the windows are framed in bronze. The lobby features Alaskan marble, Mexican onyx and polished brass trim on the elevators, which are the last manually operated elevators on the west coast. (Source: Elenga, Maureen R., Seattle Architecture; A Walking Guide to Downtown. Seattle Architecture Foundation, Seattle WA 2007.)
Description of view : Aerial view of the building looking south
Work type : Architecture and Landscape
Style of work : Modern; Revival: Classical Revival
Culture : American
Materials/Techniques : Stone
Source : Pisciotta, Henry
Date photographed : Mar-09
Resource type : Image
File format : JPEG
Image size : 3072H X 2304W pixels
Permitted uses : This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection : Worldwide Building and Landscape Pictures
Filename : WB2010-0176 SmithTower.jpg
Record ID : WB2010-0176
Sub collection : historic sites
office buildings
Copyight holder : Copyright Henry Pisciotta
1116 Government Street, Victoria, BC.
Description of Historic Place:
Morris Tobacconists is a two-storey Georgian Style commercial building on Government Street.
Heritage Value:
Morris Tobacconists is valued as the home of one of Victoria's oldest businesses, and as a rare surviving example of an early twentieth century retail interior in the city. Commissioned by businessman E.A. Morris, and completed c. 1910, it is significant that E.A. Morris, Tobacconist Ltd. (est. 1892) continues to conduct business from this site today. Designed by architect Thomas Hooper, the value of this unique building lies in its Georgian exterior and interior elements and detailing, and in its lavish building materials such as marble, onyx, and mahogany, which provide an excellent representation of the quaint high Victorian 'gentlemen's club' image suited to the typically male patrons of this specialty shop. Morris Tobacconists presents a unique contribution to the Government Street streetscape in its alluring shop front, gentlemanly facade and its masculine interior atmosphere.
Source: City of Victoria Planning and Development Department
Character-Defining Elements:
The character-defining elements of Morris Tobacconists include:
- the two-storey massing, and form articulated by strong proportions;
- the contribution of the façade to the Government Street streetscape, as seen in the distinctive street front facade characterized by such elements as large display windows and the exterior cladding and decorative materials, such as glazed tile, Mexican onyx, and leaded glass;
- the Georgian Style exterior elements such as the bilateral symmetry, the arched exterior doorway and semi-circular bracketed cornice, and the rusticated columns;
- the interior elements, such as the mahogany columns and pediment of the humidor, wall panelling, and display cases; wall mirrors, and leaded mirror domes in the ceiling;
- the onyx electrolier.
Barry X Ball’s installation it was exhibited at the Michela Rizzo Gallery, in a narrow street just behind the famed “Prigioni” (Prisons). The gallery owns two spaces. In a large room on the second floor of a nearby building, Ball placed some works from the past years. They revealed Ball to be a refined assemblagist of themes and materials, steeped in cultural references and quotations, of the kind that makes scholars gloat but whose essence remains anchored in the canons of late postmodernity. But it was in the smaller street-level room that this artist jumped into a realm that awakened in me the subtle vibration of discovery. The title of the piece is too long and fantastic to copy. It suffices to quote the beginning: “paired, mirrored, flayed, javelin-impaled, cable-delineated-pendentive-funnel-suspended, squid-like, priapic / labio-vulval, Janusian meta-portrait lozenges of the artist, screaming, and Matthew Barney, in two guises: determined combatant and recently-deceased, resigned stoic. (…)”, 2000-2007. The title continues then to describe the Baja California Mexican onyx marble the piece is carved in and indicates several other material and imaginary connotations of the work.
This sculpture it seems like contains the characteristics of both the Biennale and Artempo shows. It is attempting to bypass the shackles of current discourse. It is both mystical and grotesque, both transcendent and upsettingly earthy. I read it as having been made in a state of lucid, calculated obsession the resulting image of which triggers in the spectator a sense of unease while also giving reassurance because of its completeness. Two pieces of onyx are suspended from the ceiling in a way that pierces the void over which they float. Gilded stainless steel javelin-like tubular shapes that are spiked at either end traverse both vertically. 30 tiny micro holes have been drilled on all sides in the upper part of each javelin. In them are inserted very thin cables that radiate towards eyelets fixed to the ceiling from which the heavy sculptures thus hang. The marble is carved in great detail. Both parts consist of two back to back portraits linked as one head. One can see on their surface the horizontal lines of the computer-guided point that carved them before the sculptor started retouching and refining by hand. Barney’s faces face one another while Ball’s faces look outwards. Barney’s face is serious, eyes open as if looking into space, Ball’s eyes squint because he is screaming. Underneath, the necks morph into hanging folding cloths. The heads end at the top with a kind of exploded opening from which the upper part of the javelin comes out. Intricate reliefs carved in curlicues with crosses and heraldic imagery reminiscent, as the artist says, of decorations on Renaissance armor decorates the surfaces of the heads and necks. The inside of Ball’s open mouth is smooth and shiny.
It took Ball seven years to finish this piece. With other artists, often refinement becomes boring, and excessive symbolism and cultural references become pedantic, but the labor-intensive attention Ball pours into his art conveys to me a sense of disquiet, a bridge between death and life. I read here a desperate tenderness for the human condition exalted to the millionth degree, a daring frozen outlook spanning primitive rituals and cartoonish sci-fi banality.
Barry X Ball (born 1955)
National Academy Museum, New York
for educational purpose only
please do not use without permission
This is what the business lobby looked like before it was "remodeled." The lovely fountain sculpture is gone, the columns clad in Mexican onyx is covered in wood.
Built in 1851-1870, this Gothic Revival-style church was designed by Richard Upjohn, and rebuilt with a stone interior to replace the original wooden interior following a fire in 1888 under the direction of Robert W. Gibson, with reconstruction being completed in 1890. The building is clad in Medina Sandstone with two sandstone spires topped with crosses, the taller of which sits atop the main tower and belfry of the church and is among the tallest unreinforced masonry spires in the world. The rest of the building features slate gabled roofs, with gable parapets at the ends. The church features stained glass lancet windows, with the larger windows featuring tracery, an octagonal western tower and a square eastern tower, buttresses, an irregular footprint, pinnacles, and gothic arched entrance doors. The church’s interior features slate and marble mosaic tile flooring, a Mexican Onyx altar, and ornately carved oak furnishings, hammer beam vaulted ceilings, columns supporting gothic arches, with the smaller Richmond Chapel featuring a hammer beam ceiling with painted panels, a decorative oak screen between the chapel and the nave of the main sanctuary, and decorative chandeliers. The building was listed on the National Register of Historic Places in 1973, and was listed as a National Historic Landmark in 1987, due to its historical and architectural significance. The building continues to serve as the seat of the Episcopal Diocese of Buffalo, and is a very well preserved example of 19th Century Gothic Revival architecture.
Barry X Ball (born 1955)
National Academy Museum, New York
for educational purpose only
please do not use without permission
Barry X Ball (born 1955)
National Academy Museum, New York
for educational purpose only
please do not use without permission
Barry X Ball (born 1955)
National Academy Museum, New York
for educational purpose only
please do not use without permission
Near Lever House. Nothing but stone. A little research shows that this is the lobby of the Manhattan Tower at 600 Lexington, built by Emery Roth & Sons in 1985. Emery Roth built some interesting buildings in the 20's and 30's, most famously the twin towered San Remo on Cenral Park West. Roth & Sons later worked on another set of twin towers - the World Trade Center.
MILAGROS
Milagros "Miracles" are small devotional charms that are traditionally used in most Latin American Countries. These votives are placed in small shrines, church, nichos, retablos, saints or altars.
Milagros also refers to an ancient aspect of Hispanic Folk Culture: Small silver or gold votive offerings.
A person attaches a Milagro to a saint for a special request of a miracle for a particular aliment of the body.
Barry X Ball (born 1955)
National Academy Museum, New York
for educational purpose only
please do not use without permission
construction barriers were put in place today. The main lobby is getting another remodel. The columns in this photo were originally clad in Mexican onyx - they were still be there.
The business lobby is being remodeled. I'm not excited about this picture of what it will look like, but I think it will be better than the last remodel a few years ago. The wood boards suspended in air do not impress me at all. How about some real art? This is a view of the mezzanine level. The columns originally were Mexican onyx & were 2 stores tall
The Baptistry.
The font is an original George Edmund Street design and is of mexican onyx lined with lead. It has a heavey wooden gothic lid, which is lifted by chains.
One of two mosaics in the Baptistry area. St Augustine of Canterbury on his mission in 597 from Rome to King Ethelber and Queen Berta of Kent.
Archangel Michael is painted on the wall.
The baptistry area was added to the original building in 1896. The two mosaics are therefore later than the others in the church.
The Drawing Room, which was finished in a colonial style, still has mahogany floors under the carpet. The windows on top are stained Bavarian glass. Originally the ceiling was decorated with white clouds and painted scrolls. The fireplace is Mexican Onyx and has two men fighting in the fire box. From Self-Guided Tour information.
The Baptistry.
The font is an original George Edmund Street design and is of mexican onyx lined with lead. It has a heavey wooden gothic lid, which is lifted by chains. (The Organ is above.)
The baptistry area was added to the original building in 1896. The two mosaics are therefore later than the others in the church.
Built in 1851-1870, this Gothic Revival-style church was designed by Richard Upjohn, and rebuilt with a stone interior to replace the original wooden interior following a fire in 1888 under the direction of Robert W. Gibson, with reconstruction being completed in 1890. The building is clad in Medina Sandstone with two sandstone spires topped with crosses, the taller of which sits atop the main tower and belfry of the church and is among the tallest unreinforced masonry spires in the world. The rest of the building features slate gabled roofs, with gable parapets at the ends. The church features stained glass lancet windows, with the larger windows featuring tracery, an octagonal western tower and a square eastern tower, buttresses, an irregular footprint, pinnacles, and gothic arched entrance doors. The church’s interior features slate and marble mosaic tile flooring, a Mexican Onyx altar, and ornately carved oak furnishings, hammer beam vaulted ceilings, columns supporting gothic arches, with the smaller Richmond Chapel featuring a hammer beam ceiling with painted panels, a decorative oak screen between the chapel and the nave of the main sanctuary, and decorative chandeliers. The building was listed on the National Register of Historic Places in 1973, and was listed as a National Historic Landmark in 1987, due to its historical and architectural significance. The building continues to serve as the seat of the Episcopal Diocese of Buffalo, and is a very well preserved example of 19th Century Gothic Revival architecture.
The altar is madeof Italian marble and Mexican onyx. It rests on a solid rock foundation. Above the altar is an 1873 woodcarved crucifix made by an early parishoner from a walnut tree on his farm.
A fifty-two feet high baldachin (canopy) of carved butternut is richly decorated with pinnacles, gables, niches and angels. Designed by J.E. Brielmaier of Milwaukee.
Built in 1851-1870, this Gothic Revival-style church was designed by Richard Upjohn, and rebuilt with a stone interior to replace the original wooden interior following a fire in 1888 under the direction of Robert W. Gibson, with reconstruction being completed in 1890. The building is clad in Medina Sandstone with two sandstone spires topped with crosses, the taller of which sits atop the main tower and belfry of the church and is among the tallest unreinforced masonry spires in the world. The rest of the building features slate gabled roofs, with gable parapets at the ends. The church features stained glass lancet windows, with the larger windows featuring tracery, an octagonal western tower and a square eastern tower, buttresses, an irregular footprint, pinnacles, and gothic arched entrance doors. The church’s interior features slate and marble mosaic tile flooring, a Mexican Onyx altar, and ornately carved oak furnishings, hammer beam vaulted ceilings, columns supporting gothic arches, with the smaller Richmond Chapel featuring a hammer beam ceiling with painted panels, a decorative oak screen between the chapel and the nave of the main sanctuary, and decorative chandeliers. The building was listed on the National Register of Historic Places in 1973, and was listed as a National Historic Landmark in 1987, due to its historical and architectural significance. The building continues to serve as the seat of the Episcopal Diocese of Buffalo, and is a very well preserved example of 19th Century Gothic Revival architecture.
Brass Plaque on the Font.
St Saviours’ Eastbourne Sept 1877.
The Font Bowl originally of stone was replaced by this of Mexican onyx marble in memory of Marsden Radclille, infant sone of Rev H R and C H Whelpton, born 4 Oct 1874, baptised 29 Nov 1874 fell asleep 21 August 1875.
The Font Cover from desin by C E Street RA was given by Rev H A Alder MA in memory of his son Henry S Austin born 25 August 1871, baptised 11 Oct 1871.
The "Vision of Peace" is a 36-foot-tall sculpture made of Mexican Onyx in the Ramsey County courthouse in Saint Paul Minnesota.
When there was a tempest-in-a-teapot controversy about secular Easter decorations on City and County property, an unknown-to-me protester arranged a "Vision of Peeps" display at the base of the sculpture.
The Saint Paul mayor handled it well, declaring that the secular nature of bunnies and chickies did not qualify as a religious observance. These symbols of the celebrations of spring predate Christianity. The Peeps (tm), of course, do not.